Luke Jermay Building Blocks

Building Blocks by Luke Jermay

an alakazam magic publication www.alakazam.co.uk and www.readminds.co.uk

“...the power so to persuade them greatest secret, of the greatest magician’s -

the main secret, of the

success - lies in the skilful use of

suggestion”

Professor Hoffmann - 1911

Luke Jermay - 2003

Building Blocks

“An examination of suggestion techniques in combination with classic conjuring methods” By Luke Jermay

© Alakazam Magic October 2003 Published by Peter Nardi and Alakazam Magic. First edition October 2003 www.alakazam.co.uk

Books By Luke Jermay 7 Deceptions Building Blocks

Building Blocks Building Blocks Building Blocks Written by Luke Jermay

Edited by Mark Elsdon Proof read by Kaye Pudney Illustration & Cover Design by Adrian Gower Layout, design and page set by Jon Robinson; Agent X Creative

Published by Peter Nardi and Alakazam Magic www.alakazam.co.uk and www.readminds.co.uk

©All copyright owned in its entirity by Peter Nardi and Alakazam Magic, October 2003 No part of this publication may be reproduced, copied, stored or transmitted in any form whatsoever without the prior written consent of the publisher.

From the Publisher Welcome to Alakazam Magic’s latest publication, ‘Building Blocks’ by Luke Jermay. We consider it a real coup to be able to add this superb book by Luke to our range in this exciting aspect to our business. Along with ‘7 Deceptions’, ‘Building Blocks’ is Luke’s second written work. Like his first, this book will not disappoint. With many years of experience in the field of mentalism and magic, Luke’s work fits right into place within our portfolio and we are proud to be able to put our name alongside his. Not just a highly talented sleight of hand magician, Luke has a deep understanding of and a tremendous ability in the psychological techniques and stratagems so important in an increasingly popular side of our art. Remember his name. There will be more to come, of that we are sure.

Peter Nardi Alakazam Magic

For more information about Alakazam Magic please visit our web sites at: www.alakazam.co.uk and www.readminds.co.uk

contents Foreword Introduction

By Steve Banacheck By Luke Jermay

page 9 page 13

Section One Section Two Section Three Section Four Section Five Section Six Section Seven

First thing first Definition is creation The power of silence The old witch doctor Convincers The building block technique An essay by Kenton Knepper: “What are you suggesting by using suggestion” Mixing magic and mentalism Methodology Effects

page page page page page page page

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 11. 12. 13. 14.

page 62 page 68 page 74 page 81 page 86 page 92 page 100 page 110 page 116 page 122 page 128 page 136 page 140 page 149 page 158

Section Eight Section Nine Section Ten

Afterword

‘Divided by hate’ ‘Stigmata to go please’ ‘The kats kradle’ ‘The ernie ball book test’ ‘The ice man cometh’ ‘Stuck in a moment’ ‘A remote castle’ ‘Blind sentence’ ‘Personality projected’ ‘A safe anchor’ ‘Out of (t)his world ‘A presentation’ ‘A strange garden’ ‘Judgement day’ ‘Zeroing in’

By Peter Nardi

16 19 23 27 33 42 45

page 51 page 55 page 59

page 162

foreword by Steve Banachek

7 Deceptions, this was the title to one of Luke’s previous books. The title itself was deceptive, yet to magicians and “mental magicians” the title made sense. Here were seven tricks (deceptions), but to working mentalists it was quickly understood that there were certainly more than seven deceptions contained within, more like 100. Probably the book should have been titled: 7 effects, 100 deceptions. Some have dismissed much of Luke’s work as “effects that don’t always work.” Others have heralded Luke’s progressive thinking. Why the vast chasm? Again it was and is the difference between mental magic and mentalism. Not that there is anything wrong with mental magic, but THERE IS A DIFFERENCE and Luke clearly understands the difference. Which brings us to this book; it certainly has a more apt title, Building Blocks….. but I wonder how many will understand what Luke is really trying to say? Let me, from a personal standpoint, try to explain. I once wrote a book dedicated to the nuances and psychological subtleties involved in being a mentalist. In writing the book I took it for granted that most would understand it was not the effects in the book that were important, but the small bits of business that structured each effect, these were the gems I was trying share; how you said something, when you said it, what you page 9

did not say, why you said something and even more important, your attitude when you said something. It was amazing to me how many people told me they just did not get it. Yet over time, almost all of these people who “just did not get it” have corresponded with me in some manner telling me that they have re-read my work, applied it to their own effects over time and now thank me profusely. One even re-read the book, looked over the videotape of his show and made three pages of notes where he could improve his presentations. So how does this apply to Luke’s work? Two reasons stick out the most. I have heard a few people say almost the same things about Luke’s offerings (“I don’t get it, it does not work all the time.”) but even better, Luke has broken it down for you, something I wish I had done. He has even given you the title to explain it; Building Blocks is not about a child’s toy, it is about how to appear to be a “real psychic”. If you go straight to the effects in this book and skip over the “building blocks” you can count yourself in that elite status of being a magician or one who does “mental magic” and more than likely a few of Luke’s effects will not work well for you, or never work for you at all. Again, there is nothing wrong with mental magic if you are presenting that, but this work is about so much more than just magic. Luke gives you powerful TOOLS to work with, don’t expect these tools to work all the time with everyone but do expect them to enhance what you already do and do expect that not only will they enhance what you do, but you will be better suited to choose the right individuals to get the job done and make it work more often than not. I personally want to thank Luke for taking me back to my roots. In my early days I took chances knowing that usually (not always) I had a way to create a powerful outcome no matter what the reaction of the spectator participating. For example, it is indeed page 10

powerful to bend a spoon or coin in someone’s hand, but how much more impressive is it to have a spectator tell you they feel it bending and moving in their hand? Although Luke does not tell you specifically how to do this in this book, he does give you the tools to do so; honesty suggestion, heat suggestion, power of silence, definition=creation, and the most important thing he gives you is your attitude or belief something is going to happen. If you believe in what you are doing as you do it, it will convey the right attitude and body language to a spectator, for instance you might subconsciously nod your head as you ask the spectator if they feel anything. This subconscious nodding of your own head will indeed cause most spectators to reply in the positive. At first you may not know why spectators respond the way you want them to, but over time you will learn the how’s and why’s, but the starting point is the positive attitude and belief you convey, your attitude will influence the spectator more than you could ever imagine. Since reading Luke’s work I have taken a step back in time and now no longer rely upon the effect to impress the audience (a trap I had fallen into over the years), people again feel the prick of the needle as it pierces a copy of their hand, they feel the fork bending in their hand. Every sensation is enhanced and as a result, every effect is enhanced. Does it always work, no! But 90 percent of the time is okay by me if it enables me to be more “real” when I am in the moment; it is well worth the chance taken. I challenge you to take these ideas and subtleties and apply them to your own work. If you do, I guaranteed you will not be disappointed. Thanks Luke for taking me back to my early days. Having talked about the building blocks, let me briefly talk about the impressive effects in this book. My favourite effect from a magical point is “A Remote Castle”, to me it shows that Luke, as young as he is, not only has an understanding of the subtleties of our art, but can also create a great visual presentation. As with all of Luke’s writings so far, there is much more to his thinking than page 11

what you see on the surface. With fresh presentations like these, I look forward to the future of our craft. In thoughts Banachek Sept 27, 2003

