Dale a Hildebrandt - Red and Silver

Dale’s Little Red & Silver Book By Dale A. Hildebrandt Warning: Many magicians and mentalists will NOT like this book as it deals with subjective realities brought to light in a very forthcoming manner. My most controversial manuscript yet. Drawing from everything from Alchemy to Zen, you’ll also find a heavy dose of information on techniques and processes involving Energy Work, Neurolinguistic Programming, Hypnosis, Reiki, the Ichazo Mentations, Carlos Castaneda’s Work, and more! This is the real work on Real Work; I truly believe in these concepts and find these processes/rituals/techniques to belong in the category of my toolbox for “Sacred Tricks”. How’d you like to learn not only the outline but how to do a 1 hour 30 minute lecture/seminar on Rapport? “MY RAPPORT LECTURE” alone could earn back the price of this manuscript if presented and marketed correctly. How would you feel about using resistance to hypnotic process as the hypnotic process itself? (In other words, you’re utilizing resistance to create a deep trance!) Taking inspiration from my “Hand Bluffs” and “One Hotter Coin”, combined with some new conceptual frameworks, you can demonstrate how hot your hand can become—as if you were a Reiki Master, heat will emanate from your palm when done correctly! Take a participant on a one-minute mind/body trip that could impact them FOREVER! Learn 5 Kinds of Hypnotic Inductions; giving you flexibility for inducing trance! Find out my coveted technique for getting people to stop smoking in “The Lighter Interrupt 1”! Apparently make the moon shrink! Learn a highly-guarded opening loop / opener that leads into a highly guarded closed loop / closer for a unique night of mentalism! Learn the 7 Relationship Keys as well as the Seven Bodies of a Human Being—and how to use both systems to enhance relationships and use subtle energies amongst other amazing feats! Find out why “The Energy Dart Game” is my favorite social pastime while in a shopping mall or just out and about in general! The Energy Dart will put a smile on many faces! Turn simple coins into an entire MENTALISM/READING ACT with “My Penny Act”!

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“Dale’s Little Red And Silver Book” © 2013 Dale A. Hildebrandt All rights reserved. All marketing rights reserved. No part of this publication can be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. Breach of this copyright means you agree to enter into a contract to pay $2000.00 USD per incident of breach, payable immediately upon request. While every precaution has been taken in the preparation of this material, the publisher and/or author assumes no responsibilities for errors or omissions, or for damages resulting from the use of information contained herein. First Edition 2013 Website: http://www.mirrorname.com/ Blog: http://devilstilldeals.blogspot.com/ Lincoln, NE

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WARNING!!! PLEASE NOTE: The author, publisher, editor, and/or seller of this book and anyone else connected to this book in any way, shape, or manner, shall not be responsible for your use or misuse of the information in this manuscript.. This leaves YOU as the sole person responsible for your use or misuse of this information.

TABLE OF CONTENTS

FOREWORD BY BRAD GORDON

PAGE 9

A FEW WORDS FROM OLIVER

PAGE 11

MEECH PROLOGUE BY LUCA VOLPE

PAGE 12

PREFACE BY BRUCE BALLON

PAGE 13

RED & SILVER INTRO BY JEROME

PAGE 15

FINLEY TRIANGULAR GAZING

PAGE 17

The Power of Eye Contact WHITE AND GOLDEN BUBBLE

PAGE 19

EXERCISE Advanced Covert Rapport

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RAPPORT EQUATION

PAGE 19

Trust Plus Comfort IMMOBILIZED PARTICIPANT (HANDS PAGE 21 IMPOSSIBLE) Utilizing Resistance ARM LEVITATION AND OTHER

PAGE 22

“SUNDRY” STUNTS Arm Levitation, Finger Signaling + More ONE MINUTE MIND TRIP

PAGE 27

A Mind Reeling Experience FIVE KINDS OF INDUCTIONS

PAGE 32

Useful Inductions for Many Different Occasions THE LIGHTER INTERRUPT 1

PAGE 38

The Power of a Pattern Interrupt ENERGY HAND

PAGE 44

Energize and Heat Up Your Hand DIMINISHING MOON

PAGE 47

Shrink the Moon A MATTER OF TRUST

PAGE 48

An Open Loop RELATIONSHIP KEYS

PAGE 52

Explorations on Relationships

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THE SEVEN BODIES OF HUMANS

PAGE 56

How the Different Bodies React THE ENERGY DART GAME

PAGE 59

A Covert Method of Giving Smiles THE MINOR CHAKRAS

PAGE 60

The Lesser Explored Minor Chakras and How to Utilize Them DISENGAGING RAPPORT

PAGE 61

An Energetic Technique Using A Method from Huna In Order to Disengage Rapport FOUR CORNERS MOON THIEF

PAGE 64

Eclipses and Eclipse Thieves RAPPORT INCREASING STRATEGIES

PAGE 65

Ramp Up That Rapport THE ICHAZO / LILLY / HILDEBRANDT PAGE 69 SYSTEM A Look at the Ichazo Mentations Through Certain Filters INDUCING THE ALPHA STATE*

PAGE 72

How to Use the MP3 That Comes With This Manuscript For Meditation, Relaxation, and Trance Purposes A DIFFERENT KIND

PAGE 73

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Notebook Switching Device For Billets and Card Stacks MY RAPPORT LECTURE

PAGE 74

The Outline and Explanation of my Lecture on Basic Rapport…This Section Could Pay for This Entire Manuscript if Marketed and Presented Correctly MY PENNY ACT

PAGE 93

Coins, Coins, and More Coins Become the Basis of a Multi-Phase Act THE NAME GAME

PAGE 101

An Interesting Use of a Certain Deck In Order to Utilize a Dual Reality of Sorts THE SÉANCE INVITE

PAGE 103

How to Move From Standard Magician to Bizarrist by Using the Power of Framing WORRY STICK

PAGE 105

A Great BOR Item and Also Handy For Other Uses THE KEYCHAIN READINGS

PAGE 105

The Entire System of Keychain Readings Explained Here for the Very First Time THE DEAD PET PLOY

PAGE 107

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A Sly Way to Get a “Hit” During a Reading A LINE

PAGE 107

A Way to Create a Tranderivational Search (TDS) TDS

PAGE 110

A Few More Ways to Create a TDS THE ALL-KNOWING CRYSTAL BALL

PAGE 111

Framing a TDS Into a Q & A Act or Oneon-One Performance CREATING POSITIVE ENERGY

PAGE 111

How to Pump Up Positive Energy CONFIDENCE BOOSTER #1

PAGE 112

A Way to Take an Individual or Group on an Exercise and Mental Journey so that Their Confidence is Boosted STAR WHISPERING

PAGE 113

A Manifestation Technique Before you even start this chapter, I want you to visit and enjoy the sky at night time, then come back to STAR WHISPERING for further guidance. AN ESP COUPLE

PAGE 114

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A set of readings for two people in a relationship D & C: DIVIDE & CONQUER

PAGE 128

An unusual premise for a Question and Answer Act Wherein the Audience Answers Each Others’ Questions FRIXION SNOWMEN

PAGE 130

Snowmen, OTL, and Frixion Pens TORN SUBTLETY

PAGE 130

A subtlety for the torn and restored napkin THE SIX DOLLAR MIRACLE

PAGE 131

A bottle mysteriously melts THE CHARLATAN’S BOX

PAGE 136

A Box Ready for the Discriminating Sacred Trick Performer CAMP DRAGON

PAGE 139

Campers beware! FALSE FAITH SERVED MEDIUM

PAGE 147

RARE A full-blown Faith Healer/Medium Performance Piecet THE $387.00 GHOST FROM eBAY

PAGE 183

A Ghost From A Popular Auction Site

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FOREWORD Each and every time I delve into a contribution to our community by Dale Hildebrandt, not only do I get excited, but my interest seems to intensify as I find myself completely transfixed. Dales work is very magical, however when I “must” say magical I am speaking of the term in it’s broadest sense. This word has so many connotations, all being positive in my opinion, and Dale continues to capture and connect all things magical. Dale is among my most favorite magical thinkers, and the reason is quite simple: Dale is a “magical” individual. As you’ll discover, his style, ideas and offerings fit inside of the entire concept of BEING magical. No further explanation necessary, trust me this stuff IS MAGIC. Personally Dale’s previous work “Lunacy” is among my top favorite books of all time and quite honestly changed the way I approach magic, “how”? You might inquire, by broadening my mind expanding the limits, taking steps upward to a point where I have to ask myself “What limits”? Dale has an amazing focus and positive intention placed upon the small things- these “details” are what amount and build into the profound routines, effects, presentations and possibilities generously given upon these pages of pure delight. .. Dale is clearly magical on purpose; let us take the energy dart game as a perfect example- with no expectation of anything in return you simply practice walking through life giving gifts of positive energy to the beautiful people you find yourself surrounded by. What I absolutely love and appreciate about this book is the fact that you do not need to be versed in any kind of practice, whether it be mentalism, psychic readings, traditional healing/energy work, hypnosis/NLP , close-up magic or just gifts of kindness to others. Dale not only shares his techniques for using these modules to your advantage he also provides a little history and or background behind much of the content useful for the scholar or novice alike. SWSWSWSW is a favorite acronym of mine which stands for “Some Will, Some Won’t, So What, Someone is Waiting” and I am among those who WILL be using and applying the many muses found HERE. I guarantee there are MANY who are waiting to read and absorb Dale’s Little Red & Silver Book. The Scope of this publication which you now hold or have been given the privilege of reading in electronic form, is very challenging to put forward in any other way except to say the heart behind “it” is pure gold. I’d like to share a quote of which I found in “The Magic” by Rhonda Byrne:

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“At times our own light goes out and is rekindled by a spark from another person. Each one of us has cause to think with great gratitude of those who have lighted the flame within us.” ~Albert Schweitzer (1875 – 1965) Nobel Peace Prize – Winning Medical Missionary and Philosopher. Please allow yourself to enjoy this book as I have, with confidence, positive energy, some fun, and most certainly a little healing. Be sure to express thanks to Dale and his little gift of Red and Silver. Until Next Time Brad “Scarnecky” Gordon

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A FEW WORDS FROM OLIVER MEECH Think of your standard run-of-the-mill magic book. This ebook is the exact opposite! Where the pages would normally be filled with minor variations of classic tricks, with a heavy emphasis on cards, Dale has packed these pages with the deeply original products of his unbridled originality. How can you not be intrigued by an ebook which features a trick where you appear to make the moon shrink, a detailed plan to make people believe in dragons, and an epic routine with requirements that include 12 wheelchairs and a gospel choir?! Dale exudes unbound creativity, and this book displays that amply – the book runs the gamut of subjects. If you’re interested in things like hypnosis, NLP and suggestion then you’ll find lots to suit you. If your magical background is more traditional, it offers a fascinating glimpse into other worlds. Don’t see this book as the usual set of prescriptive routines, see it as a flood of ideas to spark your creativity! Get ready, the dam’s about to burst… All the best, Oliver

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14 March 2013 I have known Dale for a long time now and his works always fascinate me, but with this book he has reached a new level of "experience" that has caught my attention. First let me say something to you, dear reader, if you are not "open minded" and ready to feel the power of the material included in this book, I highly suggest that you stop reading now, but if you are ready to give your audience experiences, emotions and to create a rapport, well this is the book for you! This is not a book of "tricks", these are pure "experiences" that you will be able to give your audience, from Hypnosis to NLP, from Occult/new age techniques to energy work sessions plus reading systems, reiki and much more! It is possible that you may find some of the contents of this book a little controversial, however, I am sure that you will be curious to try and test. Once you discover that it really works, you will be ready to enter the world of the "real thing"! Sit back, relax and enjoy the mind of Dale A. Hildebrandt. Luca Volpe www.theitalianmentalist.com

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RED & SILVER BOOK INTRO ***

It’s always an honor and a pleasure catching up with the creative mind and inner workings of Dale Hildebrandt. Dale and I have corresponded and shared bits of our material and thinking over a handful of years now and hold a similar, well-founded interest in both the subject matter filling these pages and each of the diverse methods expertly presented here in his “Red & Silver” book. We often hear people saying “If you purchase a book and get even ONE GOOD workable piece from it, it was well worth the money spent.” When speaking to this matter recently with another close friend and trusted peer, he offered up an alternative perspective: “If you’re going to produce a book that will only provide the majority of your buyers and students with a single gold nugget, why even write it?” I couldn’t have agreed with him more, which brings me to my next point. By the time I was 1/3rd of the way through Dale’s latest offering, I had already adopted 4 or 5 new pieces of business, subtleties and insights that were worth their weight in gold. This book was written for those with an already advanced level of study, practice and education with regards to mentalism, suggestion, hypnosis and energy work. It isn’t for the faint of heart, however, I can’t imagine anyone not growing, expanding and becoming even better at what they do as a result of reading this book and practicing what they find here. Reap the rewards, Jerome Finley, 2013

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1) TRIANGULAR GAZING

Eye contact is an important part of any performance. Sadly, many people are lacking in how to apply eye contact in a direct manner without spooking out the other person. This is why I teach the concept known as “Triangular Gazing”. This is a simple idea taken from the NLP and Seduction worlds. Look first in the left eye of the person you are communicating with, then look at the center of their forehead (the third eye chakra in energy circles), and finally look at their right eye. Then go back to their left eye and start the process over again. The idea behind “Triangular Gazing” is that it avoids the “creepfactor” of staring someone directly in the eyes for periods of over one minute. The “Triangular Gazing” technique creates comfort and comfort is part of the equation for developing Rapport. “Triangular Gazing” can also help improve peripheral vision, which allows you to notice other body movements and gestures that you can mirror or match to create further rapport. “Triangular Gazing” is usually a covert process; the person you are interacting with will feel as if you are maintaining eye contact in a comfortable manner.

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2) WHITE AND GOLDEN BUBBLE EXERCISE

This is an exercise that taps your sub/unconscious to create rapport with an individual or group at a greater speed than consciously using these skills. Once you have developed rapport skills, you can put them on auto-pilot and use this exercise. You imagine a white bubble surrounding yourself and the people with who you want to gain rapport. Next, imagine a golden lining over this white bubble. The results can actually be quite amazing. I believe this works for two main reasons: 1) You start to portray confidence because you assume rapport and this confidence helps give off the right vibes for gaining rapport and 2) This exercise acts as a trigger for all your rapport skills to turn on.

3) RAPPORT EQUATION1

The Equation For Successful Rapport

Rapport equals Trust plus Comfort.

Gaining rapport is one fundamental of magic and mind reading that we need to explore in-depth and start to realize how many things can be accomplished with a strategy for gaining said rapport. There is a simple equation to gain rapport with anyone at anytime.

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This formula was developed by a man going by the name of Mystery and shared in the book “The Game” by Neil Strauss on page 228.

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You simply have to combine trust and comfort. When you combine those two elements, you get the by-product known as rapport.

This is one of the reasons I hate when I hear a magician say, “What do you expect? All magicians are liars.” When they say something like that to an audience member, or even a fellow magician, they are breaking the trust component of the equation. What does it matter if they say it to fellow magicians only? It matters because they will internalize this belief and act upon it when they are around an audience. Thus, they will be on the losing end when it comes to gaining true rapport.

People can easily see that using a participant as a table, or requesting them to slam a hand down on a cup that may contain a spike, is discomforting to the audience. This will lose rapport because the magician is not handling the “comfort” part of the equation. Yet, many magicians will tell you they lie all the time, and just as many will put their participants in questionable positions.

Is rapport important? Well, it is to me. More importantly, rapport is very important to my participants. The biggest benefit I have found to gaining rapport is that the audience will accept you and bond with you. The audience will LIKE you.

What does it take to make the audience like you? It takes trust and comfort. When you combine trust and comfort, you will gain rapport. When you gain rapport, you can get away with many things that would not otherwise be possible. By this, I mean, that

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something which may be trivial in another performer’s hands because awe inspiring in your own performances. Also, you will be able to frame the smallest “happenings” as big events that are worthy of the audience’s attention.

To gain trust, you simply have to be trustworthy. Apparently, that is a tall order for some magicians. To make the audience comfortable, you have to treat them as human beings who you want to please because they came to see your demonstrations. Again, this is apparently a tall order for some magicians.

Once you gain rapport, you will be able to step into the worlds and minds of your audience. When you can do this, you will see a major difference in the responses you get from your audiences. There are also many advantages method-wise to gaining rapport. We will discuss some of the advantages of gaining rapport later in this book. First, however, let’s explore ways to increase your rapport with an audience.

Rapport equals trust plus comfort. You need both components to make a lasting impression and gain the respect of your audience.

4) IMMOBILIZED PARTICIPANT (Hands Impossible)

The following is a Richard Bandler / John Grinder quote from the book “TranceFormations”. The idea behind this technique is to use resistance as a tool for utilization. If the participant decides to not respond, then you take the non-response as a response

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and spin it into a workable situation. In fact, as the quote below shows, you can immobilize a participant by the utilization of resistance.

“You can try in vain to not lift your hand…It’s a far-reaching experience…And then you begin to wonder which hand won’t lift first…Because you thought it was that one.”2

5) ARM LEVITATION AND OTHER “SUNDRY” STUNTS

In Short: Communication with the Unconscious

In this section I will go over some ideas related to ideomotor communication, including arm levitation, pendulums, finger signals, and something I have dubbed “Finger Pulse Reading Sub-communication”.

Arm levitation is one of the stunts or effects that many first time hypnotists want to learn about, but unfortunately all they wan to do is make someone’s arm levitate. There needs to be a nice context to the arm levitation for it to have the greatest impact possible. And I don’t mean the context of “One arm is holding a heavy dictionary and your other arm is attached to a helium balloon.” Although, you could use that as an opening suggestion test for the entire audience to see who the best responders are for the Sensational

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Language pattern found in “Trance-Formations” by Richard Bandler and John Grinder 1981 p. 112

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Suggestions mentioned in a previous section. I like to use Arm Levitation for one of two things: 1) To rapidly induce trance and 2) to confirm unconscious reponses.

In order to rapidly induce trance with arm levitation, what I do is to match and mirror the client’s behavior. I will make a distinction between matching and mirroring. Matching means by eyelids blink at the same rate as the subject breathes in; while mirroring is when I breathe the same rate the subject is breathing. Utilizing matching and mirroring, I steer the conversation into either hypnosis, meditation, or guided imagery. From there, I test my work by asking the unconscious to raise the subject’s arm as soon as they are in trance.

Here are examples of wording to use:

A) For hypnosis: “Let your unconscious levitate your arm as soon as you feel yourself being hypnotized” B) For meditation: “Let your arm levitate at the rate that your brainwaves start to go into delta” C) For guided imagery: “And your arm will levitate along with mine as you enter this fantasy realm”

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As I am telling them to raise their arm, I also raise my own arm and match their pace of arm levitation. This does two things: 1) It allows me to be in the trance with them while still being able to guide them 2) It is automatic feedback for me, if I feel my own arm getting heavy there is a good chance they are not feeling their arm getting light and so I go back a few steps and do something different until I get the result we’re both after.

Ideomotor communications with pendulums are a great tool. You can create pie charts with all sorts of processes and/or revelations for the pendulum to swing to under the unconscious control of the participant. One idea I have had is to create a “Forcing Pendulum Chart”. There are eight sections, and each section gives one of the options I want. You could make the “Forcing Pendulum Chart” have the same suggestions, but worded slightly different, on each section. Cover the “Forcing Pendulum Chart” if you are nervous about getting caught—but I doubt you’ve read this far if you get nervous about someone catching you. You might have the top line read: “I will go into trance in thirty seconds.” The bottom line might say “I will go into a deep meditative state tomorrow at noon and a solution will appear to me.” If you are in a stage environment, you can have a half-chart with all different options on the front, but the back is a “duplicate” chart with only one option. You show the chart around, and then ask a person to close their eyes and hold the pendulum over the half-chart. You then have them open their eyes and focus on their choice, while moving the paper away from them and putting it into your pocket. This is a sort of dual reality/instant stooge presentation. You can cover your tracks more by saying “Sometimes the pendulum makes us so

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determined to take one course of action that we only see one course of action….even though, tonight, people clearly saw other choices for you.”

Setting up ideomotor finger signals has been one of the easier things for me while applying these concepts. It’s rather simple in concept and very simple in execution. The one thing I dislike about it is you may have to wait three to five minutes or longer for the unconscious to process the changes or communications you have made with the unconscious before you get the finger signal. Richard Bandler has pointed out that Milton H. Erickson would take a thousand attempts to solve a problem if Erickson felt that it would take that long. Bandler, on the other hand, says he (Bandler) is about getting the right result in the quickest manner. To set up a simple ideomotor finger signal system, you talk to the unconscious directly.

“Your unconscious…will now lift the first index finger of your right hand for yes and the middle finger will lift for no.” Then ask the unconscious if it understands the process. “Does…your unconscious…want to use these signals.” You’ve now caught the unconscious in a bit of a trap. In order to reply to you it will either use a finger signal or the person will come out of trance or the unconscious will give you a different signal, such as a change in tone of voice, or even something more subtle like the shade/glow of the skin. You’ll have to be observant, but if you watch with the right frame of mind you

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can utilize anything that is provided to you. Also, notice the embedded commands? “Your unconscious” sounds like “You’re unconscious”.

Since I got a bit tired of waiting three minutes for a finger signal, and I have been playing around a lot with pulse reading, I decided to incorporate pulse reading into unconscious communication. I have labeled this technique as “Finger Pulse Reading Subcommunication” because the unconscious gives you communications through the pulse of a finger. You set this sub-communication up the same way you would set up the ideomotor finger signals. However, instead of having them lift a finger, they will direct a pulse in a finger to become stronger. A stronger pulse in the index finger is defined by the hypnotist to mean “Yes” and a stronger pulse in the middle finger is defined by the hypnotist to mean “No”.

Pulse reading is when you take a pulse from a finger and see if the pulse gets stronger or weaker. An interesting exercise with this “Finger Pulse Reading Sub-communication” is that you can do a streamlined version of a Zodiac Sign Divination. Ask them if they are an Aries. The pulse goes to the no (middle) finger. Ask them if the are a Taurus. The pulse again gets stronger in the middle finger. Now, ask them if they are a Virgo. The pulse is stronger in the index finger. You’ve just divined their star sign with them not having to say anything and in a more streamlined fashion than my previous work on this concept (The VCR Zodiac Sign Test was my previous work on this). You can this one

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step further, by telling them to send white energy to the finger when you mention their Zodiac Sign. So, if the pulse gets stronger in the finger when you mention they are Virgo, but the pulse was weaker in that same finger for other signs, you now know they are a Virgo.

6) ONE MINUTE MIND TRIP (from “The Game”)

This is a small set of techniques that will take your participant on a mind trip in a short period of time. I first read about these techniques being combined in this particular way in “The Game” by Neil Strauss. The techniques were used by a person using the pseudonym “Steve P.”. This is a very effective way of doing several things at once. The interconnectedness of the pieces allows for supreme advantage. I am going to go over what Steve P. did and give some variations on some of the techniques.

This One Minute Mind Trip will certainly blow away your participant, and can get that same participant going from a stage of nervousness to outright calm. This process will also leave the participant reeling, and they won’t soon forget the experience.

