Anate Extended

Anate :: Extended

Anate is a linguistic technique that I released to the magic world last year after much testing and development. Since the initial release, I have continued work on the principle and have heard from many magicians over the last so many months regarding new routines, thoughts and outs that they use. I have put together this supplement for the srcinal Anate manuscript to details some of these further developments. This is intended as a supplement to the srcinal ebook, so I won’t go over the srcinal scripting. I will include additions to the srcinal script which can act as strengtheners to the initial force. ithout further a due, thank you for purchasing, take the time to read through the manuscript and lets blow some minds. DC

Strengthening Techniques and Outs

This first chapter I’ve dedicated to e!tra scripting to strengthen the force, this is ideal for people having some difficulty as it adds further layers of implication. e’ll also discuss the thought of using a dual reality in the force, this will allow for a "##$ hit rate, thought it will be creating a different effect for the participant and the other audience members. %inally, we’ll talk about building lines into the script to allow for particular outs.

Script Additions hen Anate was first released, the forums erupted with all sorts of comments, both negative and positive. &ne thing that I noticed was a comment from 'evin (night, he mentioned the addition of an e!tra line before the script, which for him made it completely foolproof. The noted line is as follows)

“I’d like you to complete this sentence for me…” I thought that this was a fantastic idea, the thought of activating the correct mindset before the script. So I looked further into it * I wanted it to sound less like a command, but to have the same effect.

“Do you ever get that feeling, when you finish a close friend’s or lover’s sentence – I’d like to try something like that now, an experiment in synchronicity I have a card here…” The inclusion of this sets a nice frame for the effect, sounds a perfectly logical thing to say and has the effect of the aforementioned line.

The counting technique Another psyche leading that I stumbled on to quite recently, but it works beautifully, even without the A+AT force in place. It’s again a very simple technique, but a nice addition to the script or as opposed to using A+AT.

“I’m going to have you think of a num!er !etween one and ten ok" #o in your mind you’ll go one and two and three and four and five and so on and so on – $ou can do that for me"” ssentially the leading behind that is that we’re finishing their count on -, but because we’ve replaced the last two numbers with so on/ it’s quite invisible. I also gesture as I count thru, making a point on each number to emphasi0e gently.

Building up the out I think when there’s the possibility of a miss, it’s always wise to build up to the out * i.e. briefly mention something that makes the change of pace logical when the technique fails to hit. 1y preferred out is the effect 2&(I, which I’ve included here, but first we’ll learn how I transition from an A+AT miss to a powerful presentation of 2&(I.

“%eople excite me &heir thought patterns and the concept of making educated guesses at what they’ll do next or how they’ll react to a certain situation is a fascinating pass time I’d like to try something with you now, an experiment in action predicted I need you to !e open to this and allow your su!conscious to make your decisions' we’ll try and create something incredi!le together (k" )reat” +ow comes the most important part. Something that is very subtle and will be forgotten completely if not used, but frames the piece perfectly if it needs to move on to become 2&(I. Simplicity is key here * Almost as good as the word an./

“*irst, I’d like you to hold out your hand” 3lace one of the -s on their hand ready to perform A+AT. 'id you catch it4 The word first./ It makes all the difference. It says that this little test is before the actual e!periment. This is only called on however if it misses, like the following)

“&he num!er + Interesting – &hat tells me a lot a!out you and I think that from that pretest you will !e ID-./ for this experiment I have 0 poker chips here…” %rom there you are perfectly driven into 2&(I, which I will now e!plain in full. This was srcinally published in my book  %ieces 1 0am” available from www.1indlapse.net

Loki - Poker Chip Location

&he performer takes out three poker chips of different colours (ut of sight these are mixed and a spectator is asked to place each one in a different pocket while the performer’s head is turned, or he is !lindfolded &he performer turns around and reveals where each chip is located through supposedly reading !ody tells This is a very simple effect to perform, though looks incredible to all those present * all needed is three different poker chips, I use a black a red and a white. In place of these folded business cards can be used for a completely impromptu presentation. The secret4 5ou 6ust need to keep track of the location of the chips. Told you it was

simple7 I use an alphabetical stack * The chips go in order, 8lack, 9ed and hite. hat makes this convincing is that the chips are apparently mi!ed out of sight. In reality, the order is 6ust reversed. I’ll have the chips in my left pants pocket and take them out as I begin my script. I’ll casually re:order the chips in my right palm so that they are stacked ;from bottom< hite, 9ed and 8lack. I e!plain that I’ll mi! up the chips and cup my hands around them and shake, apparently tossing them around and mi!ing the order. In reality, when I cup my hands around the chips, I flip them over so that they are in my memori0ed order and then 6ust shake so that the chips rattle as they impact one another, but the order doesn’t change. I also turn my head away at this point so that I cannot see my hands * I feel that this is an important convincer and psychologically impacts on the destruction of thoughts of a pre:determined order. This is also the reason that the chips are flipped, people aren’t going to remember the order the chips were in, as you haven’t told them what you are doing yet, but they may remember if it’s the same image they are seeing. A simple flip of the chips prevents this uncertainty7 After I feel that the chips are suitably =mi!ed’ I keep my head turned away and open my hands so that the chips lie spread slightly. I ad6ust these casually so that the black sits on the heel of my hand, the red on the palm and the white on my fingers. I use the order and these > 0ones of my hand to identify which chip has been taken. &utstretching the left hand with the chips lain in position, in order, with the head still turned away, I will ask the spectator to pick up one of the chips. I make sure to pause so that they complete this task before moving on * if you are dealing with a trickier spectator and you immediately say take one of the chips and place it in your left pants pocket, they may try and catch you out7 So, you will ask them to pick up one of the chips, say the pick up the black, you then say)

“2ow please place this in your left pants pocket and let me know when you are done” +ow you know that the black chip is in the left pants pocket. 5ou need to simply repeat this process for the right pants pocket and then ask them to hold the final chip in their outstretched right fist. At this point I’ll make sure that they are finished and then turn around.