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introduction by Luke Jermay

Welcome to my second collection of thoughts focusing on the combination of suggestion and the classic principles of Mentalism and Conjuring. In my previous work, “7 Deceptions”, I simply explained effects and their wording and spoke of the power of the suggestions they had built-in. I have tried to move away from that type of writing in this work. I have, instead, offered the reader a detailed break down of the techniques I use throughout the book, as well as providing a number of full effects and the full scripting in the second section of the book. The thinking in the book has been heavily influenced by many great thinkers. Kenton Knepper, Steve Banachek, Tony Andruzzi, Docc Hilford, Ford Kross, Chan Canasta and many more. I have to say a massive thank you to each and every one of the above gentlemen for sharing their thinking with those willing to read and understand. I hope you will be willing to read and understand my work too and more importantly I hope you will find a thing or two to start your own mind working. I titled this book Building Blocks for a simple reason. I consider the methods taught within these pages to be more than exclusive page 13

to the illusions they accomplish in my performances. Each method is a block that you too can slip into place when building your own routines. They can even be added into the effects you already perform. Let us now briefly look at the types of material covered in this volume. You will find within these pages a selection of material that can more or less fit into three main categories. The first is sure-fire Mentalism or Bizarre Magick. This needs no real words of introduction, these effects are sure-fire, tried and tested performance pieces borne from classic principles of conjuring and Mentalism. The methods employed are simple but like everything in this volume do require a good strong presentation in order for their full effect to take place. You will notice that some of the effects such as The Ice Man Cometh and A Remote Castle require a little preparation and staging or order to achieve the desired effect. To my mind this preparation is more than rewarded in the long run. The second and to my mind the most interesting type of material is that in which a combination of suggestion techniques and magical methods become as one to aid the deception. In such material strong and resonate effects are made possible in a way that could never have been dreamt of without the use of suggestion. Effects such as Projected Personality would play well without the suggestion sequence but becomes something more than the sum of their parts, taking on a new level of strength due to the combination of suggestion and deception. Suggestion and deception can bind together like bricks and mortar, making a powerful and bold effect possible. Such routines also have the advantage of being able to play with or without the suggestion sequence. If for some reason the suggestions are not taken as well as one would have hoped all is not lost. It allows the page 14

performer the opportunity of honing his suggestion skills without the menacing fear of failure. The final type of material is that in which nothing but suggestion is employed. This is a style that is both bold and courageous. It opens a new world of adrenaline rushes during performance and is to me the most rewarding when successful. In these routines there is nowhere to hide. You must be confident and experienced with suggestion. I normally include one or two of these effects in a performance. They afford us the power of prop-less and powerful Mentalism and help us keep our wits about us, making every performance fresh and exciting. This kind of material could also be said to cover the realm of psychological forcing, something I enjoy performing immensely. In effects such as In Thoughts and Words we will see bold and powerful psychological methods used to provide wonderfully pleasing results. Let us now begin our journey. Luke Jermay.

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section one

first thing first... ...first thing first

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First Thing First

This is something that I always find myself stressing in a lecture situation. We as performers sometimes neglect to understand that when working with suggestion everything we already do has its own inbuilt suggestion attached to it. It is not simply enough to concentrate on our scripting alone. The way in which we move and how each effect is framed and introduced is vital in the success of a routine that centres around suggestion. Let me use an example from my own repertoire. The effect with which I open my set has nothing to do with suggestion. It is a classic application of a sure-fire principle. Despite this, I always introduce it as being something that is all about suggestion and is in fact not very easy for either myself or the spectator taking part. I seem very happy and thank the spectator for their effort and explain that they really did brilliantly to have been so receptive during such a difficult sequence. I then move onto an effect that does work around suggestion and open it with the words: “Ok let us move onto something a little easier - now you are accustomed to such things.“ This speaks on many levels. As do I when I state it. I seem more relaxed and appear more confident with this effect. The suggestion inheriting within these words and actions when combined are simple. You are communicating to your audience that what you are about to do will work and you appear to have no questions or doubts in your mind about this. page 17

There is no other outcome. This will work. The effect faking suggestion, which precedes an effect that actually makes use of suggestion which will follow the ‘something a little easier'’ line, has been said to be somewhat like a placebo experiment in which someone was wired up to receive a painful electric shock. They would rate the shock 1-10. When the brief shock reached 10, a placebo saline solution would be injected, and the patient would be told that a new wonder painkiller had been given. The experimenter would then secretly turn down the electric juice a little bit, and re-shock the patient. Only a 7 this time. This process was repeated three or four times, a lower level of shock being given after the placebo injection. Then the patient would be shocked and injected again but this time, when the shock was given after injection, it would be left at its original level yet felt only as a 5 or a 6, i.e. like the lower amp shocks. The upshot of this seems to be that by accumulating suggestions, we can make our subsequent deceptions stronger. I feel this could be used to add some kind of contrast with a oneman show, turning the dial lower every now and again, and then blasting full at the end. It makes the final effect even stronger.

page 18

section two

definition is creation... ...definition is creation

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Definition is Creation “By the very simple action of defining we create”

This is the first rule I apply when constructing a routine centring on suggestion. It is a simple and yet powerful rule to go by. If we state it in its simplest form it is to say: by hinting to a spectator what they are about to experience you have actually made a suggestion of what will happen. This simple and, when read, somewhat obvious rule is actually one of the most powerful in the type of work I use. If you tell a spectator what is to happen but in truth leave the definition open to their own personal interpretations, they expect something to happen and will find this ‘something’ themselves. Once this first ‘magical’ event has happened it is easier to work with more specified suggestions as they will try to fight it less. Now clearly just coming out and saying to a spectator, “You will feel the ring heat up” will not only doom the effect to failure in 99.9% of performances but also make you look like you have some problem with social interaction. With a rule so broad it can be difficult to see exactly how one would apply it in a real working situation so let us examine it using the example given of a ring held in the spectator’s hand becoming warmer and warmer. “Would you mind helping me for a moment? What we are going to do may be a little scary but it is nothing to be worried about; there will not be any after-effects. It’s just like a little mind game. If you would not like to help, it is fine.” These opening statements do several things. They begin by setting the tone. I have openly stated that something strange will happen. page 20

I have however not specified what that strange event will be. I have also given some weight to the effect but introducing it with the ‘no long term after-effects’ statement. This tends to force the spectator into thinking more deeply about whether or not she would like to help. I find this very useful when choosing a welcoming and suggestible spectator and we will cover more on this subject later in this volume. It has also pinned an underlying theme of importance to the effect as something to be taken seriously. “I would like you to take that ring in your hand and grip it very tightly. In a moment, not yet, something odd will happen, some kind of sensation.” Now these lines are so unspecific that anything could qualify as the odd sensation. They will attribute meaning to it in their own way. They will actually deceive themselves into thinking they felt what you had intended to do. This is due to the simple expression of intent you displayed. You intended for them to feel something, they then felt something. Obviously they will put this down to you and your magical prowess. They at this point may not feel a thing. I normally continue on a script of this kind with another small but powerful linguistic trick: ‘The Honesty Suggestion’ as well as the ‘Pulse Suggestion’ fully covered in the ‘Convincers’ section coming a little later. We will also look more deeply into combining the use of these techniques in the ‘Building Block Technique’ section. Anyway, let us continue our examination focusing our attention only on the ‘Definition = Creation’ rule.

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“Now when the ring becomes warm I want you to drop it, don’t worry I will catch it, but you have to remember to let go. It is a lot hotter than you would think. OK?” In my experience this simple line combined with two or three of the ‘Convincers’ covered later will be enough to push the spectator over the edge. The reason for asking them to drop the coin is simple. This is stated somewhat more quietly than the rest of the script, it will make the whole effect seem much more impressive to the audience at large than it simply warming in the hand. The moment in which the ring is dropped is a good theatrical finish to the effect. It also allows me to play up the ring heat. I act as if it is hot and drop it from hand to hand. This physical suggestion helps to cement the idea of the ring’s heat. Don’t overplay it. I often finish up by asking another spectator: “Be careful, but can you feel that as well?” You’ll notice at no time have I directly stated what will happen and yet simply through the definition of what they are to do I have suggested on many levels what will happen. Clearly this is no strict model and it can be manipulated to suit whatever you may be doing. This is the first of the building blocks that when combined with further techniques such as the ‘Convincers’ will create a powerhouse of deception. One need to look no further than Orville Meyers’ classic work “Telepathy in Action” to see just how powerful this very idea can be and indeed to what extent it can be used. My good friend Kenton Knepper also has some very interesting work on such subjects contained within his priceless “Wonder Words.”

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section three

the power of silence... ...the power of silence

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The Power of Silence

The power of silence is, despite seeming at first glance to be nothing more than an oxymoron, a massively powerful technique we have at our disposal when it comes to creating strong theatrical routines which focus on the use of suggestion. Composers understand that the pauses between the notes are as important as the notes themselves. Silence informs what follows it, and it is informed by what precedes it. I feel this technique is hugely underused in the performance of mentalism and bizarre magic, especially by people (like me) who focus on the wording/scripting of an effect. Maybe sometimes we need to consider the use of silence as "scripting" in the same way we do those Wonder Words so close to all our hearts? This use of silence could be seen as a use of heightened awareness and the portal of intent. We must use it as such. Think about it. You must reach the point where you understand what intent is. And, above all, you must understand that knowledge cannot be turned into words. That knowledge is there for everyone. It is there to be felt, to be used, but not to be explained. With this thinking you create Power within the Silence in your performance. It becomes something theatrical and takes on a new level of importance not only from a methodological viewpoint but more importantly from the viewpoint of those watching the performance.