The first part of the process is to get the participant to slowly say their phone number backwards. This in itself is a little mini-pattern interrupt. As soon as the participant gets to about the fourth number of their backwards phone number, you will interrupt by loudly saying “Swoooosh” and running your index finger from their solar plexus to their

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forehead and then moving your hand away. This is a stacked pattern interrupt. As we will find out in the next section (FIVE KINDS OF INDUCTIONS), stacking realities is a powerful means to trance, and stacking pattern interrupts also helps with this task.

So, what is a pattern interrupt? A pattern interrupt is when you interrupt a (normally) unconscious pattern and insert suggestions/commands/directions directly to the unconscious mind. Pattern interrupts can be used in overt situations and overt manners as well. By stacking one pattern interrupt on top of another, we can quickly get our participants into an altered state. Using multiple pattern interrupts almost simultaneously creates a strong confusion in the subject. This confusion cancels out anything the subject was thinking or feeling before the process and you then implant a new thought or feeling that is more positive for the subject.

For example, in the book “The Game”, author Neil Strauss talks about being nervous around characters Rasputin and Steve P. Steve P. uses the process described in this section (ONE MINUTE MIND TRIP) in order to replace anxiety with calm. Steve P. , after the overt processes, asks Neil to find the anxiety and tells Neil it is no longer there, there is a different vibration, Neil cannot bring back the anxiety. Neil writes that he didn’t know if it worked, but Steve P. took him on some kind of one minute mind trip and left Neil reeling afterwards.

You will be able to impact others with this same reeling feeling by following certain instructions. One of the key factors is an Energy Work Technique that Steve used. He

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utilized the central meridian when running his finger from navel to head which allowed energetic access to other “bodies” of Neil. As you will see later, I believe we have at least seven bodies in a human. Most of these bodies are subjective concepts, only by experiential means can you access them, and doubt is one of the biggest roadblocks. Since doubt is a huge roadblock, it is useful to let go of preconceptions before attempting Energy Work materials.

The central meridian is one of the easiest to manipulate because of the circuit that it runs through in the body. By having the client recite their phone number backwards, you are not only setting them up for a pattern interrupt, but you are creating mystique and intrigue which can both be useful for this type of work.

After you say and perform the “Swooosh” part of the process, you will say something along the lines of “Watch that feeling float away like smoke on a windy day. Tour your body. Try to bring back any part of that feeling. Notice how there’s a different vibration there.”

This causes further confusion and further pattern interruption. You are creating a sort of synesthesia by turning words (verbal process / auditory process) into actions (feelings / kinesthetic process) by having the person recite the number backwards and then interrupting with the “Swoosh” and everything thereafter. You go from them verbally reciting a phone number backwards to trying to find a feeling. This is a very good way to induce a quick trance state.

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Let’s examine the language pattern used in the final phase:

“Watch that feeling float away like smoke on a windy day. Tour your body. Try to bring back any part of that feeling. Notice how there’s a different vibration there.”

“Watch that feeling float away”

You are inducing some synesthesia by having them see a feeling. You are also creating distance between the subject ant the feeling when you tell the subject to see the feeling “float away”. That is an away-from propulsion at work.

“like smoke on a windy day.”

This is invoking the power of metaphor or simile. Very powerful stuff!

“Tour your body.”

Now you are leaping to the kinesthetic part of the person’s perceptions. This sets them up for the next part of the language pattern.

“Try to bring back any part of that feeling.”

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“Try” is part of the linguistic trickery included here. Try to pick up a pencil…you cannot try, either you pick up the pencil or you don’t. The word “Try” here indicates that there will be failure to do whatever comes next, which is “bring back any part”. You have just told them all the parts of the feeling are gone and they can only “try” to “bring back” the feeling. They will be focused on trying and therefore unable to bring back what you say is gone.

“Notice how there’s a different vibration there.”

You have just successfully induced a different vibration. Their brain can now stop “trying” to bring back that “feeling” because you have told it there is a different vibration there!

Some Further Variations

Depending on context, you may want to “unzip” the central meridian. In order to unzip the central meridian simply follow the process of tracing the meridian in the opposite direction of what has been said. You may wish to use Triangular Gazing in order to further engage the subject. This One Minute Mind Trip can quickly set you up as an expert in Subjective Realities and Mind Games; so use that perception to your advantage, although I would hope you had some experience with such things before laying claim to them. Having the subject engage in almost any repetitive process will allow you to ultimately interrupt that process and therefore create an effective pattern interrupt. We

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used the example of the backwards phone number previously, but if you search for other ideas you will soon find them, such as having the client recite the alphabet backwards or counting imaginary leafs falling from an imaginary tree.

When you unzip the Central Meridian you can implant a thought or feeling inside the meridian and then zip the Central Meridian back up again. This can be very useful in covert work, but with the proper chutzpa you will be able to get the client to accept the thought/feeling and integrate it quickly using this method.

7) FIVE KINDS OF INDUCTION: LEVERAGE INDUCTIONS, PATTERN INTERRUPTION, OVERLOAD, PERSONAL POWER, AND STACKING REALITIES

This section was heavily influenced by the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder. I highly recommend that you seek out a copy of this book in order to become even more proficient at these five kinds of induction. I also recommend that you look into the works of Milton H. Erickson and of Anthony Jacquin.

In this section I shall share five kinds of inductions: Leverage Inductions, Pattern Interruption, Overload, Personal Power, and Stacking Realities.

LEVERAGE INDUCTIONS

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Use suggestions while having a person put and hold their arm in the air. People do not normally hold their arm in the air without reason. Ask, “May I borrow your arm for a moment?”3 Slightly shake the arm as you hold it in the air and it will become cataleptic. You are now well on your way to inducing trance. Simply tell them that as their arm slowly lowers, they will go deeper and deeper into trance…just as fast…or as slow…as their arm moves downward.

In a Leverage Induction, you have the subject take an action outside of normal parameters and then “leverage” this action into a trance state. Arm catalepsy is great for this, because you can raise the person’s arm and hold it there until you feel it going cataleptic.

PATTERN INTERRUPTION

The most classic, in my opinion, form of a Pattern Interruption is the Handshake Interrupt. This technique is used by many professionals, both in the hypnosis field and the hypnotherapy field. NLP, in my opinion, boosted the awareness of Handshake Interrupts and after modeling several proficient masters, Neurolinguistic Programmers were able to come up with better and better solutions to the Handshake Interruption. Milton H. Erickson is often cited as one of the geniuses that helped Bandler and Grinder to create their version of the Handshake Interrupt.

3

Quoted from the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p. 71

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“Hi my name is…” then reach out to shake the client’s hand. But then lift up your left hand and grab their wrist gently, lift their hand up near their face and point to their palm with your right forefinger. Then tell them to look at their hand. Tell them to “consider carefully all the color changes and shadows that occur. Study the lines and creases with interest as you allow your arm to drift down slowly.”4

Pattern Interruption Inductions could be considered a variation or subset of Leverage Inductions. Take any process that is automatic in culture or for the specific person you are dealing with, and interrupt the process. This creates an “open loop” where they are waiting for you to “close the loop”. In other words, you have started something, and now the client needs it finished.

By interrupting a handshake, you get the subject to wonder what is going to happen next, and you gently guide them to what they are to do in order to close the open loop. They will comply because there is no reason for them to not comply…by complying they end the interrupt when you tell them so.

It is the same thing as if I were to start a story…Once upon a time there was a giant ogre and a friendly elf…but I don’t finish the story, I leave you hanging so to speak. Your mind then races for ways to end that story. Likewise, the subject’s mind will race for ways to end the pattern interrupt but before their mind can do that you are already telling them how to end the interrupt. 4

Paraphrased and Quoted from the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p. 70

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You will find a Pattern Interrupt discussed in “THE LIGHTER INTERRUPT 1” in this manuscript. In that specific scenario, you interrupt the pattern of smoking a cigarette. I have found this to be quite powerful.

Ask yourself the following question and write down as many answers as come to you over the next few days: “What are patterns or behaviors that I can interrupt to more easily leverage a trance in another person?”

OVERLOAD

“Whenever a person’s conscious processing is overloaded, you can pass information directly to the unconscious, and the person will respond to that information. The easiest way to overload someone’s attention is by having her pay attention to a complex internal experience”5

Overload Inductions can be very fast and very effective. They also slip by conscious filters and go directly to the unconscious/subconscious. Complex internal experiences can be used to overload the conscious mind and give your suggestions to the subconscious. One way to overload the conscious mind is to make the conscious more and more aware of Sensory Memory or Sense Perception.

5

Quoted from the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p.81

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Sensory memory generally lasts anywhere from a nanosecond to a few seconds. Short term memory can handle seven (plus or minus two) items at once. Long-term memory is where short-term memories go when there is enough meaning, confusion, or other source of pushing into the long-term memory. We will be utilizing Sensory memory and Short Term Memory to overload the conscious mind.

Have the subject starting paying attention to details that are not generally kept track of by short term or long term memory. If you counted your blinking eyes every time you blinked, you’d be able to do little else. Focus attention on the person’s rate of breathing, their pulse, their blinking of their eyes, the movement of their eyes, the surface and internal temperature of their skin, their tone of voice inside their mind, and you will soon overload the conscious and be able to sneak in some subconscious commands/directions/suggestions.

Here is another way of overloading the conscious: have the subject count back, out loud, from 200 by three’s. As they do that, you turn them, seated, in circles. Then you deliver the following suggestion: “If at any point you discover it is more comfortable for you to drop into a deep trance, do so with full realization you are in good hands.”6

Any time a person goes “on hold” is the time to offer them clear suggestions as to what to do next.

PERSONAL POWER 6

See the book “Trance-Formations” by Richard Bandler and John Grinder p. 81

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This is the direct form of inductions. You tell the subject to go into trance and they will go into trance. Of course, you have to be congruent and truly believe that this will work. You have to be congruent in your expectations. Simply tell the person “When I am done counting backwards from three, you will go into a trance.”

Using Personal Power can be easy for some and difficult for others. As Anthony Jacquin says “You must be THE HYPNOTIST”. In other words, they must know that you are capable of putting the subject into trance in any way you desire, and that this time you simply desire them to go into trance by telling them so.

STACKING REALITIES

This is a variation on the Overload Induction. Embed story inside story inside story inside story inside story until the conscious mind is overloaded. The stories you tell can each be about induction or relaxation or whatever you want to accomplish. Deliver induction messages throughout the stories. You can also use quotes to help remain congruent and to relate specific trance phenomena throughout the entire story of stories.

“Soon a client gives up trying to keep track of which reality I’m talking about. Inside of those realties, I can then embed a process instruction to make changes.”7

7

The book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p. 86

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In order to be effective at Stacking Realities Inductions you must have Personal Power and Rapport with the subject.

8) THE LIGHTER INTERRUPT 1

This piece may cause some controversy as it deals with getting a subject to stop smoking. Stop smoking hypnosis seminars generally roll into town, implant some suggestions about feeling negative about smoking and changing the taste of the tobacco. Once the Roll-Into-Town guys leave, you have smokers who cannot be around smoke without getting sick, who feel if they need to have a cigarette they are being a bad child, and who generally return to smoking to avoid all that hassle. Fortunately, there is a different, better, and more efficient way. I also believe if you start using The Lighter Interrupt 1 Process you will soon discover how easy it is to get a person to stop inhaling tar into their lungs without being one of the Fly-By-Night Hypnotists! You’ll also be able to stay in the same location if desired and can set up other appointments for different modalities to deal with other concerns. And you will get referrals. Since you didn’t leave town the next day to escape the “Wrath of the Conned”, you will be able to do an intake on these new referrals and count your money. Please note that this is only one of many approaches to stopping smoking, and besides this Lighter Interrupt 1, I also have two other Lighter Interrupt Processes ready and waiting to be used depending on the circumstances, client, context, and overall perception of authority.

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As far as I’m concerned the addiction to smoking comes in four parts. T hose four parts are as follows:

THE DIRTY FOUR

1) Physical addictions 2) Psychological addictions 3) Secondary Gains addictions 4) Self Fulfilling Prophecy from Self and Others

So let’s get down and dirty with “The Dirty Four” things you have to take into account to get someone to stop smoking. The “Dirty Four” is listed in the order of what to do first. First, you have to deal with the Physical Addiction part. Then you deal with the Psychological addiction part (which is slightly different than Secondary Gains but often confused with Secondary Gains). Next, you deal with Secondary Gains. Finally, you deal with Self-Fulfilling Prophecies From Self and Others.

PHYSICAL ADDICTION The first obstacle to overcome is the Physical Addiction. This is the addiction caused by the nicotine, tobacco, and other additives in most cigarettes. Nicotine withdrawal is a serious symptom/side-effect and you must take great care when dealing with such a thing. I’ve found three useful processes for dealing with nicotine withdrawal.

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The first process is to have the person drink more water. They should be drinking at least a gallon per day, although that amount might need to be higher depending on the size of the client. Water is naturally good for you and helps to cleanse the system. Speaking of cleansing, there are some wonderful ways to incorporate the drinking of various juices. Not only will the cleansing juices help with systems, but they also take some time to make—time you can point out that they could have been smoking!

The second process is the use of Reframing. We will put a positive spin on the withdrawal symptoms. “If as you go about your day and you notice any withdrawal symptoms you will know that this is a step towards the positive. The withdrawal symptoms are purely temporary and your desire to no longer smoke is permanent. These are small hurdles and you are capable of jumping them with ease.”

The third process utilizes what I call “The Art of Mental Machinery”. You will create a “hypnotic cigarette”. This can be done with or without a formal hypnotic induction. The person will be instructed that any time they feel like smoking they can take out “this invisible hypnotic cigarette” and smoke it. They will soon realize when they feel most pressured to smoke and can use the hypnotic cigarette at times of withdrawal. This is a briefer, quicker installation process related to The Drug of Choice Pattern that Steve Andrea and Connirae Andreas developed.

PSYCHOLOGICAL ADDICTION

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Psychological addiction is often confused with Secondary Gains. Psychological addiction is the need to smoke during a situation involving stress, sadness, or anger. A Secondary Gain is a benefit the person gets from smoking cigarettes, while a Psychological Addiction is using smoking cigarettes as a crutch for dealing with deeper problems. Psychological Addiction is also the ingrained habits of smoking cigarettes.

Various sources state that it takes from 21 days to 90 days to fully break a habit. I have found that the time can be lessened through effective alternative modalities of treatment. Still, it is a good rule to follow the 21 day regime of habit-breaking and let the person know “After 10 days, you’ll want to smoke less…After 15 days, you will start getting over any urge to smoke…and After 20 days you will be determined and successful at no longer smoking.” This gives the person a time-frame or time-line to follow and lets them know that there will be small hurdles but they can easily jump them.

A stress ball is a useful tool for dealing with the Psychological Addiction aspect of smoking. When they feel the psychological pressure to smoke, they can work with the stress ball. The urge to smoke can be replaced by other, more positive urges. You can install urges to clean house, to work more effectively and efficiently, or to do something the client finds pleasurable but feels they lack the time to accomplish. When they realize how much time they spend smoking they can replace that “smoking time” with a pleasurable action.

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There is also the habit of oral fixation in Psychological Addiction. This is why sugar-free mints are so handy. When they feel the habit kick in that says “Go smoke”, they can pop a mint into their mouth. While I’m on the subject of mints, here’s a handy little tip: have the client throw away all their cigarettes, but keep an empty pack of cigarettes. In the empty pack of cigarettes, they are to put as many mints as can fit. Now, when they have that habit to reach for a pack of smokes, they will reach for the pack that now contains mints. This will remind them to pop a mint into their mouth instead of smoking and also acts as positive reinforcement.

SECONDARY GAINS

Secondary Gains are benefits the person gains from smoking. One common example is weight maintenance. The client feels if they stop smoking then they will gain weight (it is generally a worry about gaining weight and not a worry about losing weight). Another secondary gain might be to blow off steam. They feel angry, but instead of acting appropriately to the situation at hand, they go and smoke a cigarette. People can often have multiple Secondary Gains.

It is like peeling the layers off an onion. You must deal with each Secondary Gain separately and either utilize or reframe that Gain. This is where a Swish Pattern comes in useful.

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A Swish Pattern is a Neurolinguistic Programming technique. First, have the person visualize themselves in a gray frame smoking a cigarette. Now, have them visualize themselves in a golden frame in the bottom right hand corner of the gray frame. Inside the golden frame they are to picture themselves dressed exquisitely, smiling, at their perfect weight. Now have them blow up the golden frame in their mind so that it covers the gray frame and at the same time have the gray frame go out of focus and be replaced by the golden frame. As they are doing this, which you can tell from body language, you say the words “SWISH!” loudly and then you move your hand clockwise and say “CLICK! Now that golden frame is locked in permanently!” That is one way of dealing with the Secondary Gains. Also, pattern interrupts work really well on the first three of the Dirty Four list.

Ask a smoker to take out a cigarette and smoke it. As they go to put the cigarette in their mouth, grasp the hand holding the cigarette and grasp their other hand holding the lighter. “You want to quit smoking. You are going to drop two things. You can drop the first you wanted to drop first, first and the second thing you wanted to drop second, second. You feel healthy, vibrant and alive. You are no longer branded as a smoker.”

SELF FULFILLING PROPHECY FROM SELF AND OTHERS

The last item on the Dirty Four list is Self-Fulfilling Prophecy From Self and Others. You must quash any doubts the subject has in regards to returning to smoking in the future. Also, you need to build in reinforcing suggestions so that other people don’t tell

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the subject that it is temporary. You want your suggestions to be permanent but not to interfere with daily life.

People can try to dash the quitting smoker’s hopes for all sorts of reasons, such as: wanting a superior position over the smoker (i.e. I never smoked so I’m better), codependency caused by smoking, and a number of other reasons for people wanting (unfortunately) to see your subject fail. It is your responsibility to make sure they have “psychic shields” against such “psychic attacks”.

In fact, setting up a “psychic shield” is a great idea! Have the subject create a shield from negative forces and negative energies. Ask them to pick the first color that comes to mind and charge the psychic shield with that color. Tell them the psychic shield will protect them from any naysayers and that the psychic shield will reinforce all positive programming, all positive thought, and all positive learning from their session with you. Tell them that now as a former smoker they are free to go about their daily lives and seeing or smelling cigarettes will only reinforce the psychic shield and thus reactivate their new non-smoking way of life.

9) ENERGY HAND

In this exercise / demonstration you increase the warmth of your hand thanks to enhanced energy flow. This is a spin-off of “One Hottest Coin”. I used “Energy Hand” to great

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effect in a speaking engagement. Hold out your hand as if you were to shake hands with another person. The italicized text below is the language pattern for “Energy Hand”.

Now, remember the last movie you saw. Next, remember what the temperature was like when you had your last good vacation. Finally, remember the color of the door to your house.

See purple energy radiating around and out of your hand. Feel your hand get warmer and warmer as if you were a master Reiki instructor; feel this feeling until it overcomes you. Look at the purple energy around and inside your hand; it is as if you have x-ray visions and can see the energy inside the very tendons and bones of your hand.

You can feel this purple energy getting warmer and warmer to the touch. As you notice the touch of your hand getting warmer you can be certain that when you think of this purple energy around your hand, then your hand will heat up. Practice for five to ten minutes daily until you can consistently warm up your hand with the purple energy. People used to working in energy related systems generally get this down very quick. No matter what speed you use to get to the final outcome, you will have at least three new powerful tools from “Energy Hand”.

Tool One: You can increase the temperature of your hand and have people feel your hand getting extremely, extremely warm to the touch.

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Tool Two: You can use this when shaking hands with a person in order to help put rapport on auto-pilot for yourself.

Tool Three: For fun and profit, you can teach the general public this exercise.

“Energy Hand” is also easily picked up by intuitive consultants. I think this is because they tap into different areas of the brain than other people and those areas help to regulate and can enhance energetic techniques.

PRIMING THE PUMP: You’ll see a difference between my “One Hot Coin”/”One Hotter Coin” (which were previously published) and “The Energy Hand”. Instead of asking about the last great vacation, I “prime the pump” of the mind myself so to speak. I tell them to visualize something, then to feel something, then to visualize something again. I am stacking a pattern in their mind. Now, when we get to the part where Energy courses through their hand, the commands given are: 1) visualize, 2) feel, 3) visualize. In essence I am leading the horse to water and then making it thirsty enough to drink. This Priming Technique is very important and very powerful. Use it with caution and care.

I just want to repeat that the difference between the Hot Coin routines and The Energy Hand is that YOU are in control of the frames of reference from the beginning of the effect. You then use those frames to frame Energy swirling around and inside their hand. I feel this is more effective than asking about their last great vacation because now we know with CERTAINTY what submodalities to use when creating the Energy Hand.

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There are no vague answers, a less awkward moment (because in the original you ask them to remember their last great vacation and tell you three things about it), the pace and lead is faster, and I’m sure you’ll find a myriad of other reasons to why this is so much more effective!

10) DIMINISHING MOON

In Short: The Moon Diminishes.

Here's a little seed of an idea, which may be developed further or not. You'll need a glass pane or plastic pane, a marker or Sharpie that will work on the pane, the moon, and a few witnesses.

Hold the pane up and circle as the moon is closer to the horizon. It is an optical illusion that the moon is bigger at this time of night--what we're going to do is prove that it was bigger tonight. Secretly, you will outline a circle with the marker on the pane slightly larger than the moon!

Now, when your circle the moon as it is higher in the sky later that night, you just do a normal circle that is the size of the moon. The moon will appear to have diminished. You just shrank the moon--with "proof" to boot!

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Originally, I thought of making the circle larger on the second view, but people could check that too easily. They don't know what you're about to attempt at the start, and you may not even tell them until you get to the second circling of the moon, so making the larger than the moon circle first is going to help out the method and effect. Also, you can tell people after you have done this Moon Shrinking effect, that it is very rare and they can see for themselves by performing the same experiment that the moon stays the same size...unless you're a sorcerer! All this came about after I'd read a couple science books aimed at kids.

11) A MATTER OF TRUST

In Short: A coin flipping routine that starts and ends a show, all as a matter of trust…or not!

Presentation: “Have you ever flipped a coin to decide something? For example, who gets the last cookie, or which team starts first? Would you be just a bit bothered if someone could always win at flipping coins? Could you put your trust in such a person? If you found out about their abilities, would you test them? You probably wouldn’t let them ever flip coins in a coin flipping decision or game ever again…unless you saw

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someway you could benefit from this strange power! I knew a Greek man who could do such things. If you knew such things about a person, we already know you wouldn’t let them flip the coin. You’d insist on flipping it yourself, just as I insisted after witnessing the powers of this Greek coin manipulator…and you’d be just as surprised at the results as I was. The only way to win against such powers is to hold a complete trust that the other person won’t manipulate the coin in any way…physically or through mental prowess. You’d probably end up thinking: put the coin in a box! This is a “Matter of Trust”.”