I use a script based around body tells, so I’ll go into the concept and then grip their fist in mine and place my hand on their shoulder. This creates a really nice frame for the rest of the audience and also breaks the contact barrier between this spectator and yourself, so it’s a perfect effect to open on. I’ll say the word =black’ as I look them in the eye. I pretend to read their reaction to the word and announce in a slightly unsure way)

“/eft pocket – %lease show everyone3” I go from there to reveal the chip that’s in their hand)

“(k, lets try for the chip in your hand” I stare at them for a moment and announce the relevant colour.

“4hich of course leaves the white chip in your right pant pocket3 – &hank you very much3” This is such a simple and direct performance in effect and method. As mentioned, I use a body tell style presentation, which I find works very well for me as an introduction to that false e!planation. If you are more of a psychic entertainer, or a bi0arrist * you may find that an energy field reading or with a thumb writer, maybe a precognition routine will suit.

Other outs and out advice The inclusion of 2&(I brings us right to our ne!t sub6ect * %urther outs. ssentially my theory on outs is that unless I can cover every outcome, I will want to cancel the e!periment altogether, erase it’s e!istence from the audiences minds by either posing it as something else or making it insignificant. I think the scripting I’ve used for 2&(I is quite comprehensive, even if you’re not using 2&(I * any effect of a psyche nature would suffice7 &ther outs can of course be used, and that’s what I’d like to talk about here. A few people mentioned to me the use of a brainwave or invisible?ultra:mental deck for practicing the script. @sing either of these means that you can practice to your heart’s content and not worry about missing. hen you’re confident enough you can move onto using 6ust a single card if you wish to equivoque the suits, or a packet of four eights. Any name a card style effects or inde!es could be used as an out or practice tool for A+AT, some of the best I’ve used are (ollosal (iller, 8ang:&n and 'aniel 1adison’s Advocate. Applications and Effects

I only really described the flagship effect Simple! (iller/ in the srcinal manuscript, so I’m dedicating a lot of this supplement to the inclusion of ideas for applications and routines. I’ve been kindly granted access to a number of people’s personal A+AT routines and for that I am grateful to all the guys who have submitted effects below7

A(nate)CR  Chris La!!ert" hris has a knack of putting together awesomely simple routines with a real magical twist. 8eing a magician as opposed to a mentalist, this is hris’ personal take on A+AT and the routine he’s been using for some time now. The first phase is simpleB you will ask the spectator to think of any card from the shuffled deck. @se the anate method to give the illusion that the thought of card has risen to the top of the shuffled deck. &bviously, the anate card 6ust starts on top of the deck. 5ou can false shuffle or cut to your hearts content, so long as the cards on top, youCre already a step ahead of the game. At this point, you can have the card signed and proceed with your preferred A9. I don’t know what else I can write, as everybody’s A9 is different, and from that point, it would go back into CregularC territory. I suppose, we could forego having the card signed at all, and as we show the card is on top, angle the deck away so that the cards identity is seemingly still a mystery to us. Then, for a final phase, we could reveal a prediction on the card bo!, proving that not only did the TD&@EDT &% card travel to the top of the deckB we also impossibly knew the identity of the card ahead of time. I like this idea for a more involved finale: After the card has risen to the top of the deck a few times, set the deck down, and name the card. At this point, the spectator should think that this is the first time you have known the identity. +ow, remove three other decks from your pockets, open the case, and ribbon spread all three, revealing the three mates of the anate card reversed in the middles of those decks. 3erhaps a line like this would suit:

5It would appear that the relative movement of your selection has somehow caused its mates to move relatively themselves5

Pseudo Logic  Steven #"lan Pal$er

This is how I present my version of 'ee hristopher’s Anate/ force. I use it as my ard to pocket/ routine. I have a high success percentage of getting the card named to the - of diamonds, with my following method. If the force hits then great, if not I still have an ama0ing and direct effect, using the old ruse of being &ne ahead/ on a playing card. 1ethod) "< 9un through a deck and cull the ace of spades to the top of the deck. 'o this under the cover of toying with the deck. These actions are covered under the following patter 2et’s try something...have you heard of telepathy4 ssentially it’s when two people connect over a single thought. I’d like to keep this simple and use something I’d imagine you are familiar with, playing cards./ F< At this point I run through the deck and remove the eight of diamonds, and place it into my pocket, it’s an important point to make here that as I make eye contact and remove the card a bit at a time from the deck as if I’m considering which card to go for. I place the card in my pocket and proceed with the following patter, 9ight now, I want you to think of a card from in the deck, please don’t 6ust think of your favourite card, and also it’s not an ace or a picture card. I could second guess those and want this to be more interesting, I want you keep an open mind. 2et’s do the number first, it could be a two or a three, but now I’ve mentioned those and you might not want to go for them...In the fact, the card I have in my pocket its an..;I raise my vocal tone here and almost begin to say eightB this is of course 'ee’s clever idea in action. I do this as I gesture for them with my hand out to prompt them to finish the sentence for me< If the number force hits, then I’ll try and force the diamonds also by using the following patter Ereat, let’s go for the suit, imagine the number and the suit in bold and vivid colours in your mind ;as I say those lines ill place my hands together with my fingers and thumbs outstretched, with the thumb and inde! finger touching to mimic a crude diamond shape