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I see silence as a powerful theatrical tool. I remember seeing Jamy Ian Swiss perform a routine in which a ring moves inexplicably along a pencil, in which he remains totally silent almost throughout the whole presentation. Many magicians assumed that Jamy was lacking a presentation for the effect, which was in truth the complete opposite to Jamy’s well thought out and powerful piece. Jamy had the guts to shut the hell up and allow the power of silence, which in itself can be a cold, chilling and impressive tool, to add power to his effect, raising the impact in doing so. A problem with silence is choosing the correct time to allow it to come into your presentations, and then choosing the correct amount of silence, before it becomes something of a joke. I think that mentalists and bizarrists by their very nature need to allow the power of silence to upon occasion take control and do the work that is unachievable without it. To allow the power of silence into your suggestion-driven routines is a powerful way of allowing the spectator’s own imagination to fill in the blanks and actually begin to experience what you may have suggested to them on a deeper and more impressive level. Leaving a suggested idea in the mind of a spectator and then allowing them to develop it allows for a more powerful performance than would be possible otherwise. In my book “7 Deceptions” there is an effect called A Twisted Palm Reading in which the lines on a spectators palm appear (to them) to be moving and dashing around on their palm making patterns and shapes that were not on their palm moments earlier. This is an example of a routine in which I have to leave my ego at the door.

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I cannot take the credit for this effect - the spectator is the one who deserves it as they are the person who will ultimately deceive themselves. I plant the first seeds of suggestion with the scripting and use the ‘Building Block’ technique (to be covered later), then allow their mind to fill in the gaps and make the effect even more wild that I could ever imagine. This is done by simply holding their palm firmly and looking somewhat deeply into their eyes. I say nothing. I ask them to describe what is happening. I say nothing more until the very end of the sequence, in which I thank them for their help. It is a powerful tool, that when wisely employed can produce stunning results.

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section four

the old witch doctor... ...the old witch doctor

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The ‘Old Witchdoctor’

This term is taken from Banachek's brilliant “Psychological Subtleties” book. It has a massive importance to play within the methodology of the routines you are about to read. If we look at it purely as an outsider, we see something very different from the standpoint of the performer. Basically it is the rule that if you spent so much time and effort in making some kind of movement or action, it simply must have an effect. This is the suggestion it carries anyway. In my book “7 Deceptions” the effect entitled RGM features this and provides a good example of exactly how and what this powerful tool creates and how it does so. In the aforementioned effect you appear to remove a memory from a spectator’s mind. During the course of the effect, I request the spectator hold their arm fully outstretched with their first finger extended toward me. I then take a few moments and actually close my eyes, slamming my hands together and gently rubbing them in a circular motion against one another. I then take a deep breath and open my eyes. I begin to slowly move my hand toward the spectator’s. During this slow and gradual meeting of the digits I begin with another suggestive technique covered later on in this chapter which appears to create a sensation running through the spectator’s finger. I suddenly and unexpectedly move my finger very quickly toward the spectator’s. I then push the hand toward them for a few moments. I finally finish by waving my hands for a moment in front of the spectator’s eyes, while I ask them if they page 28

can remember. They invariably cannot. I then allow my arm to fall under its own weight and relax myself, taking a few moments to allow the silence to add to the general effectiveness of what has just happened. Just place yourself in the shoes of a spectator for a moment. Ask yourself why would the performer possibly go to that effort and spend that amount of time on something that served no purpose whatsoever? The obvious answer is he didn’t. What he did had some kind of effect, without it he could not do what he set forth to. This is an extremely powerful suggestion technique. One I make as much use of as possible. It really helps to drive home the suggestions and more often than not makes for a visually appealing routine. The secret to this technique is appearing 100% at ease with what you are doing, appearing as if you are sure of the outcome. Another example of this, not strictly the same but it can be put to good use when combined with the techniques under discussion, is the use of a reward. Let me explain. I personally try to avoid the use of ‘bets’ or ‘wagers’ in my own performances as I feel it encourages the setting up of a challenge attitude in which my spectator is more interested in the effect failing rather than of its success. However, I have no doubt in my mind that some performers can make stunning use of such things. The very act of placing a large amount of money onto the table and telling someone you will give it to them if you fail says a lot without saying anything. The spectator begins to think that you are either so good at what you are about to do that there is no way you can fail or that what you are doing has a very slim chance of failure. Whether or not these are good things to be suggesting to your audiences I will leave up to you. However, I am sure that in the right hands the use of a ‘wager’ can be a powerful and useful addition to your arsenal of presentational gambits. Finally, I must state that some good acting skills can really be useful here. page 29

Without wanting to sound too much like a new-age tree-hugging hippy, I could almost be pushed to say that the real work behind this technique is to simply believe that you can do what you claim to do. If you believe in it, you will communicate this on many levels without ever attempting to. This will make the whole affair appear with more conviction and make the suggestion a hell of a lot stronger. Many experienced performers have discussed the concept and use of The Silent Script, so I am not going to go into the ins and outs of the subject as I am sure you are already familiar with it. I will however cover one notion regarding the use of the Silent Script. It is my honest opinion that if we do not believe in the material and that we have this, for the want of a better word - this power, I feel that our performances will not succeed in the way we want them to. Firstly, the notion that everything we do is ‘suggestive’ is very powerful. I have wondered how far we can take this through the use of suggestion. How explicit do we have to be about, for instance, our performing character and its biography? Is it possible to say more by saying less? As an example, when we deal with the Witchdoctor effect. I feel if the performer doesn't believe in the cure, or you might say the ritual, neither will the spectator. This means, therefore, that somehow, one's interior attitude is communicated to the audience. That even though we may appear to do the same things, performers can vary widely in the effectiveness, because they have different thoughts and feelings in their head and gut when they perform. This is a sobering thought for the dogmatically rational performer. That he or she can't power his or her magic with the fire of belief. page 30

My good friend Caleb Strange related the following tale that fits nicely as an example: “There's a famous case in the medical textbooks - forgive me if you're familiar with it. In 1947, in East Grinstead hospital, a noted dermatologist was operating on a boy with what appeared to be millions of warts over his body. The young registrar said, 'Oh I've treated that before with hypnosis'. 'Oh have you', said the surgeon exasperated, 'then I invite you to have a go'. So a few days later, the registrar hypnotises the boy, and within a week all these 'warts' had gone from one arm, though the rest of the body as it was untreated, remained as bad as ever. The registrar showed the surgeon, who was staggered. 'Treat the rest of him,' said the surgeon, and so the young doctor did, and the boy's skin was clear within another week. It was then that the surgeon told the registrar that what he had mistaken for warts was a congenital, incurable skin condition. That it was actually impossible to treat it. But treat it he had. This was big news all over the world, and the few unfortunate people who suffered from this rare and fatal condition, flocked to be treated. But the registrar was unable to treat them. Because now he knew that he could not treat them. That somehow his belief that what had happened was impossible, communicated it to these other patients, and so they were unable to believe themselves in their own recovery. Circumstances had dictated that the registrar had hypnotised the boy erroneously believing that he would be cured (hypnotism is good for warts), and so he was successful. But when he knew the truth, the young doctor failed”. I thank Caleb for his trademark thinking on the subject and, as he normally does, he manages to make the points others would need so many more words for. The Silent Script is something that can rationalise internally what it is that we as performers do. However I do not use it in the way that, for example, it is thought that Cardini used it. I do not use it to help my acting skills - instead I use it to covey a feeling of utter page 31

conviction. I mention in the text for ‘The Witchdoctor’ that this feeling of utter conviction and belief has to be something that is communicated through your performance. This can be communicated using many different methods. However I feel the use of The Silent Script is the most powerful way of doing this. As I said, I do not follow the same kind of internal dialogue as for example it is thought Cardini used. However I do follow an internal dialogue that revolves around me being able to do what I claim without any problems standing in the way. This is something that is hard to put into print - however I hope I have made myself clear. If you can begin to use this notion within the context of suggestion routines, I feel your success rate will increase massively.

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section five

convincers... ...convincers

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Convincers

Let me introduce the notion of a ‘Convincer’. A convincer is something I employ after the general seed of suggestion has been planted. It helps to fertilize the suggestion and will, in its own right, have some kind of effect of its own. In this section we will cover:

Convincer one:

The Shadow Suggestion

Convincer two:

The Honesty Suggestion

Convincer three:

The Heat Suggestion

Convincer four:

The Pulse Suggestion

Convincer five:

Everyday Suggestions

These convincers are very useful in the structure of a suggestion sequence. We will cover the structure I prefer when dealing with suggestion sequences later in “The Building Block Technique”.