Details: A controlled coin flip is used for the first three calls of the coin. The second phase is simple “Penney’s Ante Game”. You have the volunteer call out a three string combination such as Heads, Heads, Heads and you would then call out THH giving you a 7 to 1 chance of winning. Of course, this means you have a chance of losing, so we have to cover this with the scripting applied to this coin-flipping sequence. Below are the combinations the spectator can call, followed by the combinations you should call based on their call, and then the odds of your winning8. You can also, of course, use a nail writer to ensure that you’re always a winner but you won’t be able to openly predict the most likely outcome. A third strategy at this point in the presentation is to switch in and out double-headed and double-tailed coins depending on the desired outcomes. The third phase utilizes pure bluff enhanced by compliance and strong use of rapport strategies. Or, you can use the nail writer for the ending climax of this routine. My personal 8

http://plus.maths.org/content/os/issue55/features/nishiyama/index Accessed on 1/18/12

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preference is three controlled flips, switching in and out the appropriate coins, and then it is a toss-up (pun intended) between pure bluff and a nail writer.

HHH THH 7 to 1

HHT THH 3 to 1

HTH HHT 2 to 1

HTT HHT 2 to 1

THH TTH 2 to 1

THT TTH 2 to 1

TTH HTT 3 to 1

TTT HTT 7 to 1

The Pure Bluff

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The coin is put into a container. Every so often during the show either the magician or a participant shakes the container and can hear the coin rattling within. At the end of the show, the mentalist says the coin is Heads Up. He then looks inside the box without allowing the audience to see inside. The mentalist smiles, says a congratulatory “Yes” and closes the box. This is akin to Schroedinger’s Cat, albeit experienced by the audience and using a coin and box instead of a dead/undead cat. Of course, if you want to be able to show the coin at the end, then you can use a variety of feints to accomplish this. One feint would be to tape a quarter to the bottom of a box. Have a second coin in classic palm. Pretend to drop the coin from the container and show the classic palmed coin. This is similar to many other effects that use a folded card for a switch and reveal.

Final Thoughts: If you do this routine as described, you may want to wager money on “Penney’s Ante Game”. Some of the times you will lose, so after losing do a sure-fire coin flipping routine to show that you are still in control. The losing at “Penney’s Ante Game” makes this even more realistic, it would seem, because you have “failed” and your “powers” did not work this one time. I don’t like to end on failure or end on Pure Bluff. So I would do a controlled-flip three times in a row if I happened to lose “Penney’s Ante Game”, wherein we would play “Penney’s Ante Game” again, double or nothing. The first time you play “Penney’s Ante Game” you can have the volunteer flip the coins. If you have to

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performer “Penney’s Ante Game” with the controlled-flips, simply say “You got to flip the coins last time, now it’s my turn!”

Credits: A controlled flip goes way, way back and probably cannot really be credited other than to some anonymous conman. Switching coins in and out is as old as The Discoverie Of Witchcraft, probably older. The PURE BLUFF was inspired by Robert Anton Wilson and his writings on Quantum Physics. The PURE BLUFF also has its roots in a conversation with Adam White. “A Matter of Trust” is a deep piece that can be played in a very solemn way.

12) RELATIONSHIP KEYS

In short: Prerequisites for Creating and/or Enhancing Relationships

According to L. Michael Hall, PH.D and Barbara P. Belnap, M.S.W., there are seven important keys to keep in mind when wanting to create or enhance a relationship.9

The seven components to keep track of and to use are as follows:

1) Rapport 2) Pacing

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See “The Sourcebook Of Magic” by L. Michael Hall, Ph.D. and Barbara P. Belnap, M.S.W., page 266.

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3) Representational Systems 4) Predicates 5) Anchoring 6) Desired Outcome Frame 7) State Management of The Self

1) Rapport This is covered in great detail in other sections of this book and in the “MY RAPPORT LECTURE” section.

2) Pacing

This is covered somewhat in “MY RAPPORT LECTURE”. You want to pace the sensory modes and the reality of the person in front of you that you are dealing with at the time. Pacing leads to leading and is often skipped over by over-eager beginner hypnotists.

3) Representational Systems

There are at least five major representational systems: together they make up the acronym VAKOG. There is Visual, Auditory, Kinesthetic, Olfactory, and Gustatory. Create or enhance a relationship by noticing what representational systems the person uses during

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different contexts, as well as noticing in those contexts the order of the representational systems (or lack of representational systems altogether).

4) Predicates

Paying attention to predicates helps you gauge the sensory representational systems the person is using as well as the timeline/timeframe they are using. Are they talking in past tense, present tense, future tense, or a mix of two or more?

By matching predicates of the other person, you can increase your overall rapport and enhance the relationship with the person you are dealing with at the time.

5) Anchoring

An anchor is any stimulus which triggers the same response every time. Pavlov’s Dogs is the classic example. After training the dogs that the ringing of a bell indicated food was about to be served to the dogs, the dogs then started associating the bell ringing with food. Soon, the bell ringing produced the salivation in the dogs, even when no food was present. Pavlov had anchored the ringing bell stimulus to a response of salivation in the dogs.

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Another classical example is hearing a certain song and always being reminded of a certain person or event in your life. The song is the stimulus and your thinking about the event is the response.

Using Anchors can be quite effective in creating or enhancing relationships. You can anchor positive emotions and feelings to yourself in the other person. You can use anchors to increase pleasure and decrease arguments. You can use anchors to increase trust. Anchors are versatile so you must be careful when anchoring that you don’t anchor a bad experience to yourself or to the other person. The other person will generally use anchors without awareness, and you can decide whether or not these anchors are useful to you and your relationship.

6) Desired Outcome Frame

What is your desired outcome from having a relationship with this particular person? Is the desired outcome to sell something, to make a friend, to have a lover, etc. etc.?

Once you have determined your desired outcome, you can frame all your messages and body language and other processes in the correct way to get the desired outcome you want. You have to know what type of frame you want to put around the picture of the person in front of you. If you don’t have a desired outcome frame, then you are not in control of the situation and you will be letting the frame be set either randomly or by the other person. When you are congruent enough, you can match your desired outcome

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frame to their desired outcome frame (if both are mutually beneficial to each party). Setting a well-defined desired outcome is vitally important.

7) State Management of the Self

If you’re a total wreck, you’ll probably not be as efficient at persuading, enhancing, or creating relationships. State Management of the Self is about controlling your own frames of reference. Be confident that you can be confident in these situations. “Fake it until you make it” if you have to, but once you starting faking you will soon realize that you are actually following the procedures for State Management of the Self.

State Management is about controlling your frame of reference, your feelings, your responses, and everything in between. You must learn to manage the Self in order to manage relationships. This is the NLP principle of “going first”. For example, if you want to bring a trance about in a person, then it is good for you to know what being in a trance is like so you can know what signs to look for and other important things.

13) THE SEVEN BODIES OF HUMANS

1) The Physical Body / The Tonal: material objects: physical interaction 2) The Aura 3) The Grid 4) The Aetheric

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5) The Nagual: non-material world: energy/spiritual interaction 6) Subtle Energy Body 7) The Soul / The Center

It is my belief that we have at least seven bodies. The first is the physical body itself, and the other six are “energetic” or “magickal” bodies. Each body relates to a chakra. The Physical Body relates to the first chakra also known as the Root Chakra. The Physical Body is manipulated through diet, exercise, and various body massage techniques. In Carlos Castaneda’s terminology the physical body is the Tonal. It deals with material objects and physical action.

The second body is The Aura and relates to the Sacral Chakra. The Aura is the most commonly seen and interpreted energy body, but it is just the beginning. Awareness of the Aura can be increased with certain visualization exercises. See “Aura or Aura (Somewhat Updated)” in the “FALSE FAITH SERVED MEDIUM RARE” section of this book. The Aura is interpreted by the color it gives off. Everything has an aura: rocks, vegetables, people, animals, etc. Our Aura interacts with other Auras throughout the day can be either be uplifted or poisoned. When dealing with a “toxic person” or “psychic vampire”, you can use various visualizations to create a psychic shield for your Aura.

The third body is The Grid and relates to the Solar Plexus Chakra. This is literally an energetic power grid that lies over your body. It is typically green or gold, although

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when there are “injuries” to The Grid, parts of The Grid may change color. The Grid is what is being manipulated in acupressure, acupuncture, reflexology, and Dim Mak. The Grid carries energetic information from one part of the body to another part of the body. This means, for example, that a foot reflexology massage that affects the upper back is being channeled through the Grid of the foot to the Grid of the upper back. The Grid crisscrosses all over the body and when properly balanced there is a feeling of being complete and having high energy.

The fourth body is The Aetheric or Dream Body and relates to the Heart Chakra. The Aetheric Body is what is used during Astral Travel and Lucid Dreaming; as well as shared dreams. The classic method of controlling the Aetheric Body is to visualize a silver chord coming from the Heart Chakra and going into a solid visualization of your Dream Self. The Aetheric Body can also be used to change perspectives by imagining yourself inside someone else’s body or head.

The fifth body is The Nagual and relates to the Throat Chakra. Carlos Castaneda’s concept of The Nagual is one of a non-material world. It is an energy/spiritual interaction. The Nagual is what allows us to realize other dimensions of being and to interact in those dimensions. The Nagual is also highly spiritual. Stigmatics and Saints both have a strong connection to The Nagual. This highly spiritual body allows you to interact with other spiritual bodies, some o which may not have corporeal bodies at all.

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The sixth body is The Subtle Energy Body and relates to The Brow Chakra. The Subtle Energy Body governs over the previous five bodies. In order to access this body you first access one of the previous five bodies. The Subtle Energy Body contains code that allows you to manipulate your energy bodies. It is like the source code for a website. You can tap into the source code of The Subtle Energy Body through such activities as magickal ritual, sweat lodges, active dreaming, and fasting to name just a few ways. Once you access The Subtle Energy Body you can activate other energy bodies at will.

The seventh body is referred to as either The Soul or The Center and is related to The Crown Chakra. The Center Body is what keeps us centered on earth. It can be disturbed through stressful situations, insults, and self-deprecating belief systems. It can be attuned by relaxation techniques and by improving self-image. While The Subtle Energy Body rules over the first five bodies, the Subtle Energy Body is ruled of by The Center Body. Those who tap into the Center Body soon find themselves in a happier frame of mind and may even find their True Will or True Purpose in life and be able to carry out that Purpose. The Center Body is the body that you have for all time.

14) THE ENERGY DART GAME

In the spirit of Jerome Finley’s ebook “Random Acts of Kindness”, I’d like to share a little random piece that allows you to secretly perform an act of energetic kindness.

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This was inspired by Stuart Wilde, in his book “Simply Wilde”, p. 58. First you need to know a little about the solar plexus chakra, but you only need to know very little about it. It spins clockwise and breathes in new energy and expels a combination of negative and good energy. You can project energy from the solar plexus. That’s all you really need to know for right now.

As you are going about your day, you are going to play a game of “Energy Darts” with people. Look at someone who isn’t standing very close to you. Then breathe in deeply, as you breathe in deeply imagine white bright energy coming into your body and going down to your solar plexus. Then breathe out sharply while imagining a dart or bolt of bright, white energy shooting from your solar plexus into the other person’s solar plexus. You will be surprised at how many people light up and even start smiling when you use this technique.

15) THE MINOR CHAKRAS

There are Seven Main (or Major) Chakras on the body. A Chakra is a vortex of energy; constantly receiving and transmitting whether you pay attention to it or not. If you do pay attention, you can accomplish some amazing things. Most people’s Chakras spin in a clockwise pattern. I am going to discuss the Minor Chakras, which do not generally get as much attention as the Major Chakras.

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Minor Chakras are also energy vortices. They, too, generally move in a clockwise direction. The Minor Chakras cover every single joint on your body, all your orifices including your eyes, and your skin. Chakras spinning in the wrong directions correlate with an upset energy flow or energy blockage. Blockages in one joint of your body may affect the spinning of other Minor Chakras throughout the entire body because the energy bodies and physical body are all interwoven and connected in a neat little pattern.

It is my belief that if you learn certain Mudras (which in basic form are hand gestures coupled with focused intent and proper breathing), you can prevent certain ailments later in life. This does NOT mean that if you get a splinter in your finger that you can just use a Chakra balancing technique on it. Chakras are a complimentary aid to modern medicine. Chakras can also be used as a complimentary aid to prevent illness and injuries. One of the things that spinning and balancing Minor Chakras allows you to do is focus intent and pay attention.

If you can focus your intent for long periods of time and are paying a lot of attention, you will notice things other people are not noticing. By noticing these things you can help to prevent them or change their direction of intention.

16) DISENGAGING RAPPORT

Sometimes, for whatever reason(s), you need to turn off the rapport machine and disengage from a person(s). There is a Huna (i.e. Hawaiian mystical tradition) concept

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known as Aka Chords. These are generally black chords that reach out from your different centers and beings and attach themselves to anything you come into contact with during your life.

The Aka Chords attach not just to people, but to inanimate objects, animals, thoughts, feelings, emotions…in other words Aka Chords are connecting you to EVERYTHING. But there is a simple and easy way to “Cut an Aka Chord(s)”! First, for the sake of an example, we will say you are connected through Aka Chords to a previous boss who berated you. You still have bad feelings about this and wish you could “just get over it”. Now, imagine that boss and visualize black chords coming from and going to him and vice versa.

Next, imagine a giant silver shuriken (throwing star) cutting all the chords. In order to complete the process, you need to close off the meridians from re-opening those empty Aka Chords. In order to do so you can either physically or mentally turn your entire body around 360 degrees for three turns. This seals the Aura and Meridians from the potential of reattached Aka Chords. You can go through this process with anything that you need to detach from in your life.

You can also use this process in reverse in order to gain more rapport. Imagine thousands of Aka Chords generating from every pore of your body and entering into the recipient/client/subject you are dealing with at the time. Later on, when beneficial, you may cut some or all of the Aka Chords!

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When I sit down with someone, I sometimes visualize the Aka Chords. They are often in different places for different people and in different situations. I trust my intuition. Sometimes the Aka Chord visualizations have told me to stay away from certain things or places. When I have stayed away, I later learn that by not going or by leaving and cutting the Aka Chords, I have made a wise decision. Aka Chords can also be a sign of a positive connection. Aka Chords may sound familiar to those of you who have done some Astral Projection work because of the Aka Chord’s similarity to the Silver Solar Plexus Chord that keeps your Dream Body attached to your Physical Body.

You can use that Silver Solar Plexus Chord by visualizing it shooting out of your solar plexus and into the solar plexus of the person you want extreme rapport with at the time. Later, simply imagine the Silver Chord retracting back into your body.

Another technique, which I will “hide” in this section, is the “Gray Cloak”. In “The Trick to Money Is Having Some”, the author Stuart Wilde recalls witnessing this technique from an objective viewpoint. A man was dealing with a banker and wanted a loan. The man wanting the loan visualized a giant Gray Cloak emanating from his Solar Plexus and engulfing the man and the banker. The man was able to manipulate the banker into giving the loan. Now, this is not entirely due to the “Gray Cloak” and in no way do I recommend getting loans you cannot or are not going to pay back. The “Gray Cloak” is a piece of “Mind Machinery”. When you imagine the “Gray Cloak”, your mind/brain and body start to do everything that you have associated wit the “Gray Cloak”

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technology. This is like putting rapport and persuasion on Autopilot and giving you more chances to persuade and influence the other person because you are not consciously worrying about many of the processes. The “Gray Cloak” is very efficient, when used properly, and used carefully.

Side Note: Huna as we know it in English is supposedly a translation into the word “Secret” and Kahuna is supposedly the word “Keeper of Secrets”. Max Freedom Long is generally credited as bringing Huna into the American/Western Consciousness. Some have argued that Long manipulated words and linguistics to arrive at a system that is not “true Huna”, nonetheless, his materials provide for essential reading and experiential evidence will find some of the techniques useful and easy to master.

17) FOUR CORNERS MOON THIEF

There is a very interesting book titled “How The Shaman Stole The Moon” by William H. Calvin. In studying eclipses, he chose the Four Corners region of the USA (where the modern states of Arizona, New Mexico, Colorado, and Utah meet). He found through his research that the average person from 700 AD to 824 AD would have seen one potentially observable eclipse per in an average year.10

Calvin, through his research, found that a series of three or four eclipses can be seen in a two year period; while other times no eclipses can be seen for four years. The eclipses

10

See “How The Shaman Stole The Moon” by William H. Calvin, p.31

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“cluster”. “There was often a second lunar eclipse on the sixth full moon after the first”.11

By watching from moonrise to moonset for partial eclipses, the observer would notice many more eclipses than seen by the modern evening-only spectator. “Given such diligent observers and unclouded viewing conditions, one gets a 56 percent chance of another lunar eclipse in the sixth full moon after an eclipse, an 11 percent chance at the twelfth, 8 percent at the seventeenth, and 5 percent at the eighteenth.”12

The sixth and twelfth full moon after an eclipse could then be calculated to have another eclipse. Remember, eclipses cluster and so do non-eclipses. By paying attention from moonrise until moonset, you can start to predict lunar eclipses with some authority.

Another interesting aspect is how the shamans counted to six on one hand. One through five were counted on the fingers and then a closed fist signaled six. This allowed the shamans to keep track of the sixth and twelfth month after each lunar eclipse and use that knowledge to their advantage.

18) RAPPORT INCREASING STRATEGIES

Multiple Strategies to increase rapport with both individuals and groups

11 12

“How The Shaman Stole the Moon” by William H. Calvin, p. 31 “How the Shaman Stole The Moon” by William H. Calvin, p. 31

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I will first discuss methods to increase rapport with a single individual. These methods will help you gain rapport with a group as well. This is because the volunteer that helps you is a proxy for the rest of the audience. When you gain rapport with the volunteer, you also gain rapport with the rest of the audience as a by-product.

One of the most common ways taught to gain rapport is to mirror the movements and speech of the person with whom you want to gain said rapport. This is taught in many Neurolinguistic Programming texts, as well as in many schools, sales trainings, and other places. The simplest way to achieve this is to do with your body what the other person does with their body. You also use the same type of words and forms of speech as the other person. This doesn’t mean you exactly copy them movement for movement and word for word. Instead, you approximate their actions and speech. If they say the words “What I like to see”, you then use something like “When I look”.

Pay close attention to the type of sensory words the person uses. If they use a lot of references to visual aspects in their speech, then you will want to use visual predicates in your own speech. Likewise, they may use audio or kinesthetic. They may use a combination. You will have to be aware. You will have to awaken yourself to pay attention to these important factors. Once you become proficient at gaining rapport, there are some visualization techniques and short-cuts you can begin to use.

One of my favorite techniques is to imagine a golden chord coming from my solar plexus and stretching out into the solar plexus of the person with whom I want to gain rapport.

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Another useful technique is to imagine yourself bathed in white light, and that the white light is encompassing the person you want to influence, or even encompassing a group you want to influence, such as an audience.

We can associate these visualizations with gaining rapport, by performing these techniques after gaining rapport through mirroring movements and language. Thus, we associate these visualizations with gaining rapport, and create sort of subconscious process that makes us gain rapport almost by default. When you get really good at this, you will be able to unconsciously gain rapport through the use of these visualization techniques. Matching the breathing rate of the person in front of you is also useful. However, sometimes matching the breathing rate is difficult, so here is an easy way around it: guide the person in front of you through some sort of positive visualization and breathing exercise. Have them breathe in for a count of three, then hold it for a count of two, and then breathe out for a count of three. You will then be able to match their breathing, because you have essentially told them how to breathe for this experience.

Likewise, if you are having trouble mirroring or matching anything else, you will want to take charge and instruct the person into the direction you wish to take them. This is an often overlooked strategy for gaining rapport.

Another important aspect of rapport is meeting the person in their reality and bringing them over to your reality. When you match what the person knows to be true, you can

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then start to bring in ideas and actions that may or may not be true. These ideas and actions will be accepted as true, because you have matched the reality of the participant.

Gaining compliance of a participant is often necessary in order for an effect or demonstration to work properly. You usually gain compliance by first gaining rapport. However, if the person is compliant with what you say, then you know you have rapport by a certain default of judgment on the part of the participant.

It has been said that people’s favorite subjects are themselves. When you are like them, they will like you. You become like them when you gain rapport. They will sense a certain “oneness” with you.

Gaining rapport is a very important step in the direction of being able to lead someone. This is called pacing and leading. When you pace, you are mirroring and matching the other person. Slowly and gradually, but sometimes in a fast manner, you will begin to lead the person’s actions and thoughts in the directions you want to take them.

Remember, that rapport equals trust plus comfort. Once you have gained trust and comfort, you will have gained rapport. Once you have rapport, you will be able to lead the audience where you want, and you will also be able to be perceived as even more powerful. You will also become more likable in the process. Not such a bad deal, really, huh?

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You can gain rapport with the rest of the audience by proxy through a volunteer. You can associate certain visualization techniques with gaining rapport so that gaining rapport becomes a default state when you use those visualization short-cuts. If you are having trouble matching a person’s breathing, then take charge and tell them how to breathe. Once you gain rapport, you can become the leader. Pacing and leading are two important parts of the equation in performance art. When you increase rapport, you will become more likable in the process.

19) THE ICHAZO / LILLY / HILDEBRANDT SYSTEM

The following is based on works by Oscar Ichazo and John C. Lilly, with my interpretations and thoughts mixed in and compiled based on their energy system. In order to activate a Body Part for a Mentation you will focus on that body part and send positive energy to that body part. The Grid from the “Seven Bodies of Humans” will be useful in energizing any of these body parts and thus increasing the potential for the Mentation to take place. It is possible to have blockages in the Mentations. Oscar Ichazo dealt with these blockages through what he dubbed Psychocalisthenics. Psychocalisthenics were generally a series or set of dance-type moves in a ritual manner while concentrating on a desired outcome. For more detail on Psychocalisthenics, I suggest you attempt to find at least one book by Oscar Ichazo. The Mentations are also mentioned in the book “Center of the Cylclone” by John C. Lilly, which I also recommend.

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THE ICHAZO/LILLY/HILDEBRANDT MENTATION READINGS

BODY

MENTATIONS CENTERS READING/

PART EARS

ENHANCEMENTS Substance:

Minor

This is more than

objective reality Chakras

how you look at the

of something

world; this is the world itself unencumbered by subjective reality.

EYES

Form

Minor

This relates to the

Chakras

form that your ideas take.

NOSE

Possibilities:

Minor

This mentation

Alternatives

Chakras

allows for making choices, both positive and negative

MOUTH

One’s Needs

Minor

The Mouth deals

Chakra

with physical, emotional, and psychological needs

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and necessities.

CHEST

Impulse

Heart

Automatic Energies

(Automatic

Chakra

are your conditioned

Energies)

responses to what life throws at you.

UPPER

One’s

Heart

This relates to how

BELLY

Assimilation

Chakra

well you can cope

process

with change, in either environment, process, or content.

LOWER

One’s

Solar

This is how you get

BELLY

elimination

Plexus

rid of what is not

process

Chakra

useful for you.

Root

Are you going

Chakra

forward in

GENITALS Orientation of oneself (evolutionary or

development of

regressive)

True self or backwards to negative behaviors?

UPPER

The capacity of

Minor

This relates to your

LEGS

a person (how

Chakras

energetic battery.

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AND

much energy a

How much energy

UPPER

person can

can you deal with at

ARMS

hold)

one time?

KNEES

Charisma

Minor

How much charisma

AND

pertaining to

Chakras

do you have? Do

ELBOWS

oneself

you want more? Then concentrate on this energy center.