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Convincer one

The Shadow Suggestion.

This also falls under the section of ‘Convincers’. However, by its self it is still a strong and useful suggestion technique. The reason this works is threefold. You will be suggesting whatever you wish in visual, auditory and sensorial ways. The technique basically appears as if the performer cast his or her shadow over a spectator’s arm. He asks the spectator to focus their attention on the shadow and how it makes their skin feel. After this casting of a shadow, the performer will have successfully driven home his suggestion. Let us look at this in more detail. As I have said this works on several levels, which when combined, make a wonderful trio. Let us imagine that the performer wishes to use this technique to cement the notion of the ring that becomes hot, as spoken about earlier. The spectator has already been effectively primed to the idea of the ring becoming hot through the use of the ‘Definition = Creation’ principle: “Please hold your hand out, the one tightly gripping the ring. Thank you. Now I would like you to just relax, take a few deep breaths and really allow yourself to concentrate upon the way the ring feels in your hand… I‘m going to simply cast a shadow over your hand. You will begin to experience those feelings, but on a much more intense level…” I then reinforce the suggestion by employing the ‘Power of Silence’ principle and slowly move my hand over the spectator’s. I stare intently at the shadow. I then move it slowly along the spectator’s page 35

arm and then back down to her hand, all the while remaining silent. I then stare her in the eyes and repeat this action while stating the following: “See how that makes your arm feel colder but the ring hotter? Weird isn’t it. Just watch that shadow and feel what it does to you. Take another deep breath for me.” This is clearly not something you can use in every effect - but when used in the right context it becomes a very useful ‘Convincer’.

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Convincer two

The Honesty Suggestion.

This is a very interesting and also powerful little technique that I make use of in almost all my effects. It is interesting for some very simple reasons. I actually come out and state: “Don’t lie to make me look good...I mean if you don’t feel anything, you don’t feel anything. It sometimes takes a while, but just wait for it. It will happen - it is always different with each person as each person thinks and feels in differing ways.” This is useful for several reasons. Firstly it will add believability when the spectator does begin to describe what he or she is feeling. It also suggests to them, that whatever you claim they will feel, will happen - it may take a while, but it will happen.

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Convincer three

The Heat Suggestion

This is an effect in its own right. In effect, an object heats in thehand of a spectator. This can be, as with all of these techniques, molded to fit whatever sequence you would like it to. You may wish for example to change the heat suggestion from being direct, i.e. heating something in their hand is just a symptom of the effect you have set out to cause. For example you could simply use it to suggest that the spectator will feel a dart of heat run through them. In the example of my effect RGM you could employ this technique to cause the spectator to feel a sudden dash of heat run through their finger just prior to the forgetting sequence. Here is the actual model. “Now I don’t know when you will notice the heat which you will begin to feel, but sooner or later it will happen. Don’t worry if it takes a while but all of a sudden it will happen. Just let us know when you feel it.” Obviously this is a simple suggestion and will need developing further if you wish to make it into a single stand-alone effect. However when combined with all the other techniques it proves a very useful method.

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Convincer four

The Pulse Suggestion

This is a very powerful suggestion. In fact I feel this is the strongest of all the ‘Convincers’ covered here. The main reason for its strength, in my opinion, is the fact that it works almost instantly in the mind of your spectator. There are many reasons for it happening so quickly. The most simple of all is the fact that what you say will happen is actually a natural occurrence, but when you place it within the context of a suggestion sequence it appears to be anything but natural. In effect, if we again refer back to our example of the ring becoming hot within a spectator’s hand, it is the simple statement that an object will begin to ‘expand’ and ’contract’ within the spectator’s palm, almost as if it were to have a pulse. The actual methodology behind this is so simple it is almost embarrassing. You will simply focus their attention on the object that you have asked them to tightly grip. Now the sensation of it “breathing” is utterly natural. It is simply due to the fact that the grip is tight and the object is being pushed hard into the nerves of the palm. All you need do is develop those natural feelings. This bears many similarities to the heat suggestion in its structure but also employs a visual suggestion. “Would you make sure that you keep a tight grip of your ring. Great - I really want you to focus on the feelings and shape, the line and the curves from your ring.” Pause for a while allowing the spectator to actually do this. Allow them enough time to actively think about exactly what they do or page 39

do not have in their hand. “I’m not exactly sure when you will begin to notice those weird feelings...” After I state this, I simply look at the spectator’s hand and allow for some moments of silence. I then regain eye contact and pause for two beats before continuing: “Like I said, I’m not 100% sure when you will notice that kind of pulsating feeling from the ring, almost as if it were moving in and out, breathing if you like, all by itself. You can feel it right? How much is it moving?” Notice the wording here. You basically force them into agreeing that they feel it, which 99% of the time they will anyway. Now I repeat the wording below while I make a fist in each hand and bring them together so the knuckles of each hand are touching. I then move the fingers of each hand away from the palm and back into the fist shape. This appears to be like a heart beating. “You will feel it moving in and out, breathing, almost like a pulse within the object - correct?”

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Convincer five

The Everyday Suggestion

Finally, let me mention ‘Everyday Suggestion’. This is a very simple notion and I will not insult you by spending any more than this paragraph on it. Despite my brevity though, please realize that when used in combination with the other methods it is very useful. It is the naturally implied suggestion of common objects and what we know to be true about them without even having to think about it. Here is a simple example to stimulate your thinking: A box is held upside down and nothing falls out. The implicit suggestion is that the box is empty. But is it?

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section six

the building block technique... ...the building block technique

page 42

The Building Block Technique

Here we will deal with the structure of a suggestion sequence. I have covered a few of the basics needed to successfully perform the suggestion routines covered within this volume. However I am sure you will want to take these ideas and develop them in your own ways. In my mind the most important of all the suggestions to think carefully about are the convincers. They will increase the impact and if they are chosen correctly, and framed properly, they will strengthen any effect in which you use them. I generally use the suggestions pretty much in the order of which they are listed opening with some kind of Definition = Creation statement, then moving onto a few Convincers. I then, if the effect is correct, employ the Power of Silence principle and finish off the sequence with a few more convincers. Now let us come to something we have not dealt with yet. The combination of classic magical methods with those we have covered. This to my mind is a very potent and wonderful mix, as together they complement one another and can make for some utterly compelling magic. Now obviously, throwing a few ‘suggestions’ into your Run Rabbit Run routine would not be such compelling theatre. However, if you can structure your magic routines to include these elements of suggestion you will have a win - win situation. You have the magical effect to fall back on if the suggestions were not as successful as you had hoped, however if they were, you have doubled the impact of your routine. All the time you are risking nothing.

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Take for example the standard Ring Flight. If you were to use the Hot Ring effect we have discussed as our example before vanishing the ring, then you will have actually made the ring vanish in a much memorable way than a simple false transfer . In the context of mind-reading routines it is very useful to combine these techniques and for me this is where they are the most powerful. Why not attempt to use a suggestion sequence during your centre tear routine to actually have the spectator believe they physically felt their thought jump from their mind? This very effect is covered in the effect The Burst Bubble. It is something that I have enjoyed great success with and I urge you to try it out - I’m sure you will enjoy performing it as much as I do. Your imagination is the only limit facing you. If you are willing to keep pushing things forward and to try something more daring than the last every time you perform, you soon will be discovering the true power of these techniques. It is with this mind set that some of my favorite material has been created and it is this same mind set that I urge the reader to develop when creating their own material.

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section seven

What Are You Suggesting by Using Suggestion? What Are You Suggesting by Using Suggestion? an essay by Kenton Knepper

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What Are You Suggesting by Using Suggestion? an essay by Kenton Knepper

When I was growing up in magic, I was instructed adamantly to learn all I could about psychology and human beings. I was told in no uncertain terms that this was a major key to success in magic, and in life. Fortunately, I listened to that instruction somewhat. Luke asked me to say a little something on the subject of modern suggestion use, as I have become a major figure in forcing suggestion back into magical performances. There is no doubt that there were others before me, please understand. But as these people’s works became dismissed as “mystical” or “difficult”, psychology and suggestion faded from the view of most performers. I am delighted I have had such a part to play in bringing such matters back to where they belong - magic. By “magic” I mean performance magic and 'mentalistic' magic sometimes oddly renamed “mentalism”, though it is nothing of the sort. Suggestion has never lost sway in actual mentalism or those who practice what they consider “real magic”. Suggestion and mentalism is nearly synonymous, for instance. Recently I was speaking to a well-known mentalist and magician from another country. He states as a fact that his success and his creativity are due to nothing other than suggestion. So, it is strange indeed that if suggestion has such magical power within our minds, we should ignore it in magical and mental performance. Houdini, Thurston, Kellar, Blackstone, Orville Meyer, Ormond McGill, Peter Reveen have all used suggestion personally and professionally. If the famed and talented wonder workers of our past made use of such concepts, as does our modern day elite, page 46

then why wouldn’t the rest of us? I spent a great deal of time on suggestion in Wonder Words. I made what some believed an outlandish statement back then: “Everything is a suggestion”, if you but use it and become aware. Since then, many others have followed along to support such a claim. But what is suggestion? One definition is a “subtle command”. Unfortunately, too many believe a “command” means a “demand”. If you demand something, it is rarely an unconscious doing. Suggestion is more hinting at what you wish to be done. You must be prepared that these hints can be missed by the thick-headed or wandering mind. I imagine that is what frightens performers. They think that there may be a high rate of failure, and no act can be so unreliable. Such performers forget that fingers fumble, electronics stop, mechanics break, assistants miss cues, props stick, and so on too. These performers suffer from the delusion that the magic they do is foolproof - when secretly they know it is not. Let me try and put your mind at rest now. I have taught performers how words were used in everyday speech to create assumptions and illusions - normal people do this everyday of their lives. I suggested that performers do the same thing - but consciously be aware of the word illusions when using words. Suggestion is similar. We use suggestion on others and ourselves daily. Why not take advantage of this secret influence in our performances - just by being consciously aware of that which we already do. How do we use suggestion? We consider other ways to make direct statements. We hint at things we might otherwise say out loud or directly. We know that body movement, words, daily experiences, and mental processes all have ways of hinting at things rather than pointing them out directly. A person need not say to you “I am upset” as you can see by that person’s movement, page 47

tone of voice, look in their eyes, how they react and think and so forth that they are not happy. The cues, which give you this information, are one meaning of suggestion. The person does not say anything directly, but everyone in the room is aware of what these hints mean. Various actions naturally suggest ideas to our minds. A cup with a light steam coming from within it suggests a hot beverage. Our minds take shortcuts to information. This occurs out of necessity. It would take our mind forever to process something if it could not go back through our experience and make certain generalisations and assumptions. This is, in part, how suggestion works. I dump a deck of cards out of a card case and toss the cards aside. The suggestion is that this case is now empty. It need not be, but most people will now assume that it is. If however, I said directly “The case is empty, so we will put it aside over here” - now I have aroused suspicion! We have been taught not to say, “This is an ordinary deck of cards” as it arouses suspicion. What was missed was the reason this caused such a negative response. Suggestion is most often taken as assumed fact, whereas direct comment and action are up for conscious and intellectual debate. Suggestion is not so much about conscious awareness, which is why it slips by unnoticed. Ideas sneaked into the minds of an audience by suggestion are generally accepted, as they are not consciously, critically, challenged. The same concepts presented to an audience directly are open to scorn, debate, and ridicule. As we would all like to avoid as much of the latter as possible, suggestion is a simple, magical, solution. I have long taught an arcane formula as applied to performance: Definition = Creation That is by defining a thing, we create it as apparent fact. Advertisers and scientists do this constantly. Why not magicians page 48

and mental performers? By labelling anything, we create certain suggestions inherent within that label. I have done this in many of my works. Luke uses it here in his many presentations. Luke and I combine this formula with other methods of suggestion, and many of our friends have followed. This is often the secret behind what appear to be our miracles. We also use suggestion by not labelling anything directly. I have taught, as have others, that silence has its own power and its own importance. It also has its own suggestion within it - though this varies within the context it is used. Likewise, saying or doing things that cannot be easily defined suggests something as well. Often it suggests some hidden, occult, power or secret meaning. Luke takes advantage of this, as have I when I first wrote of “nonsense” and later Banachek of “The Old Witchdoctor”. While not often discussed, it is the suggestion in such acts that make them powerful. What has now become labelled “convincers” is of course a suggestion meant to reinforce a previous suggestion. It is also often a subtle link between a physical likelihood and a label. This method may also be used to link a suggestion with a visual, audio, or feeling hint. Whatever happens, this is labelled too, so that the facts reflect the original premise. I talked about the “Duh” factor in Wonder Words and other writings. This is when a suggestion is made - hinted at - based upon common experiences. Luke uses this notion in many of his effects. While what I encouraged in Wonder Words may have lead many performers to including metaphors in their works, I especially enjoy Luke’s rose effect in this book. It is my kind of enchanting magic, with a message both direct and metaphorical, spoken and symbolic. One more concept which Luke uses that you might like to consider: When many things are said or suggested, and one of page 49

them is acknowledged to be true by a spectator, all the rest will also be believed to be true, generally. This is not one hundred percent, as truly outrageous and obviously impossible claims may be dismissed. But overall, suggestion indicates that if a spectator answers in the affirmative, it is all true. This is a portion of my so called “multiple reality” or “dual reality” principle, as it has been dubbed since Wonder Words, and Luke uses this very well. Keep in mind how labels create supposed reality by suggestion. Think of how silence and words both can hint at ideas known and unknown. Consider how suggesting ideas to your audience indirectly could be used rather than relying on direct statements. Ponder how physical motion and meaning can be used to hint at an effect. Dare to try and keep practicing, as one must do in all performing arts regardless of technique or method. Keep the idea of indirectly performing as well as directly entertaining. Do these things as you read through Luke’s book, and you will better understand the thoughts and principles behind it. Luke of course first placed some of his material in my manuscript “Miracles of Suggestion”. Later, I was pleased to pen his very first booklet for him. Some of his works in these manuscripts have already become classics. Surely this new book will be viewed much the same. I am thrilled that I have been thought at all a teacher of such fine students and methods as the last two generations of miracle workers have produced. To have such influence in these fine performers and thinkers is indeed a great honour and blessing. No doubt how Luke applies these concepts will be a blessing to you and your performances too. Enjoy the mysterious and indirect ride. Kenton Knepper 2003 page 50

section eight

mixing magic and mentalism... ...mixing magic and mentalism

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Mixing Magic and Mentalism

I personally have issues with the mixture of traditional magic with strong Mentalism. I feel that to switch from a compelling demonstration of psychological influence and thought reading to a sponge ball routine will raise several unwanted questions about your performance. However, I do feel able to combine magic and Mentalism if the magic is ‘correct’. Let me explain. You will see in the second section of this volume a collection of some ‘magic’ effects. They are, however, hinting at a side of magic that a sponge ball routine couldn’t possibly. I have never exclusively confined my performances or repertoire solely to Mentalism. The majority of the material I have put in print does not actually fall under the standard definition of Mentalism. The effects that I am most proud of and draw the best and most resonant reactions from my audiences are certainly not Mentalism in the traditional sense. One effect that I include in all of my performances and which appeared in my book “7 Deceptions” is called For Andruzzi. In effect, the pulse of the performer slows and eventually stops. The performer then continues and actually appears to stop of the pulse of a spectator! This is in no way traditional Mentalism. It does however seem to fit perfectly within the constraints of a Mentalism set. Another of my effects in which, during the course of a palm reading, the lines of the spectator’s hand begin to wildly dance around on their palm, is similarly avant garde. Again, however, it fits perfectly in my Mentalism set.