LOWER

Means (what

Minor

This is what you are

LEGS

one is

Chakras

either able to do or

AND

able/capable of)

capable but not

LOWER

willing to do.

ARMS FEET AND One’s goals

Minor

This is where goals

HANDS

Chakras

are stored, access this center to help reach goals.

20) INDUCING THE ALPHA STATE (EARTH’S VIBRATIONAL FREQUENCY)

There are different brain cycles/frequencies that our bodies go through. I have included an MP3 titled “Earth Frequency” with this manuscript that contains a tone that has been 72

manipulated to have a 7.8 hz frequency, which is the threshold from the Alpha brain wave to the Theta brain wave. It has been taught by certain Silva Method™ instructors, as well as other biofeedback teachers, that the Earth itself resonates at this frequency and so does the word “OM” when properly chanted.

The Alpha State is a nice relaxing state, which you can tune into at any time. I recommend looping the MP3 and meditating on the sound. You can also intone the word “OM” while listening. Supposedly, the Alpha State opens one up to more psychic awareness—I’ll let you decide if that is true or not. The “Earth Frequency” MP3 is designed to attune you to the harmonies of the Earth’s resonance.

I recommend the book “Silva Mind Control” by Jose Silva. Silva’s book will give you, at the least, interesting fodder for presentations, and at the most a way to tap into an altered state that can interact between the energetic and physical worlds.

21) A DIFFERENT KIND

This is a notebook “device” for switching billets or cards. You will need two of the fivesubject notebooks; the ones that come with partitions for each subject. The partitions should have a folder on at least one side. You are going to take off t he back of the first notebook. Replace the back of the first notebook with the front of the second notebook. Make sure you orient the second cover so that when you turn it over everything looks kosher.

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If the partitions only have a flap on one side, then you need to do a little craft work and put in another flap on the other side of the partition. Congratulations, you now have a switching device that can also be used for Add-a-Number routines.

The main purpose of this gimmick is to switch billets collected from the audience for blank billets and then switch the billets back again if so desired. You can also use this for a card calling routine by having people pick, but not look at, various cards. You put the cards in the flap on one side, and in the other flap you have your memorized card set up. This will only handle a small packet of cards, though, so I recommend the notebook device for billets. You can also write down things in the notebook as they come to you, make a magic square or other talisman for someone, and create other moments of astonishment.

22) MY RAPPORT LECTURE

My Basic Rapport Lecture (NLP CALIBRATION AND RAPPORT) can last approximately 1 hour 30 minutes and necessitates at least four participants. It is important for me mention that much of the time in the lecture is spent with the participants doing exercises. This achieve several things, such as experiential hands-on learning for easier integration, breaking the lecture into bits, enhancing the experience, utilizing the proper time management to hit the spot for the time you want to spend, and more. You’ll also find a small warning about something I once attempted and ended up

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being too powerful for casual rapport! First, I’d like to share the general outline of my1 hour 30 minute Rapport Lecture, then after the List/Outline I will describe how to do the exercises or refer you back to portions of this manuscript that already deal with portions of the outline:

GENERAL RAPPORT LECTURE OUTLINE

RIPPLE RAPPORT EFFECT WHITE AND GOLDEN BUBBLE LOOSEN UP EXERCISE OM CHANTING BREATHING EXERCISE INHALE FOR 3 SECONDS THEN EXHALE ENERGY TESTING EXPLANATION/DETAILS/DEMO (reversed polarities!) ENERGY TESTING EXERCISE RAPPORT=Trust + Comfort HANDSHAKING DETAILS HANDSHAKING EXERCISES VAKOG & HOT HAND ENERGY HAND? CLOSED COMMUNICATION: Person A closes off to Person B physical and shaking head “no” while Person B attempts to tell them something (Go through group and help) SWITCH Person A and B

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(Go through group and help) SWITCH PARTNERS, DO CLOSED COMMUNICATION AGAIN (Go through group and help) SWITCH Person A and B again DETAIL HOW CLOSED COMMUNICATION CAN BE USED TO DEFEND AGAINST UNSCRUPULOUS MANIPULATION DETAIL HOW CALIBRATION IS IMPORTANT: Is their arms crossed because they’re cutting off communication or because it is cold in the room? Calibration=The Art of Noticing OPEN COMMUNICATION: Person A open body language towards Person B (Go through group and help) SWITCH Person A and B (Go through group and help) SWITCH PARTNERS, OPEN COMMUNICATION (Go through group and help) SWITCH Person A and B again (Go through group and help) DETAIL PACING AND LEADING PACING / MATCHING EXERCISES *WORDS *VALUES *BELIEFS *POSTURE

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*BREATHING *OTHER FACETS OF ONGOING EXPERIENCE LEADING EXERCISES EXPLAIN MIRRORING, DETAIL HOW MIRRORING CAN BE USED MIRRORING EXERCISE: Person A mirrors Person B (Go through group and help) SWITCH A and B (GO through group and help) SWITCH PARTNERS, MIRRORING EXERCISE Person A mirrors Person B (Go through group and help) SWITCH A and B (Go through group and help) MATCHING EXERCISE, Explain difference between matching and mirroring Person A matches Person B (Go through group and help) SWITCH A and B (Go through group and help) SWITCH PARTNERS Person A Matches Person B (Go through group and help) SWITCH A and B (Go through group and help)

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THE IMPORTANCE OF EYE CONTACT EYE CONTACT EXERCISE: Person A and Person B maintain eye contact while having conversation (Go through group and help) SWITCH A and B (Go through group and help) SWITCH PARTNERS for EYE CONTACT EXERCISE Person A and B maintain eye contact while having conversation (Go through group and help) SWITCH PARTNERS Person A and B do EYE CONTACT EXERCISE (Go through group and help) SWITCH Person A and B (Go through group and help) TRIANGULAR GAZING EYE CONTACT EXERCISE: THE POWER OF ULTIMATE EYE CONTACT TRIANGULAR GAZING EXERCISE: Person A triangular gaze while conversing with Person B (Go through group and help) SWITCH PERAON A and B (Go through group and help) SWITCH PARTNERS

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TRIANGULAR GAZING EXERCISE AGAIN: Person A triangular gaze while conversing with Person B (Go through group and help) SWITCH Person A and B (Go through group and help)

Now, let’s go through the outline as I describe each instructional point and exercise for you.

RIPPLE RAPPORT EFFECT

This is a private technique that is taught publicly in my Advanced Rapport Seminar. This is to help you set your own mood, and enhance your rapport with the participants. I imagine a purple amethyst pebble coming down from the skies and rippling white and gold energy throughout the room as a pebble makes water ripple when the pebble hits the water. This is a very useful and easy technique to help automate your own group rapport covertly.

WHITE AND GOLDEN BUBBLE

This is another covert technique useful for preparing yourself for the training, although the technique can also be demonstrated and used with the entire audience. This

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is explained in this manuscript as a separate exercise: “WHITE AND GOLDEN BUBBLE EXERCISE”.

LOOSEN UP EXERCISE

This is where the actual teaching phases generally start. You want people to become comfortable and loosen up. You want them to literally shake off bad energy and negative vibes. Instruct the participants to shake their heads, necks, arms, and legs in order to remove negative energy. Either after this or during this you can do the OM CHANTING.

OM CHANTING

This chanting allows you to mirror and replicate the consciousness of the group while setting you up as the leader of the group. As leader of the group you need to command a strong presence and be in rapport with everyone. I like to have the audience chant “OM” while I also chant “OM”. This exercise attunes everyone to everyone else. Since I started the OM Exercise, then I must be the leader. “OM” Chanting is also a very potent tool in Zen Buddhism and other related practices.

BREATHING EXERCISE INHALE FOR 3 SECONDS THEN EXHALE

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This is another exercise for obtaining group rapport and controlling the breathing of the attendees. Have the participants breathe in deeply for three seconds and then breathe out deeply for three seconds. After a few rounds of this breathing exercise, you can have the participants sit down and get ready for the lecture (which has already started and you already have great rapport with the group due to both covert and overt techniques that you have used).

ENERGY TESTING EXPLANATION/DETAILS/DEMO (reversed polarities!)

You are going to teach applied kinesiology, also known under many other names—my personal favorite being the term “Energy Testing”. Energy Testing will allow a self-measure of the effectiveness of techniques for each individual during the rapport exercises and in more advanced classes that you may teach.

Energy Testing is a wonderful tool that can help you make better intuitive choices in your life. I prefer to instruct my participants using the Outreached Arm Energy Test. While this Test can be faked, there is no need to (consciously) fake it if you just follow the instructions.

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Figure One: Arm Properly Outreached for Energy Testing

The above crude illustration (Figure One) shows how the participant being Energy Tested should hold their arms. The right arm should be held out to the right side of the participant being Energy Tested. The right hand should have all its fingers closed together, with the thumb pointing down to the floor. The left harm should be at the side of the body, fingers all closed together and pointing down.

In this Energy Test Demonstration, you will disturb the Central Meridian. This meridian runs from the bottom of the pelvis up to the center of the head in a straight line and then runs down the backwards of the head towards the pelvis, completing the Energetic Circuit of the Meridian. Figure Two’s crude illustration shows where the Central Meridian runs. A Meridian is a channel that Energy flows through, and the Central Meridian is one of the Vital Meridians to know.

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Figure Two: The Red Line is the Central Meridian’s Location

In order to Energy Test, You will hold out your index and middle finger, with the thumb, ring finger, and pinky held in a closed circle. You will take the index and middle finger and lightly press down on the right wrist of the participant. Tell the subject to relax. There will be a small, “springy” reaction when you push down on the right wrist.

Now, you will take your left hand and make counterclockwise circles around the abdomen area of the participant as you push down again on the wrist. The arm of the participant will easily be pushed down even though you are using as much if not less force as the first Energy Test, where the arm was “springy”. The arm goes from

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“springy” to weak while you interfere with the flow of energy through the Central Meridian. Now have the class go through the Energy Testing Phase with each other.

RAPPORT= TRUST + COMFORT

This Rapport Equation has already been explored in this manuscript, so let me just remind you that after each Exercise in this Rapport Lecture, you have the participants act out the necessary instructions and exercises with each other. Spectator A goes first on Spectator B, while for example Spectator C works with Spectator D. Now have A and B switch and have C and D switch. Monitor the progress of the entire group and point out what they may be doing wrong in the process, but also REMEMBER TO TELL THEM when they DO EXCELLENT! You may then have C and A switch and go through the exercise again with A and D working together and C and B working together.

HANDSHAKING DETAILS

Handshakes are a certain forte of my own explorations. In my Basic Rapport Lecture, I teach a firm, yet polite handshake and I also instruct the participants on how to create The Energy Hand. Again, I want to remind you that you will have the participants get into small groups and do the drills. Also, if you have “Hand Bluffs Plus More Stuff”, you will find many other Handshake principles and related effects.

ENERGY HAND

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The Energy Hand has already been described in this book. Remember, one of the most important aspects of The Energy Hand is “Priming the Pump”!

CLOSED COMMUNICATION

This is the art of Anti-Rapport. I feel it is important to teach Anti-Rapport or a Closed System for at least two reasons: 1) So a person may close themselves off from the rapport of one trying to negatively influence or negatively impact them and 2) So that the participants realize what closed rapport is and may come up with some ideas of how to open closed rapport for the benefit of all involved.

You will have Participant A and Participant B. Participant B is to sit down, have their legs pressed together and crossed; have their arms crossed in front of them, and shake their head no to everything that Participant A says or does. Participant B may even find it helpful to actually say “no” out loud during this drill.

After the Participants have switched and everyone has explored what it is like to deal with someone who is not in rapport with you then you will point out that very fact. “How did it feel communicating with the person while they were closed off? Did you feel you were getting anywhere?”

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DETAIL HOW CLOSED COMMUNICATION CAN BE USED TO DEFEND AGAINST UNSCRUPULOUS MANIPULATION

Dealing with a stereotypical used car dealer? Close off communication. Dealing with an annoying telemarketer? Close off communication. Dealing with an overzealous person trying to persuade you into something that’s not in your best interest? Close off communication. I’m sure you now see dozens, if not hundreds, of uses for being able to close off the communication and shut down rapport.

DETAIL HOW CALIBRATION IS IMPORTANT

Calibration is “The Art of Noticing”. This is an important aspect of rapport instruction to mention immediately after the “Closed Communication” section of the lecture. One example you can give is that a person with crossed arms may not be closing off from rapport, but rather they find the room chilly. Another example is that it may look as if two people are in closed communication because they are both “closed off”. In reality, they are mirroring each other and in excellent rapport with one another. So, it is very important to calibrate how and why the person is in the posture they are in and to get feedback; but most importantly to calibrate or “pay attention” to the surroundings, context, and content of the person in front of them. Otherwise a cold person may be viewed as closing off from rapport or any other number of things could be confused with closing the communication, when in fact the person is ready, set, and willing to be in rapport with you.

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OPEN COMMUNICATION

This is the exact opposite of the “Closed Communication” exercise. I like to take the approach of doing the more “negative” things first and then moving on to the more “positive” things when teaching, when possible. This is the same approach I attempt to give when giving advice, 1) negative aspects 2) how to improve the negative aspects 3) positive aspects and 4) how to improve the positive aspects.

In this round of drills, the participants who are interacting with one another open up and have their arms and legs uncrossed. Occasionally, they may nod their head “Yes” or give a verbal affirmation. The differences between closed and open communication will quickly be demonstrated. The rapport between the participants will highly increase and if they are practicing the art of noticing (Calibration), the participants will notice how much more at ease the other person is and how much easier it is to discuss things during this open communication exercise. Remember to point out to your audience how much easier it was to get rapport during open communication!

DETAIL PACING AND LEADING

The former exercises lead up to leading from the use of pacing techniques. In pacing, you start at the reality of the person you want to influence and in leading you lead the subject to the reality or topic that you want, in order to influence said subject.

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PACING / MATCHING EXERCISES

This section will deal with pacing and matching Words, Values, Beliefs, Postures, Breathing, and Other Facets of Ongoing Experience.

*WORDS

Matching phrases, predicates, and sensory words used by the person you want to gain rapport with will help speed along the process. This is one of the easier ways to Pace and Match the other person, but don’t overdo it.

*VALUES

If you can elicit the values of the person in front of you then you can gain great rapport. How do you elicit those values? By asking them, you can elicit the criteria of values that they hold. Also by paying attention to what they say you can often determine their values.

*BELIEFS

In order to become congruent with someone else’s belief system, then you have to deduce what that belief system consists of for that particular individual. “What are your

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core beliefs?” could be a starting question for eliciting beliefs. Noticing what and how the person is delivering their message will also gain you access to their beliefs if you listen closely enough.

*POSTURE

This is one of the more simple things to pace. Notice how the person in front of you is standing, or how they are seated. Match their posture, but try not to make it completely obvious. You might want to go through an exercise of half-mirroring with the group. When Participant A puts both arms in front of their chest, then you have Participant b half-mirror by putting one arm in front of their own chest. This can be very, very effective.

*BREATHING

Pacing and matching breathing can actually be one of the more difficult tasks for a beginner in NLP. One little trick that helps is to focus on the person’s chest, stomach, and shoulders using peripheral vision while maintaining some form of eye contact. The shoulder movements are usually the easiest to see and to pace, but other times you will have to look at other facets of the ongoing experience to be able to match the breathing.

Of course, if you lead the person in a breathing exercise, then you will bring their breathing to match yours. (Just a sneaky little technique, I thought I’d thrown in there!)

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*OTHER FACETS OF ONGOING EXPERIENCE

Any other face of ongoing experience can be utilized in obtaining and maintaining pacing and rapport. If you can think of a face of ongoing experience that is happening, you can easily match that ongoing experience in order to pace the person in front of you. One example is temperature reaction. Is the person in front of you cold, hot, or comfortable? Once you decide upon this you can use mental tricks to lower or raise your body temperature. You might imagine being in Antarctica for the cold pacing and being in an oven for the hot pacing. The list is endless and limitless, and you will soon figure out other ways to pace ongoing experiences.

LEADING EXERCISES

The previous Pacing and Matching leads into “Leading Exercises”. For example, once you start matching the other person’s breathing then you can lead that person to another, different type of breathing in order to influence them. Anything that can be paced, mirrored, or matched can be used to begin leading the client/subject/participant you are dealing with at the time.

EXPLAIN MIRRORING, DETAIL HOW MIRRORING CAN BE USED

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Mirroring is a technique wherein you pace the other person by literally mirroring their movements, posture, breath, etc. Mirroring can be used effectively with the previous techniques. Mirroring is slightly different than pacing and matching. In pacing, you pick one element to focus on and pace that element. In matching, you match exactly what the other person is doing. Mirroring covers multiple aspects of pacing and matching at the same time for turbo-charged rapport. Mirroring can be used to effectively pace and match several different details.

MIRRORING EXERCISE

In this exercise, you will have Participant A mirror Participant B. They then switch and Participant B mirrors Participant B. You can have C and D do the same thing and then switch D with B. It is very important to have the people in the room do the exercises so that they can get instant feedback from yourself and others, and also because they will gain the skills faster through an experiential manner.

MATCHING EXERCISE

Matching is slightly different than mirroring. The main difference I want to point out is what I refer to as “half-mirroring”, which is actually a matching technique. For example, if a person you want to influence is using both their hands to gesture, you may use only one hand and match the gesturing of just one of the hands of the person you want to influence. This detail of matching and half-mirroring is usually not as obvious as

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outright mirroring someone and can provide confidence for people trying these exercises for the first time.

THE IMPORTANCE OF EYE CONTACT

Eye contact is a fundamental process when gaining rapport. Maintaining proper eye contact is very, very important. Please, though, remember not to stare into their eyes or else you could make them feel uncomfortable. Knowing when to break eye contact for a second is as valuable as maintaining said eye contact. The eyes are the window to the soul, or so it is said, and keeping eye contact will help you better perceive what else you have to do to maintain rapport.

TRIANGULAR GAZING

Triangular gazing has already been covered in detail in this manuscript. Triangular gazing ends My Rapport Lecture. People are fascinated with Triangular gazing as it really helps them keep track of more things at once while maintaining proper eye contact and can enhance peripheral vision over time.

A MISTAKE: TOO POWERFUL FOR CASUAL RAPPORT

I soon learned that Soul Gazing, also known as Anamcara, was too powerful of a technique to teach for casual rapport. Getting that deep into rapport with a stranger or

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even friend for the first time can be disturbing to your participants. That’s why I took Soul Gazing out of My Rapport Lecture—it’s simply too powerful for beginning level rapport. Now, if I had a group of people who were in relationships with each other, then it might be a viable process for the Rapport Tool Box.

FINALLY

I hope you have found enough in this section to not only help you create your own Rapport Lecture, but also different ways you, yourself, can gain rapport with people. I struggled with sharing My Rapport Lecture because of how powerful these techniques can be, but I decided to throw in My Rapport Lecture for not only the sake of completeness, but also because I genuinely want you to be able to go out and do these techniques and processes. You will be amazed at how much fun people can have with the experiential phases of My Rapport Lecture.

23) MY PENNY ACT

I set a challenge to myself to create a mentalism act that was based around coinage. I also decided I wanted to frame some of the main experiences around the USA Penny coin. The following is what I came up and I hope you put it to good use. This is a full act intended for stage, which revolves around numbers and money.

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“A lot of people hate math and love money,” says the performer, “Tonight, I’m going to demonstrate some math with some money. I guess it will be a love/hate relationship! But these demonstrations go much further than just using mathematical principles. We will explore the esoteric of consensus reality using a few coins. Coins are also known as change and tonight we’re going to learn how to change our perspectives and our lives.”

You can adapt the following from radio to stage, with enough thought. The following was first published in my ebook “Situational Sensations”:

Coin Of Interest Noted A somewhat interactive effect for live radio broadcasts.

The mentalist gets invited onto a radio show. How to get invited on to a radio show is outside the scope of this particular book.

“Somewhere out there, right now, somebody is listening to this station as they pick up a coin. I am writing the value down right now. If the person who picked up that coin calls in right now, I will reveal not only the value of the coin, but also the date on said coin.”

If nobody calls in by the end of the live broadcast, you simply say, “Oh, let’s not forget the date and value of the coin. The person who picked it up did not call in, perhaps they were busy with other things or got distracted, but it was a brunette woman who picked up a penny dated 1992.”

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The above final scripting does a lot of things. You should have done at least two other effects that you knew were going to be successful. The first effect should be one that is successful. The second event should be the effect you are currently reading. The third effect should be totally and completely sure-fire. The scripting and location of the effect during the show are directly related to advice from “Kentonism” by Kenton Knepper, “Ball and Tube” by Docc Hilford, and from Jerome Finley in the book he co-wrote with Devin Knight, titled “Cloud Busting Secrets”.

The basic idea is that you establish yourself and your credentials. If nobody calls in with the value and date of the coin, then you make a “random” guess. Someone just may call in at a later time to confirm what you have guessed. Personally, I simply let my mind rest and concentrate on a screen of white and while trying to really visualize the coin I say whatever comes to mind first, but I also tie in a gender and a hair color to the revelation as an added enhancement. This is so if a brunette woman who was listening finds a penny dated 1992 and calls in, I will have a complete and total miracle on my hands. If a blonde woman calls in and says she found a penny dated 1992, I still have enough of a hit to be considered as impressive. Likewise, if a brunette male then calls in with a penny dated 1992, I will have a different sort of near hit. You see, if I am going to risk being wrong on everything, then I am going to list more things, because there are more chances that my answer can be interpreted as correct or as a near hit. This also proves even more amazing to the witnesses, as I have predicted three out of four things instead of a simple two things when I get a near hit. If I do not get any hits, then I have said the

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person was busy or got distracted, and so it is simply not a big deal at all, because I did not make it a big deal. If nobody at all calls in, then I still will get credit from many people, because I did what I said I could do in the other two effects or “experiments”!

There are those who would encourage you to use a stooge in case you do not get the hits you were after. I discourage such a tactic because stooges are traceable. This means that if someone investigates enough, they will find your connection with the stooge, and ruin your chances of performing the effect again. If you use a no stooge method, then you have no connection the person calling in when you are successful. This also means you are self-contained; you do not need to bring your stooge to each place where you are going to perform this effect.

Now, we will talk about what happens if someone does call in with a coin they randomly found on the street. This is accomplished by the use of a nailwriter. A nailwriter is a gimmick that contains a piece of lead that you attach to a fingernail, usually to your thumbnail but not always. This is inspired by Docc Hilford’s work.

You take out a piece of paper, pretend to write on it with a mechanical pencil while scratching the paper with your fingernail, and then ask the person calling to tell everyone the date and value of the coin. You next write the information on the paper with the nailwriter, after you have put away the mechanical pencil. You fold up the paper and hand it to the host of the program. You then say “I want you to hold on to this piece of paper, guard it with your very life, and then at the end of the show, we will see if it

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matches the value and date of the found coin. Now, think about this, I would have to plant the same value of coin in many different locations all across this city and hope that one person would call in after finding the coin. As you can see, that would be totally impractical. It would be immensely difficult to pull off. However, by listening to the tonality, timbre, and inflection in the caller’s voice, as well as relying on my own inner intuition, I think I have been able to deduce what the value of the coin was, and to also divine the date on said coin.”