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Clearly, Hippity Hop Rabbits does not fit my style. However, I do feel able to mix a darker form of magic with Mentalism and Suggestion to make a fresh performance. Some people will throw in the term ‘Bizarre Magick’ when such concepts are spoken of. I do not class myself as a Bizarre magician. I do feel at times I draw from the world of Bizarre Magick in order to create what in my mind is the strongest possible effect but again I do not commit myself to the strict term Bizarrist. I feel that my performances actually fall somewhere in-between the two worlds of Mentalism and Bizarre Magick. I feel that this combination can create such stunning and compelling presentations that I could not possibly commit myself totally to just one genre. In my own performances I have been known to mix many different ‘powers’ within one performance, but often my effects have a central THEME. Here lies the rub. Some routines in this volume are comprised of several effects which on the surface seem unrelated. It is only when a closer look is taken that these effects tie together. They all revolve either in presentation or direct effect around emotion. I do, as those of you who have seen me work or read my other books already know, tend to focus mainly on my ‘Suggestive Mentalism’ set more than other parts of my repertoire. Even when using other routines though, I always try to either tie an emotional hook directly into the presentation or affect a spectator emotionally via the actual workings of the effect. I feel that the group you are working for dictates just what you can and cannot do before crossing the line. Upon occasion, if the mood is right, I perform an effect in which a scar appears and then heals itself on my palm. This is an effect that if presented at the wrong time could easily ruin the credibility of the rest of my set. page 53

I use this as an example of why it is important to stay flexible and be able, if the mood is right, to push things forward but always keep the performance strong. Rick Maue offers a lovely assessment of good theatrical performance being like the wind. It is inexplicable and invisible, moving as it chooses and affecting all in its path. This I feel is a very good mind set to be in and the one I try to put myself in when constructing new material or performing. Look at the most successful ‘psychic’ on the planet, Uri Geller. He uses this gambit and probably will for the rest of his life. A true testament to exactly what is able to be presented with credibility if the performance is strong. Love him or hate him, no one can deny him of a strong performance. If we look closely at Geller’s performances we can see they each run along a central theme also. He almost always tends to shift the “applause and admiration” toward the spectator - something I am sure helped a long way in endearing him early in his career to the public at large. So for me the mixture of Mentalism and magic, when done with care, is natural and powerful. I attempt to structure every effect around a central theme and only select material which I feel complements the other effects within the set. I also try to remain flexible. I hope this is clear, as these are not easily achieved goals, but ones which I personally feel are well worth thinking about. Hopefully you feel the same?

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section nine

methodology... ...methodology

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Methodology “A brief look at modern Bizarre Magick” Bizarre; bi·zarre (b-zär*) adj. Strikingly unconventional and far-fetched in style or appearance; odd; fantastic; whimsical; extravagant; grotesque. See Synonyms at fantastic. The Webster Online Dictionary Definition of the word Bizarre ...................... ‘Strikingly unconventional’, an interesting definition, but possibly the curse of Bizarre Magick. I personally feel the lines that define the very nature of the umbrella term “Bizarre Magick” need to be re-drawn and serious thought given to how Bizarre Magick fits into a modern performer’s repertoire. Personally I have very little room for skulls, daggers and robes within my professional repertoire. Do not misunderstand me, I am in no doubt that such a presentational slant can be performed with style and theatrical grace, one need look no further than Rick Maue or the god who is Christian Chelman to see so. I am simply setting forth my own chosen path and my thinking in an area which almost by its very nature is indefinable. To my mind the Bizarre performer need not steep himself in robes and skulls in order to be strikingly unconventional or indeed to be seen as performing the darker side of Magick. I at present have no effects within my own “darker” repertoire that involve the use of anything other than the mind or body of a spectator, or the body of the performer and a few simple props, such as a ring, an old nail, etc. page 56

I personally feel that people associate skulls and such with children at Halloween and not with a person with otherworldly knowledge or powers. This is of course an area that needs thought anyway - exactly what do you want to communicate to your audience? The answer to this question provides great rewards. My own goal in the performing of “Bizarre Magick” is quite simple. I wish to present as chilling a performance as is possible. To me, skulls and daggers simply are not at all unsettling to a modern audience. I actively try to eliminate the “clutter” of props in my presentations. I prefer to employ simple and unsettling plots with simple and easy to follow movements without the added “clutter” of ornate props. Also, as you will see in the last item of the book, I enjoy using a healthy amount of suggestion and with a slightly darker angle the effect of such suggestion can be very theatrical. The concept of “manipulation of a person’s mind or thoughts” is to me, and in my opinion to modern audiences, far more chilling than a fake skull with flashing eye sockets. Allow me to outline this approach further. The above is said assuming you are not performing in the wondrous surroundings of your own “Haunted Chamber” or some such. In those cases, it is very possible to perform and achieve the very goal I wish to achieve employing all the paraphernalia of such a performance, skulls, dagger, altars etc. I am approaching and developing material for the performer who is not afforded the luxury of such surroundings. In my opinion it would be highly unpractical for the performer hired to entertain in people’s homes, at for example a dinner party, to bring along his own surroundings needed to create the correct type of atmosphere that a “Haunted Chamber” instantly offers.

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To my mind simply removing an old skull and an old book from within a weathered case does not have the same effect on the spectators within their own home that a creatively and artistically constructed “Haunted Chamber” has on its visitors.

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section ten

effects... ...effects

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effects 1.

‘Divided by hate’

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2.

‘Stigmata to go please’

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3.

‘The kats kradle’

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4.

‘The ernie ball book test’

page 81

5.

‘The ice man cometh’

page 86

6.

‘Stuck in a moment’

page 92

7.

‘A remote castle’

page 100

8.

‘Blind sentence’

page 110

9.

‘Personality projected’

page 116

10. ‘A safe anchor’

page 122

11. ‘Out of (t)his world

page 128

12. ‘A presentation’

page 136

13. ‘A strange garden’

page 140

14. ‘Judgemant day’

page 149

15. ‘Zeroing in’

page 158 page 60

From Luke I personally strive for clean and simple methods to accomplish strikingly unconventional effects Let us begin our journey with such an effect involving nothing more than a rose and some daring verbal deception and suggestions. I call it Divided By Hate.

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divided by hate... ...divided by hate

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Divided By Hate Effect: A rose is displayed and laid down on the table top. The performer begins to recount a tale of the delicacy of life, and how hate can divide and conquer all those around it. The performer passes his hand above the rose, so as to cast a shadow over the bud. The rose then begins to visibly die. The rose continues to die until nothing is left other than a shriveled and wilted dead flower. A lasting testament to the power of hatred and its ability to warp beauty. Method: This is an effect I have used in formal settings for a while now. The effect is larger than the sum of its parts. I have several versions and here I will outline the version I use more often than any other. This version is full of both physical suggestion as well as psychological suggestions. As so often is the case with Bizarre Magick the presentation makes the effect. Do not sell it short. You will need to go get yourself a rose. Pick a few petals from the rose and place these in a refrigerator until they are needed in performance, thus ensuring they remain ‘alive’. Simply leave the remaining rose petals and stem lying around. It will in a very short time die. There are hardly any moves in the actual routine. You will, page 63

however, appear to pick two or three of the petals from the rose and hand them to a lady or casually drop them to the floor. There are several presentations open to you - plucking the petals is very reminiscent of “she loves me, she loves me not” and indeed forms the basis for one of the presentations detailed, but let’s not run away with ourselves just yet. First let’s look at exactly how the effect is accomplished on a physical level. You will add the ‘alive’ petals to the dead rose, and simply lay them on top of the rose until the performance. It is possible to hide this rose within a bunch of roses, then when it is needed, pluck it from the bunch and continue. However, more often than not, I simply have this rose with the live petals resting on top of the dead ones, covering the majority of the dead petals awaiting me in my performance case. In performance all that happens is very simple; you will actually appear to pluck a few petals from the rose while reciting the “she loves me, she loves me not” line, when in fact you are simply removing the few ‘alive’ petals. This dead rose is then somewhat hastily placed onto the table, and you cast a shadow over the rose itself. This is an interesting point. The shadow actually helps to obscure the true state of events. To the audience a still living rose has been placed down onto the table after having a few petals torn from it. The rest is down to the script and presentation. You will use many suggestions to actually make some of the audience believe they can see the rose visibly ‘die’ on the table when you cast your shadow over it.