While you have the person who found the coin on the line you can tie in some cold reading to the effect and get even more valuable hits and make even more of a connection with the person who found the coin. It is beyond the scope of this book to teach you cold reading, but I thought I would mention it as you can easily tie into this effect. You can also turn the found coin into a sort of oracle. You do this by saying there are different meanings for different coins that are found. If you find a quarter on the ground, which is usually more rare then finding a penny, then this means you have a higher energy or vibration about you that day, and you can go into deeper details based upon which coin the person has found and also about the significance of the date on the coin. It would prove very valuable for you to learn about numerology so that you can reduce the date down to one number and give a numerological meaning based on the date of the coin. Again, it is outside the scope of this book to teach you all about numerology.

In this routine, you also have a statistical fact in your favor. Most of the people who call in will have found a penny. So, if you do not want to go into the value of the coin, but

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want to still get a hit for the value, you simply change the script a little bit to say “Someone out there right now is finding a coin on the ground. From my vantage point it looks like a penny. Now, that’s not very impressive in and of itself. But, I’m writing the date down right now, and if that person calls in, I have the proof of the date written down on this piece of paper.”

So, now you get one free “hit” out of the deal by predicting what is already in your favor. You even tell everyone that this “hit” is not impressive. Yet, if a person calls in, you play up both the value of the coin and you really, really play up the date of the penny!

C.O.I.N.Q.A.: Adapting “Coin Of Interest Noted” to a Question and Answer Act

“I’m sensing that someone out there has picked up a coin they found today. I’m sensing that it is probably a penny. If any of you have picked up a coin in the last few days, please stand…as often these impressions last a couple of days.”

If a person(s) stand, you then ask them to call out the dates on the coin(s). You nailwrite the dates as they are called out. You then turn over your drawing pad and show that you have correctly predicted the date(s).

If nobody stands, then point to a person in the audience and say, “Actually, this must be a premonition. Be on the lookout for a dropped coin soon in your future!”

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PROMETHEUS RISING

The following actually happened to me, and you can use this as a warming-up exercise in manifestation, Q & A Act or otherwise.

“In the book “Prometheus Rising” by Robert Anton Wilson, there is an exercise where you look for coins in two different ways. In one way, you set the frame that mystical synchronicities happen all the time and you’re bound to find coins. In the other way, you set the frame that people drop coins and other valuable things all the time and you just have to start NOTICING such things…things which you don’t normally look for without prompts.

The first time I tried one of these experiments, I found a total of $3.20 in one week. Two of the dollars were found as dollar bills being blown through the wind by the air! I could hardly believe it, but there they were, manifesting themselves for me.”

BIRTHDAY COIN TEST

You have a fishbowl sitting on stage, filled with American Pennies. There are dates from 1965 to 1995. You ask the audience to all take out their loose pennies and see if any of the pennies dates match the year the person was born. If no such occurrence happens, then reach into the fishbowl and pull out a coin. You have a very high probability of picking out a birth date year. If you are still struggling to find a birth date / coin date

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match, then you will have to say something like “Isn’t that weird? None of you have a coin that matches your birth date. Just ponder that for a moment, while I take out a coin that matches my own birth date and we’ll go from there.”

BIRTHDAY PARADOX

If you have more than 23 people in a group, the chances are extremely high that two of them will share the same birth month and birth day. I call this “Mix ‘N’ Mingle Birthday Paradox”, because I simply allow the audience to each shout out their birth month and day and I give a numerology reading for each participant. After giving all the numerology readings, you may find two birthdays that match. Point out this miracle and take credit for the spooky coincidence.

WHICH HAND?

A lot has been written on “Which Hand?” Routines. I refer you to the works of Jerome Finley, Patrick Redford, and Bryn Reynolds. Since you are dealing with coins, a “Which Hand?” effect will play nicely at this point.

ADD A NUMBER COIN JAR MATCH

Bring out another large container of coins and pour the fishbowl coins into it. Allow any audience members that want to make a wish to drop a coin in the larger container. Ask

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three participants to each take out a coin and write the last three digits inside a notebook (this is the notebook device described in “A Different Kind” in this manuscript). You will now be able to switch the numbers and get a total. The larger container has a piece of paper inside it that you pull out. Since you know ahead of time the number, you have put this on the piece of paper. This is a slight variation on a coin guessing routine from “Syzygy” magazine.

NUMEROLOGY NUMBERS

Now go back to the other coins in people’s pockets and start giving them readings based on the value, date, and condition. You can use standard numerology methods in this part. Give positive, uplifting life script answers and responses. These should go beyond the mere numerological value and you should treat this as a powerful portion of a Question and Answer Act. End on a “secret reading” a.k.a. a “Sensational Question and Answer” as developed by George B. Anderson in his booklet “Dynamite Mentalism”.

24) THE NAME GAME

This is a close relative in methodology to my effect “Post Prediction Ploy”. You ask a participant to select a card. The spectator is asked what the name of their card is. They reply “Fred”. A bit frustrated with the joke, the wizard says, “So what’s the value and suit?”. The participant answers “Nine of Hearts”. From a card box that has been sitting on the table the entire time, one card and only one card is inside. This card is pulled out face-

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up and it is the Nine of Hearts. The card is then turned over and on the back is written the name “FRED” in large capital letters.

This actually uses a very standard (in magic) gimmicked deck. If you are going to force one thing, why not add another layer and force two things with the second thing apparently unconnected to the force of the first thing from the perspective of most of the audience? Yes, there is some Dual Reality, or at least a second cousin of it, happening in this effect. You will be Secretly Forcing a Second Item!

The deck you will to obtain is a Svengali Deck. On each of the 26 force cards, you are to write the name “FRED” in big capital letters. Make sure “FRED” is oriented the same way on each card as you slip those force cards back into your Svengali Deck. Use a pointer ace (any ace besides the Ace of Diamonds) by putting it on the bottom with the pointer ace pointing up so you know the orientation for easy reading of the word “FRED”. If “FRED” appeared upside down it could cause some trouble with the forcing procedure, thus the pointer ace to help us remain oriented.

Now, when you force the force card, that force card will also have the name “FRED” on it. Ask the person to look at the card but not to tell anybody anything about her card just yet. Have the card replaced. Now for the fun part: ask the participant “What was the name for your card?” They will respond, “Fred”. Laugh a little, as if this is a joke you’ve heard before, then say, “What’s the value and suit?” They will tell you the force card.

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Prior to performance, you have put a duplicate force card inside an otherwise empty carrd box. On the back of the duplicate force card, you have written in larger letter “FRED”. Open the card box and show the face of the force card duplicate.

Next, ask the spectator, “What was that name you gave me earlier?” They will say, “Fred”. At which point you turn over the duplicate force card and reveal “FRED” written in bold capital letters.

As you can see the effect for the participant is different than what the audience perceives. The audience perceives that you mentally matched up the word Fred with a thought only in the participant’s mind. The participant knows the word Fred was on the cards, but you predict what card she would choose, so there is an effect for her as well.

25) THE SÉANCE INVITE

The following is one way to frame a séance if you’re normally considered a “regular” magician or mentalist:

On Monday morning, I received an invitation to attend a party being hosted by Edward S. Prior for the following Saturday. The party was to be held at Edward’s small dwelling, a nice house within walking distance of the Old Library. The invitation itself was a bit different. First of all, the envelope was red, with my name on a label. The envelope was

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sealed with wax with an arcane symbol on it that I did not recognize. I carefully opened the envelope, half expecting it to be some joke as Edward had been known to me as a simple magician.

The invitation read, in part:

Most of you know me as a simple magician. Lately, I have been experimenting with something…a bit more arcane. I believe my advances in this field will prove very fruitful in the near future. It is, therefore, imperative that I gather the correct people to fully conceive this operation. I await your RSVP. --With Gratitude, Edward S. Prior

I rang up Edward on the phone. He would not give me much detail on what he was planning on doing, only that “It won’t be a magic show, far from it. It’s something I’ve kept quiet for years, but I think it may be ready to be unleashed. I just hope WE’RE ready when it comes bubbling to the surface.”

Needless to say, I was quite intrigued. Apparently the other eleven guests were just as entranced by the vague descriptions and the promise of something “a bit more arcane”. I noted, a bit unhappily, that the group of people for this experiment of Edward’s numbered thirteen. He SHOULD have invited one more or one less person. This wasn’t

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a good sign as far as I was convinced. Edward seemed to be a little more reserved than usual.

26) WORRY STICK

This is a simple curved and sanded piece of wood. It makes for a great BOR (Back of the Room) device. I use it as a prop to transfer worries through touch by utilizing Banachek’s “PK Touches”. The worry of one person is transferred to another person. The second person then has the worry removed through a ritualistic use of the Worry Stick. You then mention that any time they have future worries, they can relate back to this experience and remain in a calm, resourceful state by handling the Worry Stick. You give Worry Sticks to both participants and then mention that the rest of the audience can buy a Worry Stick for a small fee.

27) THE KEYCHAIN READINGS

These are Readings based on a person’s keychain and the keys and other tokens on their keychain. I first introduced this concept during a teleconference with Ken Dyne. You will ask for an audience member to come up to the table you are seated at IF they have a key they no longer use.

You ask a few questions about the key they don’t use anymore and why they don’t need it anymore. Then you give a brief reading of their past as connected to by t he keychain.

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You also tell them, “This key represents the past and represents something that may still be bothering you. However, by the end of our time together, you will see a sign that will make this key a reminder of only happier times and resourceful moments.”

Next, you ask them to select a different key. This is the key for the Present. You will give a reading based off how the key is cut, the type of material the key is made from, what the key locks or unlocks. You can use the information of what they key unlocks to turn the phrase “And so your mind unlocks like a door, allowing positive vibrations into your present time with us.”

Finally, you have them choose to take one key off the keychain. After they have taken the key off the keychain, you tell them this is the Future Key. You give them a cold reading based on the key and put in the future tense.

If there is a nametag, stuffed animal, or other accessory(s), then you can also give readings based on those. For example, if there is a tiny plastic monkey attached to the keychain, you can read that as “You are a playful person, but sometimes people think you are fooling around too much…in reality, you are just trying to lighten up the darkness for everyone.”

You then reattach the Future Key back to the keychain. At some point, the participant will notice that the Past Key is bent and twisted out shape. Use your favorite real time bending device here. David Neighbors in an issue of “The Minotaur” simply used

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leverage and a square slot of another key to put a bend in keys with round slots. When they notice this bent key, they will remember how you told them that past was the past and now they can move on.

28) THE DEAD PET PLOY

This is a simple ploy that I have seen more than one shut-eye psychic use. It is simple, direct, and to the point.

“I sense an animal around you. Did you used to have a pet?”

If the person answers “Yes” you have a highly emotional, power-charged hit on your hands. You have to be ready with tissues for this, because it can very tear-jerking moment for the participant.

If the person answers “No”, then you tell them that they have a Spirit Guide. Use your own intuition as to what Spirit Animal Guide belongs to each sitter. Remember, not everyone has a Coyote for a Spirit Animal!

29) A LINE

This line has been developed for specific use with “Cubed Roots”. “Cubed Roots” can be found in Lunarcy. Once you understand the thinking behind “A Line”, you can apply it to

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almost any oracle or reading system. I first discussed “A Line” on my interview for “Confessions of Real Mind Readers”. “A Line” is a very powerful reading tool that allows you a sort of “out” in the right situations and—as ads are prone to say—lets the client do all the heavy lifting for you.

“A Line” creates a transderivational search within the subject through the use of clever linguistics. What’s a transdervational search? It is when a person is left with the only option to search within themselves for the answer; probing the unconscious mind and allowing a conscious answer to pour forth. This (transderviational search) is the heavy lifting done by the participant.

This linguistic trickery is done with merely one sentence in “Cubed Roots”. Once you understand the premise, you can use such premise in other readings, whether those readings are psychic, psychological, or in-between. I really love “A Line” because it is so simple but hits so big—and also because it generally hits the sitter/client after you have given them the reading thus prolonging your position as a authority in the field and enhancing your prestige.

In “Cubed Roots”, you have a person/client imagine various items and then you tell them what those items mean for them personally. You are then able to change those items to create a change in the client.

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One of the items the client visualizes is a horse. You then ask questions such as “What color is the horse?”; “Is the horse moving or standing still?”; etc. This tells you a lot of information about the person in front of you and it relates back to the area of romance and relationships in their life. You can then use “A Line” to cause a transderivational search and let them find their own personal (and very true) association or meaning between the horse they visualize and their romantic relationships. The great thing about “A Line” is that it is a time-delayed process most of the time. In other words, the associations will come to them when you’re not around thus providing a sort of spooky after-effect phenomenon.

The scripting for “A Line” is as follows:

“The association between the horse and your relationships will enter your mind either later today or even tomorrow.”

That one simple line has enormous power. This enormous power resides in the subconscious/unconscious of the participant. As mentioned earlier in this write-up, using “A Line” creates a transderevational search. The person seeks the answer and—usually in a time delayed fashion—finds the answer themselves. Yet you get the credit for the brunt of the enormous power because you focused their “subconscious” spotlight on this question and asked the search engine of their mind to go find an answer. Since you controlled the process, the outcome will be attributed to you and your powers.

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30) TDS

The following are some Transderviational Search (TDS) Questions you can ask yourself or teach other people to ask of themselves.

“What am I not thinking about right now that could make me wealthier and wealthier?”13

“How can I improve Trick X for a better applause cue?”

“What am I missing that could improve my life beyond my wildest dreams?”

“How can I get more clients in seven weeks?”

“What will make me become happier and happier? How can I use my new happiness to inspire others?”

“What questions can I ask to get better results at ‘Process X’?” where ‘Process X’ is any process you want to improve.

“How can I use transderivational searches more often?”

“What can I do to better understand other people?”

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Inspired by Kenrick Cleveland

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31) THE ALL-KNOWING CRYSTAL BALL

This is a way to let a person answer their own question during a Q & A Act. Induce a hypnotic state and have the person feel a crystal ball getting heavier in their hands. Then have them silently ask the crystal ball a question and tell them that they will see images, may feel certain things, and might even get a auditory answer. This uses what I call “The Art of Mental Machinery” wherein you create a hypnotic machine or hypnotic tool for the person you are working with at the time. In this case, we are providing them with a crystal ball and all the frames of their reference that go with crystal balls. They will actually be performing a transderviational search on themselves! This is very sneaky, and can be utilized when a direct answer might not be appropriate or even available to the performer, but the answer can be conveyed by the unconscious mind of the participant by tapping into that mind via the hypnotic crystal ball.

32) CREATING POSITIVE ENERGY

How can you go about Creating Positive Energy? In two ways: 1) Random Acts of Kindness14 and 2) Smile!

It is the little things that can add up to the big things. Smiling is a way to create positive energy. “Paying a favor forward” is another exemplary way of creating positive energy. 14

See the book for the public “Random Acts of Kindness”, but also see Jerome Finley’s ebook “Random Acts of Kindness”

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Doing things for others because it is helpful, uplifiting, or just for the fun of others can create lots of positive energy. I wanted to include this small section in this manuscript to remind myself as well as others that we need to be kind to each other and remember to smile as often as possible.

33) CONFIDENCE BOOSTER #1

This is a Confidence Boosting Technique, which mixes a little ceremonial magick with some Neurolinguistic Programming.

Beforehand, charge a metal folding chair with positive images, thoughts, and feelings by mentally projecting those into the very fiber of the chair itself. Now, when you go present the Confidence Booster you will have anchors in place for yourself that say “This Chair Exudes Confidence”.

Have a person stand beside the chair. Tell them you don’t need to know any content in order to boost their confidence. Tell them if they follow a few simple steps, then they will become more and more confident.

Ask the person to visualize themselves in the chair being confident and in charge. Tell them to “RAMP UP THAT CONFIDENCE”. Tell them to “MULTIPLY THAT CONFIDENCE OVER AND OVER AGAIN IN THE NEW THAT IS SITTING IN THE

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CHAIR”. Deliver some more confidence boosting messages and then finally have them sit in the chair, imagining their physical self melting into their new confident self.

Note the change in posture, attitude, and even skin tone when the person sits down. If nothing changes either it didn’t work or you are not noticing subtle details. If it doesn’t work, ramp it up even more on the confidence and energy levels. The easiest way to find out if worked is to ask them, “Now, how much more confident do you feel on a scale of 1 to 10, 10 being superconfident, ready to take on the world, and feeling more and more resourceful.”

34) STAR WHISPERING

Before you even start this chapter, I want you to visit and enjoy the sky at night time, then come back here for further guidance.

Okay, are you back from spending some time with the night sky? This is a manifestation technique. It is heavily inspired by Caleb Strange’s “Wishing Star” from his book “The Garden of the Strange”. You’ll also want “Cloudbusting Secrets” by Jerome Finley and Devin Knight, as well as “Lunarcy” by me.

You are going to use the Autokinetic Effect, which I first described in “Lunarcy” for making UFO’s appear. This time, you are going to make a Star behave strangely, partly

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through eye fatigue, autokinetic effect, and suggestion. This piece is meant to be done one-on-one instead of the usual group demonstrations of weather control.

You will have a person meet you during a night when the skies shine bright with stars. Have the person write down something they wish to manifest. Take the folded piece of paper with their wish on it, and burn it in the campfire (ala Caleb Strange). Next, have the person look up at the night sky and pick a star to concentrate on. T ell them they will telepathically send their manifestation out into the Universe and the Universe will answer them back. Working on eye fatigue, other things being misinterpreted as stars, the Autokinetic Effect (where a bright light stared at seems as if its movings), and your wellplaced suggestions, the person will see the Star change in some shape, manner, or form. Once they tell you that the star is moving, has grown bright, or has grown dimmer, or any number of other things then you congratulate them on successfully wishing on a star in order to manifest their desire.

35) AN ESP COUPLE

In Short: A dual reading system and relationship enhancer.

Effect: A couple in a relationship is brought into the spotlight. “I have here a pack of ESP Cards that contain five symbols repeated five times. There is a Circle, a Triangle, The Star, a Plus Sign, and a Square.” The performer requests each member of the couple to write down one of the ESP signs without seeing the other’s drawing, stand them back

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to back. “It doesn’t matter in the end if those two symbols match, because what we have really done here is create a stronger, more reliable relationship by going through this process.” The performer then shuffles the deck. The man chooses five ESP symbols and the woman chooses five ESP symbols. All five match! (Alternative Handling: Four of them match but their two drawings match the final cards of each other). “See? I told you there was a strong connection and bond here.”

The mentalist then gives a reading based on the ESP Symbols drawn by each member of the couple. If they are the same symbol, I would go for the Alternative Handling above.

Let the couple know in advance that “Your drawings may not match, but they will give us great insight to each of your characters and how you interact with each other and the world around you.”

This is highly related to my “Emotional Empathy” Routine from “Three Experiences”. At the end of this section, I have provided “Emotional Empathy” and “Emerging Emotional Empathy”.

For convenience, you can use a marked, cyclical ordered deck of cards. With a bit of sleight of hand, you can make sure that four cards match and the fifth cards of each person matches the symbol drawn by the other person.

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This borders on a mentalist-in-trouble scenario when the fifth and final cards do not match. But when you show that the couple predicted each others’ symbols in their drawings you create a moment of true emotional connection.

EMOTIONAL EMPATHY

For this experiment/demonstration you will need two people. It is best to use a couple, preferably a couple that has been together for a long time and has a loving relationship. When you ask for this couple, leave the word “loving” out of the request…instead say something along the lines of “a harmonious relationship”.

“I am looking for a couple that has been with each other for a long time, who has a deep connection with each other, and has a harmonious relationship.”

The volunteers are selected. Now, you run a variation on my “Thought Teller Process Notes”: You can have one of the people stand in as a surrogate for you and instruct this person how to transfer energy into the second person. If you want to add even more layers, you can create more processes to energize the first person and then have them transfer energy to the second person.

“I have channeled a surplus of energy into you…and you can use this energy to charge your partner…and when you get home tonight you may just notice how much more

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energetic you both are, how much more rapport you have, and the way you listen to each other more and more intently.”

I would also recommend Jerome Finley’s “The Process” from his “T & R” manuscript to use in these first stages. Hand each member of the couple a drawing pad and a black marker. You do not want to become some sort of marriage counselor with this routine, so we look for a couple that has a good relationship. This is the best case scenario. I am also going to recommend creating, maintaining, and increasing the rapport between the two participants.

Here is an ‘Art of Mental Machinery’ way to increase the rapport between the couple:

“Have you ever seen those games where you squeeze a handle and it rates how great of a lover you are? You wrap your hand around a joystick and grip it as hard as possible. Right now, I want the both of you to imagine a joystick in front of you and realize this joystick is connected to how much you love each other…now squeeze that joystick as hard as possible, shooting your love towards each other and up through the roof!”

Now, you are going to tell the couple the following:

“You have now been centered, are at great ease, and have inner peace. Focus on these thoughts and the relationship you have with your spouse. Concentrate on this, and stand back to back. You may…feel a pulse of energy right now…emanating from your

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partner! In a moment, I want you to draw a simple symbol or shape that represents all these feelings coursing through both of you, a shape that symbolizes what you are feeling at this very moment towards your partner.”

After this set-up, I am hoping the drawings will match and will both be a “Heart”! If they don’t match then you have an opportunity to give a reading based on the two shapes drawn by the couple. Point out how certain lines are the same and this indicates a great sense of the other person’s boundaries, etc. Also, if the drawings don’t match look at all the positive programming you’ve created for the relationship these two have together!

Jerome Finley has created some wonderful work out of the previous demonstration, wherein the drawing duplication is MOST POWERFUL when the drawings DO NOT match! This totally turns the premise of a Drawing Duplication on its head and provides an act of what can be termed Psychomagia.

What follows are my original write-up with Jerome Finley’s thoughts, which he has allowed me to share here, with you. Jerome Finley’s thoughts are in blue font.

EMOTIONAL EMPATHY

For this experiment/demonstration you will need two people. It is best to use a couple, preferably a couple that has been together for a long time and has a loving relationship. When you ask for this couple, leave the word “loving” out of the request…instead say

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something along the lines of “a harmonious relationship”.

(Or "every relationship has its up's and down's...it's how we grow (!)...and with that in mind, I'm looking for a willing couple (of loving) or (loving couple of willing) people in an otherwise harmonious relationship.")

*This "otherwise" harmonious relationship is open-ended/unspecified enough to apply to almost everyone as a sort of Universal pattern; trust me when I say those hearing this request will fill in the blanks and soft spots in their own relationship as a result...it covers everything...almost like the association process during a reading.

Again, I like to keep those frames and loops open at all times, as much as possible. I think by prefacing and acknowledging the fact that not every relationship is perfect - in fact, most AREN'T (!), but that's a GOOD THING (i.e. "how we grow") before asking for a willing, loving (or willing to love?) couple in an "OTHERWISE harmonious relationship" (again, all unspecified and artfully vague!) will give you a pool of sincere people who acknowledge their relationship COULD very well be better (thus viewed as more "real" and "honest" by the viewing audience - a very real possibility here is for those who ARE NOT in a harmonious relationship to turn bitter at the sight of two hands rising, hahaha) and who volunteer without any of the false masks and pretenses of being in a certain (harmonious) type of relationship. There are a lot of ways to interpret this, and I play to the vast majority instead of a specific few (at least initially).

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I'm probably the exact opposite of you here in that I would PERSONALLY look for the couple who WAS/IS "on the outs."

Why? (that IS the question!)

Because when dealing with people involved in potentially intense emotional dyads during an observational/experiential audience/group experience I desire the biggest CONTRAST, shift and transformation possible. To me, it's not "magic" when two people who admit to loving eachother /being in harmony with each other deeply and completely both draw a heart, but when TWO PEOPLE who are currently having a rough go of it reconcile their differences on stage, especially inasmuch/so much as to draw the same symbol...now THAT is pure magic of the highest order.

I agree that we don't want to play marriage counselor (kinda sorta) - what I WOULD like to see though is the Reality Engineer facilitating a process wherein those people involved become their own marriage counselors through your expert help and guidance. Reach and withdraw...empower and surrender the process to the two "become as one", surrendering to their own process as seperate individuals...like a dance.

This is when and where the big "AHA" occurs and a deeper form of healing becomes imminent.

Does that make sense?

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Speaking of psicomagia, the finale (whether both draw a heart OR both draw something similar OR both draw different items and receive a reading!) is strong enough to be a key point and pivotal moment in these two people's very existence. It can be very, VERY beautiful and intense - transformational even - and those standing witness to such a thing (your audience) will realize they are gazing upon something sacred as it occurs and is born right before them. It boosts and propels our work to different levels the average magician (loose term) couldn't ever hope to touch, approach or in most cases even dream of.

“I am looking for a couple that has been with each other for a long time, who has a deep connection with each other, and has a harmonious relationship.”

"I am looking for a couple that has been with each other for SOME TIME NOW; one who has a deep emotional connection with/TO each other (for better or worse) in an otherwise harmonious relationship."

Alternatively you could just ask for ANY COUPLE who truly feels like they "know each other/know one another."

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The volunteers are selected. Now, you run a variation on my “Thought Teller Process Notes”: You can have one of the people stand in as a surrogate for you and instruct this person how to transfer energy into the second person. If you want to add even more layers, you can create more processes to energize the first person and then have them transfer energy to the second person.

Completely off topic (my apologies), but this reminds me of a sequence I perform in my TIA demonstration wherein the entire audience stands witness to a form of raw mesmeric energy channeled through the power of intent and suggestion...

I have each person place their "receptive hand" on the shoulder of the person next to them (forming a straight line with as few breaks as possible) - and so on and so forth - until the entire audience is now linked. In the beginning it's almost like a handclasp test and I'm just pacing how that hand feels now, what the person they're touching feels/seems like, any associated feelings in their arms and body during this process, how their thoughts and expectations change as a result, to notice their breathing and their heartbeat, to notice any of the thoughts and feelings radiating from their neighbor and those around them *and vice versa* (etc) and proceed with suggestions to the effect of them being totally and completely un-WILLING and un-ABLE to let go of the person(s) they're now touching as this strong, INVISIBLE magnetic-life force and raw vitality courses through their arms, hands, face, neck and shoulders healing them in the process...and of course, nobody can drop their arms or let go...

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(Hint, make the person they touch a living, breathing symbol and temporary embodiment of their criteria *organic personifications of one's hopes, goals, dreams and ambitions right there to interact with them NOW...and they WILL NOT (even want to!) let go... :)

To end, I place myself in the chain and direct the energy with unique and interesting results...those being EVERYONE is attached and connected TO ME (multiple levels and layers of suggestions in play right here of course, ha!) and if "where thoughts go, energy flows" then wherever I GO, those connected to me are sure to follow, even as they follow their dreams, their hearts and their desires. Now I begin walking and the entire "human chain" follows, deeply entranced and completely mesmerized as a result. It's a beautiful, beautiful piece of work. ;)...the wave of human bodies crashing into each other at the end is just the cherry on top, total strangers hugging and embracing one another as they soak up and vibrate/bask in their dreams - the liberated greatest versions of their own grandest visions...it's a remarkable thing, Dale.).

“I have channeled a surplus of energy into you…and you can use this energy to charge your partner…and when you get home tonight you may just notice how much more energetic you both are, how much more rapport you have, and the way you listen to each other more and more intently.”

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I would also recommend Jerome Finley’s “The Process” from his “T & R” manuscript to use in these first stages. Hand each member of the couple a drawing pad and a black marker. You do not want to become some sort of marriage counselor with this routine, so we look for a couple that has a good relationship. This is the best case scenario. I am also going to recommend creating, maintaining, and increasing the rapport between the two participants.

Here is an ‘Art of Mental Machinery’ way to increase the rapport between the couple:

“Have you ever seen those games where you squeeze a handle and it rates how great of a lover you are? You wrap your hand around a joystick and grip it as hard as possible. Right now, I want the both of you to imagine a joystick in front of you and realize this joystick is connected to how much you love each other…now squeeze that joystick as hard as possible, shooting your love towards each other and up through the roof!”

I would maybe think of changing the word "joystick" to PADDLE. Consider why...

Note from Dale: I would also consider maybe changing PADDLE to “Handle” or “Lever”.

Now, you are going to tell the couple the following:

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“You have now been centered, are at great ease, and have inner peace. Focus on these thoughts and the relationship you have with your spouse. Concentrate on this, and stand back to back. You may…feel a pulse of energy right now…emanating from your partner! In a moment, I want you to draw a simple symbol or shape that represents all these feelings coursing through both of you, a shape that symbolizes what you are feeling at this very moment towards your partner.”

"Now that you've come into your center, a space of great ease and inner peace...NOW you can STOP...and just START to focus entirely on these thoughts &/or FEELINGS you have with your spouse...and... you know what? Go ahead and just stand back to back...that's right...and AS YOU stand in such a way and feel your loved one supporting you, each of you may (begin to) feel/NOTICE a pulse of energy growing between you right now and how easily you can SENSE (notice, realize, observe = all unspecified again!) that energy emanating from your partner...their PRESENCE (beside/behind you)...BECAUSE...in a moment, NOT YET (creates expectation, tension, elicits attention, etc) I want you to (OR "you'll both want to...X, Y, Z!) jot down a simple drawing, shape or image that FULLY represents ALL of those feelings coursing through both of you at this time...any shape or symbol that properly symbolizes/signifies/represents what IT IS you're feeling at this time... (right now)."

After this set-up, I am hoping the drawings will match and will both be a “Heart”! If they don’t match then you have an opportunity to give a reading based on the two shapes

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drawn by the couple. Point out how certain lines are the same and this indicates a great sense of the other person’s boundaries, etc. Also, if the drawings don’t match look at all the positive programming you’ve created for the relationship these two have together!

And here's your "out" - I actually think it will be stronger if they do NOT both draw a heart!

I would do a few things here...

1). Each draws their symbol, holds it against their chest/heart and now turns to face their significant other. When they feel "ready" (again, just let them do it - we're winging it here, but in a safe way!) to look into their eyes, turn their drawing around and show it to the other person.

This is nice framing regardless and if you "hit" both hearts OR both (whatever!) you can stop there. That said, I really like the idea of taking TWO DIVERSE (different) symbols and combining them. On a fresh piece of paper the man draws his wife's symbol/image and SHE draws HIS (on the same piece of paper together).

It might even be better to combine the two symbols in a sort of sigil...each draws the other's, either within or on top of/super-imposed over the other's.

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Both of them hold that NEW SYMBOL/COMBINED IMAGE in mind (with their intentions for this relationship and best wishes/good will for each other) with a few connected moments of eye gazing...and open it up (!)...get them to notice any changes, any sensations, how they feel...what thoughts enter their mind and how that symbol just seems to "come to life" within them...

They might hold hands, hug or even kiss...let the moment carry them away.

I would end by having the newly connected couple take this new picture/image and place it in the bedroom or some area of their house they frequent to look at it every day for a month...ANCHOR, ANCHOR, ANCHOR (!!!)...and each time they see it, whether together or alone, to see their lover's face in their mind's eye and feel/reach out to them with their heart and REMEMBER this experience...

"Come back and see me in a month!"

It might be fun, as talismans, to have the man carry the woman's individual symbol as a reminder of her feelings during this experience...and for HER to do the same with his...and for BOTH to focus as suggested on their combined drawing for a few moments each day (3-5 times a day, especially before bed and upon waking for the day!) as they X, Y, Z.

Give them homework!

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We don't even have to suggest WHAT this is supposed to do or anything that is supposed to happen...everything is implied and assumed...definition DOES equal creation, but we're not putting any defining limits on what or how is being created as a result of this process and ritual.

How does that resonate with you?

EMERGING EMOTIONAL EMPATHY

“Emerging Emotional Empathy” is a device or process to create strong bonds between two or more people utilizing techniques from “An ESP Couple” and “Emotional Empathy”. You will create a bond between two people having them match eye-contact and breathing. You can then go into a Drawing Test. Mention ahead of time that the drawings may not match, otherwise there will be disappointment and it will look as if you completely failed. Tell them that although the drawings may not match, the drawings of each person reveal both things about themselves and things about their partner.

36) D & C: DIVIDE AND CONQUER

This is a variation on the Question and Answer Act, wherein you won’t be the only one giving answers. Before the show begins, you will have contacted various members of the audience. You will have asked them to write down something “inspirational, uplifting, or

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positive” from either their memories or from a quote that they know. They are to bring this to the show with them.

You will also have your own quotes, sayings, uplifting and inspirational meanings already in a collection bowl. It is best to subtly mark your messages when possible.

People will now ask questions, as in a standard Q & A Act. But instead of you being the all-powerful conduit, you will be the interpreter. It is up to you take out one of the meaningful messages and apply its message to the Question that has been asked. Of course, you have some back-up answers, as mentioned above, to cover a situation that might not be handled so well by the audience member’s contribution message. You will collect billets with questions written on the billets. You will openly read the questions, so you can also mis-read or falsify the Question in order to suit the answer. Have a glass half full of water to dispose the Questions and Answers Billets into so no one knows about the mis-read or false read.

This will make you have to really think on your feet in order to associate the Answer you are given with the Question you have been asked. You can cheat somewhat, as mentioned above, but I think you will find the challenge enjoyable. It will also give you presentational fodder for Answers in a different Q & A Act.

In this presentation you are tapping into the global mind and seeing what comes up. This can be very effective if done properly. It can seem rushed and unrelated if done poorly.

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It will take time to learn to interpret the audience answers into something useful for the audience questions. I suggest writing down a bunch of questions that are generally asked and then buying three or four books of quotes. Then ask yourself one of the questions and open the Book of Quotes up to a random page and put your finger on a random line. Now, attempt to relate this line to the question asked.

37) FRIXION SNOWMEN

You will have a melted snowman drawn on one card, with the top hat remaining. Use the Out-To-Lunch Principle to restore the snowman back to his cheery un-melted self. The top cards of the stack are also melted snowmen, that you drew with Frixion Pens and then applied flame to in order to “vanish” the snowmen. Instruct your participants to take home these cards (potentially your business cards) and stick them in the freezer to get a special surprise in the morning. They will be delighted when the snowman is restored, and they might just call you…who knows?

38) TORN SUBTLETY

This is a small subtlety for any Torn and Restored effect. I once witnessed a magician performing such an effect, and he dropped part of the torn paper…and he didn’t bother to pick it up. Yet, somehow, the thing restored itself with that paper still on the ground.

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There are two ideas this gave me. The first is simply to drop a piece of what you are tearing and PICK IT UP to give a more innocent feel to your proceedings. The second idea was to drop a switched in piece of paper. When you opened the torn paper, it would have a hole in it, and the piece you dropped would fit inside that hole!

39) THE SIX DOLLAR MIRACLE

In Short: A bottle melts.

Presentation:

PRESENTATION ONE

The mentalist is at a party and there are some beer bottles lying around on a counter. The mentalist asks everyone to concentrate on a bottle of Coors Light that rests on the front of the countertop. The participants are asked to chant “Move…move…MOVE! MOVE!” but nothing happens. “Oh well…(sigh)…sometimes these things just don’t work.”

Later on, during that same party, Jessica goes over to where the bottles are laying around, and lets out a scream! A bottle of Bud Light, which is laying behind the other bottles, is partially melted. It seems as if the chanting did something entirely different, but still caused an effect. The mentalist is given great accolades by the participants and Jessica keeps the bottle forever as a souvenir of this mystical moment.

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PRESENTATION TWO

“I am going to cause that bottle over there to melt. Watch Closely.” The mentalist concentrates, but nothing is heard or seen. The mentalist then suggests that “Perhaps my powers were too strong, please check the bottle behind that one,” and points in the direction of one of the bottles. The bottle is melted.

Details: You will need to obtain a “flattened bottle”. A search on the internet sometimes provides you with an Ebay link to such bottles.

In both cases presented above, the bottle is “shaded”. This is a move done by cheaters at the Roulette table with poker chips. Bigger (and less valuable) stacks of chips hide the smaller (more valuable) chips that are placed after the wheel is spun (I do not condone or advise such actions whatsoever). In the cases of the two above presentations, you have bottles hiding the bottle you have procured earlier in the week. This bottle is flattened, and is melted or looks melted.

The pile of bottles or a bigger bottle of liquor can both be used to shade the melted bottle. If done in your own home, then you simply place it there after the party has gone for a while, amongst the other discarded bottles. If performing at someone else’s house, you will have to be more discrete about switching in that melted bottle.

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SIX DOLLAR MIRACLE VARIATION BY ADAM WHITE

While having a gathering in his den, and possibly tossing a bit too much of the brew, the mage announces he is going to attempt an experiment of bending the will of the universe and causing something to happen that has never ever been attempted before.

Before him he sets one of the emptied bottles on the coffee table. He sits up from his comfortable, plush couch and searches for a disposed cap from one of the many consumed bottles of ale lying around him. After obtaining the thin, round, shining doorway of oblivion, he places it ever so gently onto the top of the bottle.

“With only the power of my consciousness, I will proceed to will the cap from the bottle with only the energy coming from my mind,” the magic user announces in a deep guttural tone.

The magi sits up and concentrates on the bottle while the spectators watch.

Incredible strain is witnessed as veins in the temple of the mage start to bulge.

Suddenly, without explanation the bottle flies off the table towards the mage and onto the floor. The magician curses his defeat, and apologizes profusely to his audience.

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As the magician goes to bring order to the mess he has created, it is very apparent something has disturbed him. He doesn’t speak. He doesn’t move. As if he witnessed the second coming itself, the man is silent.

He then slowly reaches down to the ground. The magician jerks back swearing in pain and thrusting his fingers into his mouth. He tucks his hand into his sleeve and then using his sleeve as a make-shift oven mitt retrieves the bottle from the floor.

“Oh my God. It’s still melting,” is all he can say as he cannot take his eyes off the bottle.

Everyone else sees what was once a pristine vessel for storing ale is warping and twisting as if melting by intense invisible heat.

The magician cautiously reaches for the strange object with his other hand. Gently tapping it with his finger tips, he notices it is now cool to the touch. He places the bottle on the table before him and let’s the others soak into the moment.

Though no one notices the right corner of the magician’s lip rises ever so slightly in satisfaction for his audience rewards him with gasps and wonderment, which is what he was after in the first place.

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If he wasn’t after that small moment of time, why would he have taken the time to order a melted bottle from online? Why would he have secretly placed the melted bottle that matches the kind of beverage everyone would be consuming that night under the couch?

Why would he have taken the chance of being rude by lying on the couch so no one would ruin his angles? Why would he have secretly placed a thread on the base of one of the bottles with wax and been sure to use that one for the experiment? And why would he have pulled the line, kicked the regular bottle under the couch and brought out the melted bottle for everyone to see? Why would he have taken the time to do all the acting to give the suggestion the bottle was still hot? Why would he slowly twist the bottle in his hand while announce the bottle was still warping to give the audience the impression the bottle was indeed twisting and melt? Why would he do all of that if it wasn’t for just that small chance to give people a moment of astonishment?

Final Thoughts: Adam White and I both came up with ways to do this in a bar, but you COULD get in trouble for introducing a foreign bottle into a bar if you were not careful.

So I recommend this to be a more informal piece, staged at your own house or a friend’s residence. Of course, there will have to be bottles lying around.

There are also bottles you can get of such brands as Coca-Cola, and Pepsi, which are glass and melted. These flattened soda bottles can be substituted if you want nothing to do with beer bottles or are a minor!

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Credits: Adam White for the Second Presentation and thoughts, as well as ideas, on the melting bottle. Morgan Strebler has a very visual bottle melting effect that you may want to obtain. The above variations are suited more for a psychological presentation, wherein people claim to have seen/heard/felt the bottle move rather than a visual presentation.

40) THE CHARLATAN’S BOX

This was an idea inspired by the famous “Cabinets of Curiosities”.

I am going to get some RainX or other product to be able to breathe on the plastic lid and have my name appear.

Here's what is in the box:

Upper left corner: Inspired by Brad Gordon, there are three red backed Eye Cards, three blue backed Eye cards and three half blue/half red backed cards. Three cards are chosen-the Hypnotic eye has been turned from a front of the card into the back of the card. A reading ensues, as does some hypnotic fun.

Lower left corner: A deck of "Old Gypsy Fortune Telling" Cards. For Tarot style readings, and some hypnotic fun. The card on top is 20) The Clouds; this reading can lead

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into or come out of a cloud busting or other sky related effect

Top middle: Skeleton keys for my "Heavily Haunted" hypnotic fun routine, as well since there are three keys they may be handled like the I Ching and thrown on to a carpeted floor or mat for a reading.

Middle Top Left: I don't have the Vitruvian Square by Grossberg but I understand it has a system for reading with RPG dice--so there are RPG dice in this slot with two regular dice. I plan on acquiring the Vitruvian Square in the near future.

Middle Bottom Left: Another eye--for more hypnotic fun and readings according to which body part is chosen--All this as dressing for the old Color Cube!

Milddle Top Right: The Charlatan's Fortune Teller. This is a piece of "slum" magic that you have someone put a quarter on the stand, and then the stand is covered. When uncovered, you can reveal a disk that says "Thanks". Instead of Thanks, they get a brief message!

Middle Bottom Right: 3 coins for I Ching and other assorted coins for hypnosis, my ONE HOTTER COIN routine, and so on.

Middle Bottom: A cloth bag with a Question Mark on it. THe participant writes their question as you look away...they put the question in the bag. You tell them the answer--

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without opening the bag. Also, can be applied to a color reading due to the "slum" trick the bag came from: Three different colored blocks, with different edges for revealing what color is in the bag. Give the sitter a label to write their question on; tell them the color that will answer the question; have them put it in your bag w/o you looking. You now divine the type of question, the color of the block, and answer the question!

Top Right: Cards for Center Tears, and other billet work; Also I will probably be putting some ESP cards in this slot.

Bottom Right: A broken compass to confuse any evil spirits that might manifest! Of course you can have the sitter choose a point on the broken compass such as North or South and then something in the real North or South suddenly happens! Or give them a reading about the direction they've chosen--and then something in the direction they chose happens!

Major credit to Dr. Todd Landman. I saw some photos a while back of things he was creating, and also a shout-out to Jerome Finley for his "Pocket I Ching" idea and Coin Readings idea (and cloud busting)!

What I like about this current box is that I can use everything for readings and/or suggestion or both at the same time.

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41) CAMP DRAGON By Dale A. Hildebrandt with Adam White and Caleb Strange WARNING!!!: What follows, if pulled off, could very well traumatize small children (or, done properly, even traumatize a few adults). You risk many a lawsuit and possibly worse by attempting this routine. This is offered as a thought exercise only. The author(s), publisher(s), and all those involved in selling this book, assume no responsibility for your actions and do not condone actually doing this routine. Again, this is offered only as an exercise in thought.

Deep in the forest, some camp counselors start a camp titled “Camp Dragon”. Rumors spread that an actual dragon lives near this camp, possibly taking campers as sacrifice every so often. The legend continues to build while being officially denied. Some children are actually sent to this “theme” camp.

Every morning, the children and counselors meet around a circle by a large tree. The counselors warn about the dragon. Some of the children scoff. The children who are scoffing, stop scoffing, when they hear a large splash come from the close by lake and hear wings flapping. Some of the children begin to cower or cry, and ask to be sent home 139

immediately. The camp has wisely adopted a “No Refund” policy. At night, the children can hear the low grumblings of the dragon every so often, and sometimes the wings beating as it flies across the night sky.

The third morning that the children and counselors meet around the tree, they notice something has changed. The tree is scorched, and blackened. The leaves and twigs around the tree are crushed, as if something heavy had landed in that particular spot. The dragon has been to the meeting spot, and his fiery breath has left a burnt tree! A couple more children ask to be sent home. The camp counselors are very happy they adopted that “No Refund” policy.

The next morning, what is left of the brave (or, quite possibly, the curiously stupid) campers go on a hike with the counselors. As they get deeper into the forest, they see large tracks...footprints. Footprints of the dragon! The counselors hurry the campers back to the camp, just in case the dragon is too close.

That night, the camp counselors organize a campfire and tell some ghost stories. These are typical camp ghost stories, not all that scary, not all that entertaining. The children become a bit more fascinated, however, when they see fireballs shooting in the distant night sky. The children are reminded to be in their cabins before nine at night. Some more of the children ask to be sent home. The counselors congratulate themselves on the “No Refund” policy.

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A few days pass with no dragon activity. Then, the camp counselors take the children on a hike, down a different trail. A cave is found on this trail. There are bones scattered around it, and the rocks are scorched. There is a smell of sulfur emanating from the cave. The counselors rush the children back to camp, and try to entertain them with typical camp craft projects. A child or two asks to be sent home. The “No Refund” policy is still in full effect.

A couple nights pass with the sky lit up with fiery dragon breath, but other than there seems to be little dragon activity. One night the campers see what appear to be bright, red eyes off in the distant forest. The counselors rush them into their cabins, in case the dragon is too close.

Then Timmy, one of the campers, sneaks out of his cabin after all the other kids are asleep.

The next day the counselors ask where Timmy is, but nobody knows. The counselors take the kids into the forest to search for Timmy, and they find hi backpack and a shoe.

The dragon has taken Timmy...possibly even ate Timmy. The counselors tell the kids, “We told you to be in your cabins before nine.” The camp counselors are very glad ecstatic even, over their “No Refund” policy.

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OPTIONAL EVEN #1: Instead of the dragon eating Timmy, a bunny is taken care of by the campers. Then one night there is a terrible scream. The kids wake up and discover tufts of bunny fur in the forest.

OPTIONAL EVENT #2: One of the camp counselors has been wearing a vial that contains a dark blue substance around his neck. Whenever questioned about what it is, he replies with dead seriousness, “Dragon blood”. The night after Timmy (or optionally the bunny) is devoured by the dragon, the counselors tell the children that they may be able to bring Timmy back using the dragon blood and a small magickal ritual. They bring out a dark sheet and pour the dragon’s blood behind it. Suddenly, a shape in the sheet starts to materialize. Timmy has been saved, but he is crying and the counselors quickly separate him from the other children. Timmy is sent home, and the camp counselors are very grateful for their “No Refund” policy.