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Script; The words in bold are said with either a stronger or lighter tone to them, depending on what works better for your own performance. “Hate is a powerful emotion. Almost as powerful as Love.” (Plucking petals, one for each “me”) “She hates me, she hates me not, doesn’t really have the same ring to it does it?” (Drop petals to the table) “She loves me, she loves me not - ah much better.” (Plucking the final two ‘live’ petals from the otherwise dead rose) “The only problem is Love and Hate are emotions that run closely alongside one another - both powerful emotions with the possibility to warp and change people, lives, cultures and even beliefs. One alive and full of beauty, while the other sleeps lifeless and destroys all in its path. Hate can exist anywhere human life exists. It is how we deal with this powerful and destructive emotion that really tests us…” (Place the rose onto the table. The bud of the rose has been held cradled in your palm during the above lines, helping to obscure the true ‘dead’ nature of the rose) “She loves me, she loves me not, so often the case. But if Love has the power to heal, then Hate must be said to have the power to hurt.” (Clench your fist above the tabled rose and then open your hand once again. It should appear as though you are exerting some kind page 65

of physical effort suggesting something is about to happen) “For hatred can make something so beautiful rot away until there is nothing of beauty left. Can you see that?” (Inquire of a nearby spectator) “You can see just how powerful Hate can be, destructive in itself and ultimately deadly. It can turn what was once beautiful into an ugly lifeless version of what existed when it was shadowed by Love. If you actually look closely you can see a once beautiful rose, becoming the ugly victim of hate.” (Here I move my hands closer to the rose on the table) “Something once shadowed by Love, but now replaced by Hate, twisting and contorting, hatred draining away all the beauty until...” (Make a sharp shaking gesture with your outstretched palm down hand) “Nothing of its former self exists.” (Blow on the dead petals. They will now be seen to be dry and brittle. Remove your hand from shadowing the rose) “Truly, Hate is a destructive emotion…” (Hand the dead rose to a spectator to finish) Added Touches; It is also possible to attach a length of Invisible Thread to the rose. With a simple movement it will then wiggle around on the table while your hand is above the rose. I use a length of thread running page 66

from a shirt button to the rose. I attach the thread to the button simply with the use of Magicians Wax after removing the rose from my case. This little touch increases the visible quality of the effect and really does enhance the routine. After the rose itself is shown to be dead, it is also possible to perform a simple shuttle pass with the four ‘alive’ petals on the table, switching them for four dead petals to finish. Personally I enjoy the contrast they offer between the dead rose and the ‘alive’ petals and do not switch them. It is also interesting to note that a rose can house a “pocket of scent” much like the free samples that are given in many magazines. It is possible to simply apply a liberal amount of a pleasant scent to a petal, which is then placed directly in contact with another petal. I then place more of the scent on this new petal. This is continued until all the ‘alive’ petals are covered in a “rose” scent. The scent is momentary locked within the petals. I then apply a less pleasant scent (typically vinegar) to the rest of the dead rose. This is a subtle change in scent and more often than not will not actually be noticed on a conscious level, but does add a little something to the death of the rose. After reading ‘Divided By Hate ‘Kenton Knepper suggested the following: “I might crumble the rose once it is dried at the end... While this does not allow the spectator to take home the dried rose, it's now a "hateful" rose anyway - so not a big loss, I think. Also, crumbling the rose makes the effect large enough for platform and stand-up shows - if not stage. The crumbling of dried rose visually is shocking, in my opinion at a larger distance.”

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stigmata to go please... ...stigmata to go please

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Stigmata To Go Please This is a truly strong effect - something I actually had one or two reservations about performing, never mind releasing! I have actually stopped using this for several reasons - none of which will be discussed here. I will however leave it to the reader to decide whether it will fit with their character. Effect: The performer after showing both hands removes a book and reads a section detailing accounts of “stigmata”, the spontaneous and profuse bleeding of the palms. He suggests he try something - after a moment or two of hard concentration he becomes a “stigma” victim himself. Method: For this you will need to pop along to a theatrical make-up company and obtain a product called “Instant Blood Formula”. This product consists of two chemicals that when mixed produce a blood-like substance on whatever they have been applied to. The book used is actually a dummy book which has been fitted with a ‘Squeeze Bulb’. This bulb is filled with one of the two substances. I tend to fill this with the darker red substance. As well as the book you will also prepare a box of tissues with a second ‘Squeeze Bulb’. The Book: Begin by finding a nice looking old leather bound book. Cut away a window from the back of the book and hollow out quite a few of the pages. Make sure you hollow enough to allow space for the page 69

bulb to be glued into the hollowed section. The bulb can now be filled with the chemical using a syringe, and when pressure is applied to it the bulb will squirt the chemical onto the palm. The Box: Is constructed in much the same way - you simply cut a “window” from the box, glue the bulb in place, and then refill the box with tissue. The bulb is filled in the same way with the second of the chemicals. Details: Having written the above I am sure you are all way ahead of me. Basically, you will secretly obtain the chemicals and then push your palms together during your ‘concentration’ to produce the blood. Let us look at the scripting and exactly how this secret application is worked in an elegant and deceptive manner. The book and the box of tissues begin in my performance case ready to be obtained as soon as they are needed. I ensure they are not held under anything or to apply any pressure onto them as this could force the chemicals out. Script: “"Stigmata" is a Catholic phenomenon, used to describe the appearance of the wounds of Christ on a pious saint or Christian believer. It has long been debated by many who believe that stigmata are instead a psychosomatic effect brought on by intense prayer. Stigmatics themselves are the main source of mystery for thousands of Christian believers. Are they really being punctured by the forces of God? Or are the wounds self-inflicted by those who have intense belief? Stigmata can exist in two forms, visible and invisible. Invisible wounds are those covered by the forces of God for the inner comfort of the sufferer. Visible wounds appear on page 70

the side, palms, feet and head, and often appear and disappear in the space of a few hours. They can appear in one area alone or all areas at once. Often, intense bleeding accompanies them, and the period before they appear is characterized by depression and weakness. Some stigmatics report feeling whips across their backs.” The performer removes from his case an old looking book and leafs through one or two of the pages as if scanning them for some important piece of information. He continues reading aloud from the book: “The first recorded case of these wounds was in the year 1222, by a man named Stephen Langton of England. Later, St. Francis of Assissi, a famous follower of Jesus, experienced wounds in 1224. The wounds can be experienced by both men and women.” Paging through the book once more he finds another relevant piece of information and again reads aloud: “One of the more famous female stigmatics was St. Catherine of Siena, who experienced invisible wounds on her hands and feet. An interesting fact about stigmata is that it corresponds with the Passion and Death of Christ. Many wounds appear during the Last Supper and the holy days of Easter. They disappear on Easter itself. Stigmatics reportedly speak to visions of Christ and angels during their trials, and smell strange scents. There are even reported cases of the blood types not matching between stigmata and wounds. Stigmata has been reported everywhere from America to Italy. There are cases in France, Spain, England, Germany and tonight maybe in Outwood Common (insert name of venue here).” At this point the performer loudly slams the book down onto the table top. It is at this time you will apply a hard pressure to the cut out on the bottom of the dummy book, allowing pressure to be applied to the bulb. This will due to its construction cause the squeeze bulb to spray one of the two page 71

chemicals needed directly onto the waiting right palm. At this point you must now appear to be deep in concentration this is nothing more than a simple ruse to buy time. You want the chemical to soak into your palm as fully as possible. You will reach down and almost as an afterthought remove the box of tissues. This is where the handling becomes tricky. You need apply the second chemical to your left palm without allowing any of it at all to contact your right palm. The best way to do this is to grip the box with the right hand wrapped around the edge of the box. With the right hand, place this box on top of your left palm. Now in the act of placing the box onto the table, you squeeze the box above the cut out, causing the bulb to squirt the chemical onto the left palm, much as with the book. These actions are carried out during the following lines: “One of the more interesting theories to explain this phenomenon is the idea of ‘theological placebo effects’. According to this line of thought, stigmatics are so emotionally and physically tied to their belief that they experience a state of mind similar to raptures. It is a fact that the immune system can be controlled by the waking mind, and in some cases, a heartbeat can be consciously slowed. It is this belief that leads some to think that the wounds of the stigmata are personally, albeit unconsciously, produced. I will however leave it to you to make up your own mind.” You now stay quiet for a good 2 or 3 minutes, allowing the ‘Power of Silence’ technique to do its work within the performance. You will stand still and silent, then suddenly slap your palms together while taking a deep breath. Rub them against one another and then move them away holding them with your palms toward the table. After a suitable pause, display the blood.

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Often I have used this as a finale piece. I would say nothing, remove a tissue and wipe my hands, then leave. Having made an impression that would stay with the spectators for a lifetime… Like I said.... I will leave it you, the reader, to decide if this is an effect to fit within your own wonderful performance style.