OPTIONAL EVENT #3: One of the camp counselors goes on a mission to slay the dragon. He comes back two days later, with meat from the dragon. The children and the counselors feast upon the remains of the dragon.

OPTIONAL EVENT #4: Before the camp starts, the owner of the camp attempts to take out an insurance policy on “real dragons” affecting the camp. If the insurance company actually provides the policy, that is even better. Of course, the insurance company gets mentioned when the camp counselors talk to the press about the camp. If no one is willing to insure the camp against dragons, then the camp owner makes a big deal out of

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it. “Something serious could happen, but we’re not responsible. Please sign these waivers.” The camp counselors tell the press, “There aren’t any such things as dragons, but since these rumors started, we’ve been advised to take extra precautions, just in case.”

This was inspired by Caleb Strange’s ideas on how to accomplish a dragon sighting hoax. Adam White and I discussed the creation of a dragon hoax. Adam came up with the idea of having the dragon invade a small camp, in order to bring the thing down to a smaller scale. His first idea was that if a whole, small, town went in it together they could possibly create quite the tourist attraction. He then suggested the idea of having it happen on a “smaller” scale inside a camp. Adam White and Caleb Strange came up with most of the effects; my contribution is in making a routine out of them (with permission from both Adam and Caleb).

One could use any type of camp. A medieval themed camp seems ideal. However, a camp that has no theme makes the dragon appear much scarier, because it will seem more realistic, instead of being brushed against the background as part of a fantasy theme. I’m sure you’re wondering how it’s all done, so I will now detail the various methods.

One important aspect is to get the rumors started that there is a dragon near the camp. Then deny such rumors as fervently as possible. The more the rumors are denied, hopefully, the more this will reinforce that there may just be a dragon there and the camp doesn’t want anybody to stop going to the camp, so they will, of course, deny such things!

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The large splashes of water are caused by air tanks planted beneath the dark surface of the lake. They are set off by one of the operators. Accomplishing this routine would take a lot of resources, including a lot of manpower and know-how in various fields. The ided of air tanks in the water was created by Adam White.

The sound of the beating wings is caused by speakers hidden deep inside the forest. A small recording of something that sounds like wings beating will accomplish this task. Amplify the recording, and it will seem like a large beast is flapping its wing in the distance. You may want to use a sound sample of thunder, appropriately looped, for the sound of beating wings.

The low grumbling of the dragon is also accomplished via the hidden sound system. The sound system should be well hidden so that no campers accidentally discover it and ruin the illusion. The idea of hiding speakers in the forest was brought to my attention by Adam White.

The tree isn’t really scorched by dragon breath (well, I’m sure you knew that fact). The tree is slightly singed with a blow torch. It takes a steady hand and a person who knows what they are doing in order to only singe the tree and start a forest fire. Black spray paint can help add to the illusion. A heavy box is thrown down on the twigs and leave to make it appear that something heavy landed in that particular spot. Scorching the tree is the invention of Caleb Strange. Throwing the heavy box down to break twigs is something I

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added. The footprints are created via the typical way. Large wooden sandals in the shape of a dragon’s foot (or claw) are fashioned and worn by one of the counselors.

The counselor walks around one trail, then takes off the feet and walks back to the camp using another trail. A forked trail is best for this stunt. The idea of adding footprints was developed by Caleb Strange. The idea of using a forked trail to get back to camp was mentioned by Adam White.

The fireballs in the night sky are accomplished by a system of pyrotechnics, far, far away from the camp. An experienced pyro-technicican operates the pyro and has a fire safety crew on hand. Adam White thought of having fireballs appear in the night sky.

The bones by the cave are acquired from one of the few stores which sell bones to people. Alternatively, perhaps the counselors have gone deer hunting and saved back some bones for this particular feat. The rocks are burnt using a blow torch, operated by an experienced person who won’t set the whole place on fire. The smell of sulfur is caused by stink bombs that been set off inside the cave. These ideas were created by Caleb Strange.

The bright, red, dragon eyes seen deep in the forest are actually the headlights of a jeep that belongs to one of the camp counselors. The headlights are temporarily covered in red saran wrap to cause two, glowing red eyes. The counselor does not drive with the headlights covered! The jeep is driven to the edge of the forest when the campers are

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busy with something else. Alternatively, the jeep is already there before the campers show up from the other side of the forest for camp. The headlights are covered after the jeep is put in park. The lights are then switched on and off to cause blinking eyes to be seen. The saran wrap is removed before the counselor drives the jeep back to its destination.

Timmy, the disappearing child, is actually a plant or stooge. He is the child or nephew of one of the camp counselors. Timmy is “in” on the whole thing. He sneaks out of the cabin at night after he is sure everyone is asleep. He is then driven home that night by one of the camp counselors. The idea of Timmy disappearing can be credited to Adam White.

You can have a bunny disappear, instead of little Timmy. In this case, you simply take the rabbit to a different location at night when all the campers are asleep, and then deposit some tufts of rabbit fur around the edge of the forest. This was inspired by Caleb Strange and Tony “Doc” Shiels.

You can, if you choose, bring Timmy back to life using the vial of dragon’s blood. The re-appearance should be caused by the simplest of illusions. Described above is the illusion where two counselors would walk out with a large blanket between them.Timmy would be walking in front of one of the counselors, but behind the curtain. The two counselors then fold the sheet in half, and switch places to show the sheet empty. (Not that they actually need to show anything empty). Timmy just stands behind the folded

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sheet. The sheet is then thrown around Timmy and he “materializes”. This is much like a giant version of a silk acquittal move to make a coin appear.

The dragon meat is actually deer meat or buffalo meat or some other large animal. Tell them that dragon tastes like chicken!

42) FALSE FAITH SERVED MEDIUM RARE

“May you live in interesting times.”—Chinese proverb

“FALSE FAITH SERVED MEDIUM RARE” was inspired by Camp Dragon (Dale A. Hildebrandt with Adam White and Caleb Strange) as well as “FAITH HEALER” by Luke Jermay, and the works of Kenton Knepper, Jerome Finley, Phil Farber, and Luca Volpe. For Full Credits, see “Full Credits” at the end of this section.

WARNING: THE FOLLOWING IS MEANT ONLY AS ENTERTAINMENT. THIS IS POWERFUL MOJO AND COULD CAUSE SERIOUS HARM. PROCEED WITH EXTREME CAUTION

The following event/demonstration has its theatrical roots in “Camp Dragon”. Whereas Camp Dragon was a mere thought exercise, “FALSE FAITH SERVED MEDIUM RARE” is entirely possible, given that you have enough money to produce. I honestly

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doubt anyone will ever perform the whole “FALSE FAITH SERVED MEDIUM RARE” ‘routine’, but that they will, instead, take pieces, bits, and parts out of it and use those in other settings, other events, other demonstrations, and with other routines. “FALSE FAITH SERVED MEDIUM RARE” is, in my opinion, even more dangerous than “Camp Dragon”. This is because “FALSE FAITH SERVED MEDIUM RARE” deals with processes and demonstrations that people can believe in more easily than the average person believes in Dragons. Many people believe in the reality of faith healers and mediums, but not as many believe in Dragons. Also, everything in “FALSE FAITH SERVED MEDIUM RARE” is modular. You can take pieces in or out and mix them up to suit your needs/wants.

In order to put on the full show of “FALSE FAITH SERVED MEDIUM RARE”, you will need to make several large purchases and employ several people. Of course, I can see an up-and-coming performer doing just bits and pieces from “FALSE FAITH SERVED MEDIUM RARE” and saving back all the money they will make just from those smaller performances. Once the money is saved up, they could perform ‘FALSE FAITH SERVED MEDIUM RARE”.

Since we are speaking about expenses, let me mention ahead of time just a few of those expenses:

8 to 12 Wheelchairs, possibly more!

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3 to 4 of the largest video screens you can obtain

4 to 6 assistants for on-stage as well as collecting billets and the such

1 hidden assistant using…

The electronic transmitter for your electronic earpiece

A full gospel choir

Several Impression Devices

A faith healer robe for yourself, black t-shirts and pants for the 4 to 6 assistants openly helping you out, and robes of slightly different color for the gospel choir

Plenty of Prayer Rugs, Lourdes Water, Mustard Seed Coins, and other items for Back of Room and Upselling

And that’s just the start of it! The interesting twist in “FALSE FAITH SERVED MEDIUM RARE” is that you will come clean about being a lying, cheating, and advantage-taker in the beginning, middle, and end. However, despite warnings, disclaimers, and dismissals, you are going to have to live with the fact that if you perform this material, then there will be people who believe in the “Powers” whether you want

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them to or not. The second interesting twist is that you offer a REAL BLESSING at the end of the show/demonstration. This is appreciated as an encore by most of the audience, and treated reverently by the believers.

The three pieces that most inspired this work are “Faith Healer” by Luke Jermay, “PIO” by Jerome Finley, and “How to Be a Megalomaniac” + “How to Be a Megalomaniac TOO!” VHS Tapes by Phil Farber. The fourth major inspiration was a tale about my grandfather meeting a faith healer as a child. (See “Grandpa’s Tale” near the end of this section). We are going to go on a journey now, a trip into the fake with the destination being real.

“The Gospel Choir”

The Gospel Choir should sing uplifting tunes for 20 to 30 minutes in order to help whip up frenzy in the audience before your appearance on stage. This helps set expectations and makes you look even more legitimate

“The Wheels on the Chair Go Round and Round”

When people first start coming into the place where you are demonstrating, you will offer some of them seats in a wheelchair in the front. Some of them will be entirely healthy, others may have just crutches or canes. After everybody has been packed into the area, you will use these “instant stooges” to have them get out of the wheelchairs and be able

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to move better than before! This is why you require 8 to 12 wheelchairs, or possibly more.

“Wheel Power Reframed” WHEEL POWER REFRAMED AND EXPANDED

This brings new life to an old stunt, causing a powerful feeling of empathy on the part of the participant!

The mentalist demonstrates an exercise in empathy. Before anyone volunteers for said experiment, the mentalist mentions it will be “disturbing and unsettling, but will allow you to experience empathy in a new and astounding way.”

“Some people become so empathic through this demonstration that they cry, others laugh nervously, and still others simply stare out into space until the trance is broken.”

On the stage the mentalist has been working on there is a wheelchair. An appropriate volunteer, one who doesn’t mind an emotional rollercoaster ride, is chosen. The spotlight goes to blue lighting and is directed at the wheelchair.

The volunteer is requested to have a seat in the wheelchair. The mentalist then explains, “As a young adult, I had a relative who was confined to a wheelchair. I had sympathy for her, but no real empathy. That is, until a strange country doctor stopped by the house one

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day. What I am about to show is what he showed me. He called it an Experiment in Empathy.”

The mentalist holds his index finger on the forehead of the seated volunteer, approximately where the third-eye Chakra would be found. Right before touching the volunteer, the mentalist says, “When I touch you, you may feel a flood of emotions, and some of the greatest empathy rolling throughout your body.” While touching the volunteer, the mentalist says, “The more you try to get out of this chair, the more you realize you are stuck. The more you realize you are stuck, the more empathy you have for other individuals. As I take away my finger you will feel a heaviness leaving your body, and your body returning to its normal state, with a greater empathy for all humankind.”

The mentalist releases his finger and the volunteer is able to stand up. This is, of course, a new dressing for a rather old stunt/effect. When you have a person sit up straight in a chair, with their arms on the arm rests, and their feet firmly planted, you will be able to keep them in that position by holding your index finger on their forehead, in the approximate location of the third-eye chakra, between and slightly above the eyes.

It is the empathy theme here, and the wording, that makes this into something really special and emotional for the volunteer. Also, the structure of the wheelchair and the way people tend to sit in wheelchairs, allows the set-up for the finger trick to be done by the volunteer themselves most of the time. In other words, you won’t have to re-position

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the volunteer’s arms or ask them to sit up straight, as they will automatically do these things when put in a wheelchair.

A note from Paolo Cavalli in blue font: The first thing I would add to your wheelchair stunt would be first covertly or overtly anchor some confusion or even better - if feasible - effect wise, to anchor feeling of insecurity, instability, loss of muscular strength... all STACKED on the "third eye" point.

So that when you touch that point, later - for the stunt, you also trigger the set anchors making really difficult for the person to counter your force.

Trust me. I see that stunt failing twice in my long career (ok, not too much but it happened) ... so I would stack the deck (and the anchors... lol) in my favor.

In order to stack these anchors is a basic overt manner, I say “The strange doctor said this” and put my finger on the third eye chakra, center of forehead, “is where all your insecurities start,” remove finger and put back as saying, “all your instabilities,” remove finger and put finger back saying, “all your fears,” remove finger and put finger back, “all your worries,” remove finger and put finger back yet again, “all your weaknesses originate,” and then stick them to the wheelchair.

WHEEL POWER REFRAMED

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This utilizes the concept of “The Wheels On The Chair Go Round and Round”. By using the primary method in “Wheel Power”, you can stick people into the wheelchairs, while invoking God and the Holy Trinity and then shout “STAND!” as you remove your finger. It will look as if your touch has cured them from being in a wheelchair—a wheelchair they didn’t need in the first place, but nobody needs to know that!

WHEEL POWER EXPANDED

In this Expanded Version of Wheel Power, you will hold down two people and a third will be able to stand. “The Lord God commands thee…through the Spirit of the Holy Trinity..Stand!” Of course, it looks like the two people you were holding down are standing because you touched them and gave them the Holy Spirit’s power of healing. The third participant in a wheelchair stays seated because of a Dunninger type ploy. You will tell them, in a stage whisper, “Please don’t stand until the other two stand or they might feel left out.”

“Extensive Pre-Show Playlist”

For this portion, you will need your assistants to roam around the audience before the show. Some of the assistants will have Impression Devices to capture thoughts and questions from audience members, and they will leave the sheet written on with the audience member. Others will be collecting billets for a Question and Answer type act. You will also have your assistants listening to the audience before they come into the

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show for anything that you might use later, the way that some Talk-To-The-Dead Mediums get their information.

“As Above So Below: The Collapsing Anchor”

I first learned about this technique from Phil Farber in his “How to Be a Megalomaniac” VHS tapes. Every time the performer mentions “God”, “Jeuss”, “The Holy Trinity”, “The Holy Ghost”, or “The Spirit” he raises one or both arms to the sky as if reaching towards Heaven itself. When the performer speaks of ills, sins, and such, the performer pushes his arms out towards the audience. You now have two very powerful anchors. You have the upwards “God” anchor and the towards “human” anchor.

Invite someone on stage, use some suggestibility tests if necessary, and then “collapse the God and human anchors”. In order to achieve a collapse of anchors raise your arms skyward and say something along the lines “In the name of God, Jesus, and The Holy Ghost” and immediately push towards on the spectator’s forehead while shouting “HEAL! CAST OUT THESE DEMONS!”. Often the person you used the collapsing anchor will fall down, which is you need a couple of assistants to catch them—you don’t want to have someone land hard on their head on the stage.

“The Collapsing Anchor and Different Belief Systems”

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The system of “FALSE FAITH SERVED MEDIUM RARE” is geared toward the Judeochristian faith. This is because this faith has believers that think of God being either one person or a trinity and living in the direction of the sky. That is living upwards. These prior associations help you to collapse anchors more easily.

“MASSIVE MISSIVES: Providing a reading to everyone in one fell swoop”

This piece was heavily influenced by Sydney Omarr’s book “Answers in the Sky…Almost: Confessions of an Astrologer”. You will have the audience members reduce their birth day, birth month, and birth year down to a single digit. So, for example, if they were born on October 10, 1970, you would 1+0+1+0+1+9+7+0 and get the result 19, which reduces to 10, which in turn reduces to 1. You will give numerological readings for each number from 1 to 9.

It is beyond the scope of this manuscript to teach you all about numerology, but you can find some very useful resources written for shuteyes at almost any bookstore. This piece allows everyone to get a reading, should be uplifting, and should give the people readings that are encouraging and healing. You an also associate each number with an injury, sickness, or health problem and throw those associations out there since you are being a kind of Faith Healer.

“A Kind of Faith Healer”

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When asked what you are, the proper response for framing this routine is to say “I’m a kind of Faith Healer. I receive powers from above, as well as answers to questions merely thought of, and deliver an impactful, meaningful time to share with other people.”

“Levitation”

I recommend a subtle levitation effect, where people will be more like “Did he/they just levitate or not?” Also see “The Thirteenth Levitation” in this section.

“Messages From Spirits & The Deceased”

Remember, you have gathered questions and other information through your assistants and through the ear receiver which lets the transmitter let you know things that appear outside your own awareness. You can really go to town here and pull out all the stops.

“Not everyone will receive a message, but those who do will feel blessed. If you don’t receive a message, look for a sign in the next few days!” Now you’ve set up a transderivational search for them to find a sign in something.

“The Ash Cross”

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Have a person hold onto either a rosary or a cross. Collapse the anchors. Take back the rosary or cross. On the back of the participant’s hand, there will be ashes. Tell them they have been truly blessed.

“Healings (Trickery at hand)”

This is the old Psychic Surgery bit. You can find more information in James Randi’s “The Faith Healers” and further on in this manuscript, you can read “The Aura Knife”.

“Hurling the Hurlings”

This is an idea inspired by Burling Hull’s “Hurling the Headlines” and some Jerome Finley’s “Battleship” in his book “Psychic Directions” and Luke Jermay’s “Touching on Hoy”. Instead of hurling headlines you are going to hurl sicknesses, losses of loved ones, and so forth. Since you’re playing the part of a Faith Healer/Medium it is only natural that you would know such things. Hurl out things like “I feel the sense of a loved one lost recently”, “I am feeling lower back pain”, and other generalized statements of your choice.

“Hurling the Healings”

This is for all the people who don’t make it up on stage or don’t get picked in their seat to participate in a healing. “Those of you who haven’t participated now, I am sending out

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healing energies. You will feel these energies in many different ways. Some people swallow when they feel these energies. Some people want to stand up and dance. Others simply feel a certain calm coming over them…NOW!”

“Stigmata”

There are many Stigmata effects on the market. If you choose to include Visible Stigmata in the act, then remember that you will have blood pouring from your hands, so you will want this to be one of, if not the, last things you do.

“Video Screens”

The video screens are used for a two-fold purpose. When people are coming in, if you have the footage, there should be video of you healing other people and answering questions, etc. to set up the expectancy and set the frame for you are going to do. The other purpose is that you can project what you are currently doing so the whole audience can see without having to crane their necks.

“Three Times Fake”

At the beginning of your demonstration, you will say “I am (NAME) and I am a fake” ala David Hoy. During the middle of the program, the words “YOU ARE BEING LIED

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TO” appear on the video monitors. And at the end, you say, “I make no special claims, anybody wishing to go to the lengths I have could easily recreate this fakery.”

“Aura or Aura: Teach the Aura”

THE THIRTEENTH LEVIATION VARIATION ONE

In Short: A person is hypnotized into believing they levitated. Then, evidence shows they just may have, indeed, floated!

Presentation: This levitation is a “Paper Balls Over The Head” kind of levitation and relies on Neurolinguistics for full benefit. I refer to this as a “linguistic levitation”.

You will want several spectators around the person you are going to help levitate. You need these spectators as witnesses to prove that you did not simply lift the participant in the air through physical means. The participant will have to close their eyes at a key point in the levitation.

“I am about to help you levitate in the air. Most people feel that they are levitating three to five feet. Some people feel they float even higher than this. In order to activate this levitation I will have to open your crown chakra.

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Have the participant stand in front of you, with their back facing you. Have them lift their arms halfway by their sides. Press down on their head with both of your hands.

“Now, if you say yourself starting to levitate, you wouldn’t believe it…and you really have to believe in order for this to work. Don’t worry, the rest of the audience will make sure that I don’t simply lift you up…You will feel as if you are levitating due to a sort of trance I have created by opening the chakras…but it is important to keep your eyes closed until you float back down!”

Then have them close their eyes as you take your hands off their head, and then push up on each of their arms with each of your hands. They will feel like they are floating.

Now quickly tell them, “You can begin to float…and now you can feel yourself descending. Have you stopped floating yet?”

When they answer, “Yes,” tell them to open their eyes.

Details: By saying “Have you stopped floating yet?” I imply that they have been floating for a while with the word “yet”. You will also know they have felt they have stopped floating when they begin to open their eyes! So pay attention to their eyelids!

A touch from Oliver Meech, shared here with his permission. “It would be cool to add some kind of 'proof' that they levitated. Perhaps you could adapt a Cards Across

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presentation: have them sit on 10 cards then, while they are supposedly levitating, you say that you are inserting 3 extra cards under them. They float back down and open their eyes. Now they count their cards and there are 13. This should surprise the audience who know that they haven't lifted off the cards at any time.”

Final Thoughts: This can also be presented as astral traveling of the aetheric body or the aura being manipulated.

Credits: I found this stunt as a practical joke in the book “The Practical Joker’s Handbook” by John Dinneen on page 13. By applying certain linguistic trickery and a mystical context I have turned this into a “linguistic levitation” in a Paper Balls Over The Head moment. Slydini originated “Paper Balls Over The Head” and was a direct inspiration for the framing of this effect. Sometimes, other people will want to feel this floating/levitating feeling and you can create it for them as well.

AURA OR AURA (SOMEWHAT UPDATED) (An updated piece)

First, I will give the original “Aura or Aura” techniques in the following text (most of this text is reprinted from “Risk & Reward”). In the Updates Section, I will show you how to explore the Aura even more; and even include ways to smell and taste the Aura.

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The spectator is instructed to hold out their left palm, as if to do the beginning of a karate chop. The magician doesn’t say as if to do a karate chop, but instead demonstrates the posture of the spectator. The right hand’s fingers should point directly at the palm of the left hand. Separate your hands by about a foot. Have the spectator do the same thing with their hands; that is, have the spectator separate their hands by about a foot as well. Tell the spectator to slowly move their hand; very slowly so as not to brush air against the palm, and tell the participant they will feel a slight sensation. The sensation might be a tingling or a warm feeling, but there will be a sensation. The spectator will look at you amazed after they feel the sensation. This is taught in some metaphysical circles as a demonstration of feeling one’s own aura.

“You have felt your own aura, and you now know that auras exist. No, I am going to teach you to see auras. Focus your eyes on the wall in front of you. Now, let your eyes widen their vision, so that your vision encompasses the whole wall without moving your eyes. Let your eyes slightly defocus, in other words. Now look at an object [or your hand or a person] with this mode of vision and you will see a faint aura. That is how you see auras.” Simply follow these instructions, and your audience will be seeing auras. So will you. Give it a shot.

Next, you can demonstrate to the entire audience how they can feel the vibrations of their auras. Have them hold their arms out in front of them, palms down. Then have them intone the world “OM”. They will feel a vibration in their palms. I’m not exactly sure what the scientific explanations are behind this, but I do know that it’s great fun and an

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easy way to “prove” the “vibration” of an “aura”. You can find this method taught in a couple of metaphysical books. These three items when put together make for a great, convincing proof of auras.

I don’t know the exact explanations for these things. I simply know that these demonstrations work and that they are useful when applied properly.

STRANGE SENSATIONS

After reading this, Caleb Strange was kind enough to send me the following:

Aura or Aura: a dazzling borealis of wonders. I love this! Blurs the usual line between performer and audience. I’ve been having great fun with this. One thing I’ve found is that it is possible to stir the pointing fingers, and a corresponding movement is felt in the other palm. T his feels very spooky, if you, as the volunteer, have your eyes closed, and the performer places his/her pointing hand flat against yours (knuckle to knuckle), then stirs silently and slowly. Creepy and intimate.

Now, this stirring could lead to something Jermay’s A Twisted Palm [found in “7 Deceptions”], where the movements of the performer’s hand above the palm are felt as well as seen. However, more interesting is that I’ve found your aura effects one and two can be combined. Start off with feeling the aura. Then stir. Then have them see the aura of the hand. Then stir, so that the aura is seen to move even as this movement is felt.

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Finally, this is a theatrical detail, but for the ‘entire audience feeling the aura OM bit’, then I would have everybody standing to begin with, but tell people to sit when they feel the effect. That way, dozens of these private effects are experienced more generally— “Oh, crikey! George has sat down now! What on earth is going on here?” (Actually, I think this is one of the challenges of suggestion magic. How to make one person’s internal experiences external and visible to many.) Anyway, this sitting-down when you feel your aura is coercively persuasive, and acts itself, as a powerful suggestion.

“THIS SWAY’

I shall provide three “sway tests”. The first two involve physically touching the participant. The third test has you simply motioning and the participant following your pull. The first two tests are from “Body Magic” by John Fisher, with updates and tips from me. The third test is a standard aura test in the occult field. You can find one example in “How to See and Read the Aura” by Ted Andrews. I have, of course, put a spin on this aura pull by adding in some suggestion and also the conditioning of the first two physical sway tests.

SWAY ONE

“I’m going to put my index fingers on two points of what is known as the Triple Warmer in Energy Work. I want you to relax as much possible. Put all your weight on your

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heels, relaxing more and more. Now, let your arms dangle at your sides. Close your eyes and lift your head up and back. Imagine that you are falling…falling…falling…when you fall I will catch you.” The participant then falls into your arms after you remove your index fingers.

This is an effect from Body Magic by John Fisher dressed up with suggestion and tied into an Energy Work framework. From behind the participant, you put both index fingers on the back of the shoulder blades of the participant. Proceed with the above script, and the participant will fall backwards into your arms—be sure to catch them. Part of the suggestion that helps this work more often is “when you fall” implying that they are going to fall, it is only a matter of time. When presenting this demonstration it is important to imply the Energy Work being done and the suggestions are to emphasized so that it doesn’t look as if they are falling only because you ask them to fall. It must be implanted into their minds that suggestion combined with Energy Work is the cause for the fall.

SWAY TWO

“Now, I’m going to hold what is known as a Neurovascular Point in Energy Work. I want you to rest your weight on your toes and let your arms relax to your sides. I will press the point and you will let your head drop forwards…with your eyes closed. Now, I want you to feel the sensation of falling…just as before…and when you fall you will be caught.” The participant then falls forward and you dutifully catch them.

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This time you only need to hold one point, putting your fingers of your right hand on the left temple of the participant’s forehead. If you follow the above scripting, the person will fall or slump over, and you must be sure to be ready to catch them. This is another dressed up physical “stunt” from Body Magic . Next, things will get even more interesting.

SWAY THREE

This is the first of the two non-touch methods for making a person sway; they may even slump or fall over depending on how deep you have conditioned them to behave in the previous Sway Tests. You will be standing behind the participant this time; the same participant from Sway One and Sway Two. Actually, it will look as if you are completely behind them from the side, but you can (optionally) be in their peripheral vision. When you are first starting and first experimenting, get as close as possible to the participant without touching them. Now, you will make gestures as if you are pushing forward and then backward, rapidly do these gestures then slowly slow down the rate of pushing and pulling—this will emphasize the effect more as the participant sways forward even the slightest fraction, and sways back even the slightest fraction . “I will be pushing and pulling you without touching you. I will be influencing your aura. Accept this suggestion; you have seen how the Energy Fields can be redirected in the previous two tests; now allow yourself…your body…to sway…in motion with my pushing and pulling as you feel it now. Swaying you back and forth…almost unconsciously.” Again

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be prepared to catch the person! The words in italics are embedded commands.

SWAY FOUR

This is a piece that I figured out while describing Sway Two and Sway Three. In Sway Two, you put your fingers on a temple of the forehead and have the person fall. In Sway Three, you don’t have to touch the person to get them to sway…and on rare occasions Sway Three will have the person falling too. In Sway Two, you have set up a very effective anchor. At the beginning of the Sway Two instructions, explain, “Every time I touch your Neurovascular Point in this manner, you will fall down.” You are anchoring the experience of touching the point on the forehead with the physical reaction of falling down.

Run through Sway Two a couple of times and then you can go to Sway Three for a bit of a pattern interrupt. Then go back to Sway Two, but do not touch the point on the forehead. Simply reach towards the point and push down in the air as close as you can get to the participant without touching them. Properly done, many people will fall over at this point and it your responsibility to catch them. This is similar to some techniques used by faith healers. Here we are framing it as Energy Work. We are setting examples and conditioning the participant until we no longer have to actually make physical contact.

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SWAY FIVE

While talking about “Swaying”, I would be remiss not to mention this ideomotor sway effect. This effect has been around a long time, but I have rarely seen it performed and it takes a lot of guts.

You will need a few people—enough to make a circle around one person when holding hands in the circle. One person will be sent out of the room, while the rest of the participants choose a “target person” for the out-of-room participant to guess. The party present in the room is told to think of only the Target Person and nothing else—just keep silently repeating the Target Person’s name.

The out-of-room participant is brought back into the room. This participant is put in middle of the circle of people. The circle of people hold hands with each other, but the participant is in the middle of the circle. “Just let your unconscious go and let your body sway towards the chosen person, your unconscious will pick up on little cues and details from our body language.” Eventually (in most cases) the participant sways toward or even falls toward the Target Person .

SWAY SIX: HUMANDULUMS

Ever wanted to demonstrate pendulum work, but forgot your pendulum and/or there is nothing around to use as a pendulum? Well, I have great ‘news’ for you!

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Humandulums is an impromptu method to solve this problem. This will leave an astounding effect on your audience demonstrating your supreme control over almost anyone! This is an extension of “SWAY FIVE”. You will be using humans as pendulums. Specifically, you will be using “ideomotor response” disguised as “energy testing”. Earlier you learned about “Central Meridian One Arm Strength Test” in the section labeled “THREE PHASE MODULAR ENERY TESTING”. It is a simple manner to apply this arm energy test as a substitute for pendulum work.

You can also condition a person to sway forward at the sight or sound of a certain phrase and sway backwards on the sight or sound of a different command using hypnotic/NLP conditioning techniques. Have the person sway forward each time you show the word “LOVE” on an index card. As they sway forward make a slight motion with your other hand towards yourself. Now ask the person to sway backward each time they see the word “HATE” on an index card, with a subtle pushing of back of your hand. Now, show them the LOVE/HATE cards in different orders, and for the final test tell the participant you will merely think of one of the emotions and they are to let their unconscious decided on which way their body shall sway. Look at one of the index cards but don’t show it. If the person sways forward show the card and it will say “LOVE”. You should be concentrating on the emotional content of the word LOVE throughout the routine every time you show the LOVE card; just as you should be focusing on the emotional content of the HATE card each time. Of course, if things don’t go your way for some reason,

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you have the opportunity to do a top change which allows you an out because you do not show the face of the card until after the person sways.

SWAY SEVEN: FAITH HEALERS

I’ve saved one of my favorite “Sway Tests” for last. This is based on the work of faith healers who claim to be “real”—whether they are or not is not the subject of this writing. But there are some interesting techniques you can use to duplicate the feats of these faith healers. You will find some great techniques talked about on “How to Be A Megalomaniac” by Phil Farber (VHS, I believe it has now been converted to DVD). Essentially you will “collapse anchors” to achieve knocking down an adult human with the power of a simple touch. There is also a more violent method that is sometimes employed—either with the simple touch method or in lieu of the simple touch when the touch method doesn’t work.

I will be using some “theological” terms such as God and sinners in my example, but you can easily replace God with “The Force”, “The Universe”, or perhaps for humorous touch “Flying Spaghetti Monster”. Each time the faith healer refers to God in a profoundly deep “preacher’s voice” he raises his arm and hand palm up as if reaching up to “Heaven”. Each time the faith healer refers to “sinners” or “hell”, the palm is pointed towards the congregation or even towards a certain member of the congregation. Now a member from the congregation/audience is brought up. One anchor has been set for “God” and the other anchor has been set for “sinners”. The faith healer “collapses” these

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anchors by reaching up and then in a fast motion coming down with his hand on to the forehead of the participant. This creates a collapsed anchor condition and with the a preconceived notion that the member should fall down, this collapsing anchor further cements the outcome.

The second method is that many times faith healers hit a pressure point on the forehead. This guarantees the fall of the person, even blacking them out, but is quite dangerous and IS NOT RECOMMENDED IN ANY SHAPE OR FORM. Knocking people out by hitting them in a nerve/pressure point IS NOT ENTERTAINMENT, IT IS ASSAULT!

ON THE SUBJECT OF “FAITH HEALING”

Here is a little body stunt that you can create semi-miracles with when presented with the right circumstances. This is a natural way to clear your sinuses. Of course, if you instruct someone else on how to do this you may be prosecuted for practicing medicine without a license so tread carefully. You put the index finger of your dominant hand on the center of your forehead, in between your eyebrows, and press down hard for thirty seconds. After thirty seconds, as you take away your finger, you push the tip of your tongue on to the roof of your mouth. Alternate these two actions a few times or even for thirty seconds to a couple of minutes and you will feel your sinuses begin to drain. This works by rocking the vomer bone back and forth.

THE INVISILBE ROSE INDUCTION AND ROUTINE

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I cannot believe I am tipping this here; if this is all you got out of this write-up, you would have been well rewarded. This could well have been its own manuscript. This induction and routine(s) is a real game-changer in the correct hands. I’ve provided the Macro Rose Room, the Invisible Rose Induction, The Rose Game (which can be tied into the Invisible Rose Induction or used separately), The Rose Chain Multiple Inductions, The Invisible Rose Routine, The Rose Anchor (Scent/Physical/Emotional), and even The Rose Bloom Closer. What do Roses have to do with Auras? Well, people often claim to smell the scent of roses during energy demonstrations and other demonstrations; the scent of the rose is sometimes thought to be an entity communicating with someone present in the room, and the scent of the aura can be defined as the scent of roses because as Kenton Knepper has pointed out: Definition=Creation. According to Ted Andrews, in esoteric Christianity, the chakras were referred to as “roses of light.” This routine was inspired by a man referred to as Steve P in the book “The Game” by Neil Strauss, as well as by some occult influences, and the kicker ending is heavily, heavily inspired by Caleb Strange. Basically, I wanted to re-create a rapid thirty-second induction I read about Steve P performing (he used a paper rose) combined with the concept of the scent of roses invading a room, and then I determined it would be best to go full-blast, all-out and provide you everything for an incredible, yet modular, rose induction and routines.

MACRO ROSE ROOM

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Effect: Nearly the entire audience feels the presence of a spirit(s) and smells the scent of roses.

For this to work, the mood and atmosphere must be set appropriately. After a few wellplaced subtle effects, you can go into “Macro Rose Room”.

“I feel a presence in this room, if you hold still and breath deeply, you may feel the presence and now I want you to imagine you are in a rose garden, full of roses upon roses, rose after rose, and you reach out and pick up one of these roses…hold it up to your nose…and let the scent actually become real…now…as you smell the rose.” The italics are embedded commands.

This technique will allow almost everybody to smell the scent of a rose. You are combining touching the rose with smelling the rose which can be seen as a form of synesthesia. This effect is best performed after already “showing your credentials” by performing material in the same vein as this, such as mentalism or psychic entertainment. You can also have the audience stand and then sit when they smell the scent of roses, which will act as indirect peer pressure, a tactic I first learned from Caleb Strange. Notice who sits down the easiest and has the easiest time in being able to smell the roses and you will have found the perfect subject for the next phase!

THE INVISIBLE ROSE INDUCTION

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An invisible rose is smelled by a participant, who then goes into trance. This can be utilized as an almost-instant induction. This is even more powerful when you select a subject that followed your directions and commands and was successful at processing those directions in the “Macro Rose Room”. This time, however, we have a little more to go on then just suggestion. We are going to cheat a bit and use an “invisible prop”!

We shall assume the name of the participant we have chosen for this demonstration is Anna. “Anna, I’d like to try a little demonstration with you…something fun that…you’ll remember for the rest of your life. Now, you were able to smell the imaginary roses in the imaginary rose garden and it all seemed so real, correct? Now, I have an invisible rose, right here, in my hand. I’m going to hold it up to your face and you’re going to go into a deep trance, the stronger the scent of the rose, the more deep you will go into trance…just smell the rose, yes, that’s good, and let yourself go down…deeper and deeper…and now…sleep!” The embedded commands are in italics; however the scripting can also be viewed as very direct in its overtone for those who don’t like embedded commands. There is an upswing or downswing depending on you preference when you get to the underlined, italicized word “sleep” in the scripting. What about the “invisible prop” that I mentioned earlier? Well, you are going to guarantee success that Anna will at least smell the scent of a rose. Soak a cotton ball in rose-scented oil and put it into a thumb tip. When it comes time to do this portion of the modular-phase routine, you will have slipped your thumb momentarily into the thumb tip inside your jacket—the best time to do this is while you are performing “Macro Rose Room”. Now, you have the scent of a rose on your thumb, so when you bring your hand up Anna’s face, she

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REALLY DOES SMELL THE SCENT OF ROSES! There is no denying this point, and if she REALLY SMELLS the rose, then when you direct her, Anna must REALLY GO INTO TRANCE! This is similar to the “Ball & Tube” advice given by Docc Hilford. It is also similar to pacing realities from the practices of hypnosis and Neurolinguistic Programming. You are also utilizing FRACTIONATION when you combine this induction with the “Macro Rose Room”. You have put Anna in one trance about roses, and now you are bringing her back out of that trance and putting her right back into another trance related to roses. You are also stacking a reality—if you smell the rose(s), you will go into trance!

THE ROSE GAME

“Effect”: A psychological test/profile combined with a variation on the “Invisible Rose Induction”.

Presentation: You give a rose to a participant and describe that this rose will be used to perform a psychological profile/reading. On a piece of paper you have a circle divided into sections such as “Wealth”, “Love”, “Health”, “Manifestation”, “Intuition” and other such items. The person is instructed to close their eyes and let the rose fall from about three to four feet above the circle. Wherever the rose flower part drops there is a reading given, but as the rose drops you also say “As the rose drops you can drop into a trance at any moment…even now”.

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ROSE PETAL PENDULUM

In this idea, a hidden rose is found through the use of a witness pendulum. A witness pendulum is a pendulum with a chamber that you put objects into. In this case a rose petal is put in the witness pendulum, and as the volunteer’s back is turned another volunteer hides a rose in one of four containers. The first volunteer turns back, calibrates the witness pendulum appropriately, and then finds the rose. You get the pendulum to swing correctly by focusing your own energy and ideomotor responses through the wrist or shoulder of the first participant as you know where the rose is located.

THE ROSE KEY MANIFESTATION

A quick idea: A key visualized inside a rose materializes in the séance room and is then found to be under control of hidden forces. (Haunted Key presentation)

THE ROSE CHAIN MULTIPLE INDUCTIONS

This is how to induce multiple people who are standing in a circle to become hypnotized by the scent of roses. Mention the scent of roses permeating the room, and sniff a bit loudly. You may want a stooge to say that they are starting to smell the roses. Once everybody is smelling roses, put them under via your favorite induction.

THE INVISIBLE ROSE ROUTINE

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This is my routine involving an invisible rose that soon turns visible, and allows for a reading to be done. You will use suggestion to get a participant to smell a rose as in previous sections. Next, you will use any suitable rose production method. Then, by the way they react to the rose you will give a reading. If they take the rose from your hand this tells you a lot. If they are afraid of the thorns or fearless of the thorns you get a lot of information. Basically, you will be doing some warm/hot reading based on how they react to their imaginary rose becoming real. Finally, you will give them positive suggestions about how their inner visions can be manifested given enough will power, determination and action.

THE ROSE ANCHOR

Another quick idea: Anchor the participant(s)’s psychological states and hypnotic responses to an invisible rose, paper rose, or real rose—as you see fit.

THE ROSE BLOOM CLOSER

Inspired by Caleb Strange, a séance type manifestation of rose petals occurs after the induction(s). You can either have a single rose manifest at the door of the séance, or you can get some helpers to create the Fortean phenomenon of raining rose petals ala Caleb Strange in his book “Garden of the Strange” starting on page 107 titled “A Rose Without Thorns”.

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Final Thoughts: For the Macro Rose effect you might want to also mention that other members in the audience may smell jasmine flowers and others can smell cigar smoke. Cigars, jasmine, and roses are the top three scents for spirit manifestation. I personally have a spirit manifestation that smells like chewing tobacco but that story is for a whole different place and time.

THE AURA KNIFE

Ever wondered how to combine the Color Changing Knife, Aura Cleansing, and Psychic Surgery? No? Well, I have!

In the Aura Knife, you bring out a pocket knife from a nice cloth bag. The knife is white on both sides. You explain that the knife will never enter the body of the psychic surgery participant—that this knife is there merely to gain its etheric double. You scan it across a participant to cleanse their Aura in preparation for Psychic Surgery. The knife turns blue on both sides which are a good omen, you explain, as it indicates a sign of healing. (WARNING: THIS IS FOR ENTERTAINMENT PURPOSES ONLY) You put the knife back in the cloth bag and have a second participant hold the cloth bag above the midsection and/or heart chakra of the psychic surgery participant. Here, you can perform the standard psychic surgery routine with the bladder full of chicken guts. You wipe your hands clean on a nice white towel and then you instruct the participant holding the bag to

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check out the knife. The knife now has a bloody thumbprint on one side and a bloody fingerprint of the index finger on the other side—you have, of course, switched the bags and performed a variation of the Color Changing Knife combining it with some Aura Cleansing and a bit of Psychic Surgery.

This has been a somewhat updated piece of “Aura or Aura” which originally appeared in the manuscript “Risk & Reward”. There are still quite a few avenues I have yet to explore which will appear in a future manuscript, but what I have added so far should keep you busy for a little while.

“Negative Arm / Positive Outreach”

Effect: A person stands with their right arm outstretched in front of them and then turns their arm sideways. The person is positioned so that they are one arm’s length away from a doorframe. The person is then asked to touch the doorframe, which they easily do. The mentalist then has the person put their right hand on their own shoulder and rub their elbow vigorously. As the rubbing of the elbow is being done, the rest of the audience is asked to think and project negative thoughts towards the person who is rubbing their elbow. The elbow rubbing is done for around thirty to forty seconds. When the person, has now been negatively charged by the audience, attempts to touch the door again, they find that somehow, inexplicably, their right arm is now shorter and will not reach the doorframe!

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Method: I still don’t understand why, exactly, this works. I do know that you cannot expect a 100 percent hit rate, but there is around a 75 to 80 percent success rate in my experience. Just follow the instructions in the Effect section, and it will work most of the time. It seems to work best when the person’s feet are together, they are exactly an arm’s length away from the doorframe so only their middle finger touches the door, and they are not double-jointed.

A subtlety you might want to try is making a chalk mark on the doorframe so the person puts their finger on the same spot each time.

Credits: “Party Games and Rotten Tricks” by John Dinneen on page 20 has a description of “The Short Arm”. I added in having the audience project negative thoughts and throw those negative thoughts towards the volunteer to make this a better piece of theatre and also to fit it into an “Energy Testing”-style premise of performance.

“Sir Newt: Re-growing the Arm”

Jerome Finley has a powerful routine called “Growing Limbs” that you can use to grow the participant’s arm back to normal in the previous routine.

“A REAL BLESSING”

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After delivering your final line about not being real, you say “I shall give you all a Real Blessing tonight. Breathe in through your nose and out through your mouth on a three count for each breath. Imagine that your aura around your head is tingling and expanding. NOW, feel the blessing descend upon you and look for them in the near future.”

“Grandpa’s Tale”

When my Grandfather was a young child, a faith healer rolled through his town. My grandfather thought the faith healer was a fake and a conman. That is, until the faith healer had dinner with my grandfather and his family. The faith healer looked at my grandfather and said, “You don’t believe me, do you? Well, pick up your fork.” My father tried and tried to pick up the fork, but just couldn’t do it. This tale was told to me by my grandmother many times. There are some things that you just cannot explain.

“FULL CREDITS FOR FALSE FAITH SERVED MEDIUM RARE” The following are credits for the Faith Healing portions of the above routine:

“Faith Healer” and “Building Blocks” by Luke Jermay “Psychic Directions” and “Psycho-Spiritual Magic” by Jerome Finley “How to Be a Megalomaniac” and “How to Be a Megalomaniac TOO” VHS tapes by Phil Farber “The Faith Healers” by James Randi

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43) THE $387.00 GHOST FROM eBAY

“Did you know eBay implemented a policy to prevent people from selling more ‘haunted’ or ‘ghost’ items on their service? Fortunately, I found this on eBay before that policy was put into effect. This is a Ghost. His name is Henry. I was the winning bidder with $387.00 USD coming out of my pocket. I always wondered why they called it “winner” instead of “highest bidder”. Either way, I think I’ve come out on top. You see Henry the Ghost exists. He doesn’t do much. He just sort of rests on his side. Not a very proper ghost, eh? But I paid a good amount of money. I won the auction! Did I mention it cost me $387.00 USD? Some people don’t believe in my eBay story or in Henry the Ghost. But Henry usually proves them wrong. You just have to know how to coax him into doing something. Henry prefers the hand of a beautiful woman. Henry was quite the womanizer when he was alive and being dead hasn’t much affected that aspect of his personality. Be careful with him, I did mention it cost me $387.00 USD didn’t I?” The bottle that has been lying on its side on the performer’s palm is put into the palm of a beautiful young lady. The bottle is pushed down, but it mysteriously rights itself and stays standing. The bottle is pushed down again. It refuses to stay down. “Henry’s tired after such a workout,” claims the performer. The performer displays his hand and puts the bottle in his hand. The bottle stays on its side—and this time there is no gimmick involved or to be found!

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You may have guessed by now that this a presentation framework for the Imp Bottle. An Imp Bottle is included with every purchase of the first print run of “Sacred Tricks”. The first part of the story, where the bottle rests on its side in your hand, utilizes the gimmick, which is a small cylindrical weight. As you meet the eyes of your audience, you steal out the gimmick. Ditch the gimmick in a pocket as soon as possible. There is a way to hold the Imp Bottle so it rests/lies on your hand! Now, I may have rediscovered the wheel here, but this was found out in a performance situation. Hold your hand out with all five fingers splayed and stretching them backwards as far as possible. When you put the Imp Bottle on your hand you will be able to rest it on its side! And if you close your fingers slowly enough in a cramped enough way, the bottle will stay resting on its side. How’s that for some super-fun super-sneakiness?

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