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the kats kradle... ...the kats kradle

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The Kats Kradle During the course of a fine evening’s dining the conversation turns to the more sinister topic of Voodoo and the wishing of ill upon those who cross your path badly. One of the stranger characters present becomes the main focus of the conversation and with a twinkle in his eye he suggests they attempt something unusual together. The other guests agree, albeit with an edgy feeling of trepidation. The guest dressed impeccably in black removes a pad and a pen from his weathered leather satchel, whilst explaining that he needs two assistants - one to be the helper and one to play the ‘victim’… He draws what appears to be the outline of a body on a sheet of the paper. He then asks one of the guests to be the helper and place themselves in a situation they can recall very vividly when they felt engulfed with feelings of hate and anger. They are then to actually imagine all those feelings being sent out to the person who caused them. Next, an empty wine bottle is spun on the table top to ‘select’ the unfortunate guest who will play the ‘victim’ and be the outlet for the hatred and anger! The unlucky ‘victim’ diner is invited to stand along with the helper, who is still firmly placing their mind in the situation they recall so well. The ‘victim’ is asked to stand with their eyes firmly closed and to attempt to relax! The helper is then asked to mark the paper with a bold X representing the area of the body they wish to harm. This sheet of paper is then rolled firmly and placed in full view standing in the neck of the wine bottle, as a new attractive centre-piece with a soon to be macabre story to accompany it. page 75

With the ‘victim’ stood with their eyes firmly closed, the dark and somewhat menacing character who has been overseeing the whole affair requests the helper to actually see themselves drawing that large X over and over again, to actually focus upon nothing except those emotions they have in their memory and the drawing of the X. They are also requested that they close their eyes to help focus their mind upon the feelings and the image they have. The would-be witch doctor asks both the victim and the helper to open their eyes. He asks the guest who had the unfortunate stroke of luck to be the ‘victim’ if anything happened? “I felt two or three sharp prods in my left arm.” The first guest appears slightly taken aback by this revelation. The performer asks the helper where she marked the X. She replies: “The left arm.” The mysterious stranger who has overseen the whole thing suddenly reaches forward and grabs the paper and tears it into several pieces, explaining that to ensure the spell is broken the paper need be destroyed. Suddenly, he then grabs the slightly dazed guest who was responsible for drawing the X by both wrists with a firmness that was not expected. He stares deeply into her eyes and suddenly begins to describe in detail the time she had been so consumed with hate. Without warning he allows the charming woman's arms to tumble back to her side and makes a hasty exit. The other guests all agree that he was definitely not the best person to invite to the wake after all…

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Method: Please excuse the somewhat impassioned write up of this dramatic piece. I felt it worthy of some kind of theatrical staging in the writing, as it is such a huge part of the effect – this, without the correct performance, will not work - however with a strong performance delivered with conviction I think this can be something really quite chilling. The bare bones of the actual method are surprisingly simple. You will obviously have received the position of the X and the events surrounding the helper’s unpleasant memory via your favourite impression device - currently I use Larry Becker and Lee Earle's wonderful “Kopy Kat” pad. What makes this effect play is the appearance to the audience at large that only an X was written and the information you relay describing the event was purely being thought of and had not been recorded anywhere. This is in actual fact not true, as on the page along with the outline of the body is also a checklist of sorts consisting of three titles: Where, When, Why. I draw a thick black line above and below the writing forming something of a box for the spectator to write within. The checklist and lines are not written during the performance only the body outline is - this is then taken by the impression device. The spectator fills in the X on the page and due to the way you word the presentation they understand they are to fill in the details on the page as well. Obviously the position of the X and the other information is thus known via the impression device. The reason for tearing the page at the conclusion is to destroy the evidence of the written information. How you get the glimpse of the impression is really up to you. I page 77

simply a use second sheet of paper and during the effect draw the outline, placing the X on the correct part of the body. It appears as though you have predicted the position of the X, although actually you are only making a prediction in order to get your glimpse! I hand this out to a member of the group, and then move onto the revelation of the spectator feeling the taps. I am sure many of you reading are well ahead of me on the method at work here. It is simply a modified version and new presentation for my good friend Banachek's wonderful PK Touches. I then close the sequence with the revelation of the information written. If the X has been drawn on either of the feet obviously Steve’s original handling would not work so I came up with the following to overcome this problem: The performer touches no one and yet when he asks the spectator if they have felt anything, they reply; “Taps.” The performer enquires; “How many and where?” The spectator replies; “Two on my left foot.” Method; This is obviously an outgrowth of Banachek’s PK Touches. I sometimes use this effect after the original PK Touches effect to produce a powerful sequence. Under the visible action of tapping a spectator’s foot, you will secretly tap a different spectator’s foot as well. page 78

This is accomplished by the larger action covering the smaller action. This will be a very easy addition to all who already use Banachek’s wonderful effect PK Touches. Let us first deal with the positioning of the spectator who will secretly be touched. Positioning of the spectators: Spectator One (who has closed eyes throughout the effect) is positioned facing the audience directly behind (upstage) to yourself. If performing this to follow Banachek’s original then Spectator Two is positioned to your right and slightly forward of the other. If you are not using the original PK Touches you will not need the second spectator, as you will appear to only touch a member of the front row of your audience. You will appear to lean forward, bending at the knees to reach down and touch a spectator on their foot. You will in fact need to lean all your weight on your left foot, which is positioned slightly more forward than your right foot. This will naturally allow your right foot to leave the floor. This is simply a matter of balance. You will now be bending very slightly at the knees, leaning all your weight on your left foot. The right foot now leaves the floor slightly as your entire body moves toward the foot of a spectator. The best way to describe this is to imagine you were picking something up from the floor, bending at the waist and slightly at the knees. One foot takes all the weight, and the other leaves the floor slightly. This is a very natural position and something that does happen naturally when you bend at the waist and the knees slightly. Now come the visual and the hidden touches. You will make a page 79

large gesture with your right hand, moving your entire right arm, and forming a pointing first finger with your hand. Move this hand in a wide arch and in a swooping action come forward and tap the foot of a spectator sat in the front row. It is under this cover that the raised right foot contacts the foot of the spectator with their eyes closed on stage. It is important you make a big deal out of the visible tapping with the hand, on the spectator’s foot. The more visual this is, the harder it is for the audience to think you could have somehow sneakily touched the other spectator’s foot. Which is indeed true, it would be close to impossible to do without being seen.

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the ernie ball book test... ...the ernie ball book test

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The Ernie Ball Book Test The pages of a book are riffled in front of a spectator’s eyes and he is asked to merely think of one of the page numbers. They are then asked to open the book at the page number they have in mind and then tightly close their eyes. They are told to open their eyes and allow their vision to focus on just one word, and then close the book. The performer then asks the spectator to consciously focus on the feelings they experience from hereon in. He states that: “You will actually feel the word pop right out of your mind and into mine, it will be kind of weird but it will happen.” Suddenly the spectator smiles and nods, confirming they felt a strange sensation. The performer then instantly reveals the word. Method: This is a really interesting, if somewhat time consuming to prepare, book test. It has roots in Danny Tong’s Mind Scan book test and in Chan Canastas wonderful approach to the classic book test as well as Barry Richardson's Newspaper Test as described in “Theatre of the Mind”. You will need to obtain a cheap paperback book and a good quality pencil eraser. Using the eraser you will now ‘rub out’ every page number with the exception of the page you wish to force. You do not remove the ink completely but rather make it less visible. You will find that with little pressure the ink on the pages will become lighter in tone. I leave one page number untreated.

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If you compare the page numbers that have been treated with the one that has not, it appears as though the untreated page is in “bold” type. Darker and easier to see. If you riffle the pages of the book you will notice that the “bold” untreated page moves past, it will stand out and be remembered. This allows you to make use of the well-known psychological card force using the book. Most often seen with a pack of cards in which you hesitate slightly on one playing card allowing it to be seen for a split second longer than the others, this force is now possible with the book. You need no breaks or separations in the pages of the book and there is no need for a long hesitation - a very slight pause will do. The bold and light nature of the page numbers, due to the pencil eraser’s effect on them, makes this a very simple and utterly effective way of forcing the page number. Now comes to the forcing of the word. On the untreated numbered page you need to select a word roughly central in the page. You will now “treat” all the words on the page with the exception of the force word. One word on the page will stand out as did one page number. The force of this word is really fairly simple. You will request first the spectator remembers one page number as they fly past. “I will just let these pages pass here and I want you to focus your attention on one page, one that really catches your eye.” This is said as you riffle the pages of the book at their lower corner. Thanks to the prep work on the book earlier this will be the force page. Allow the book to close fully and hand it to the spectator. “I would like you to turn to the page you saw. Then hold it open and firmly close your eyes. I would then like you to allow yourself to feel relaxed.”

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I now in my own presentation stand back to back with the spectator with a pad and go on to later reveal the word by writing it on the pad. “Allow your eyes to pop open and look down at that page. I would like you to see one word that is very clear to you, one that catches your attention. Then close the book and drop it onto the floor in front of you.” Thanks to our treatment this will be the force word. I have the spectator drop the book to ensure they do not look at other pages. All that remains now is to reveal the word in your own choosing. This is closely linked to Barrie Richardson's thinking in his newspaper test as mentioned in the introduction to this effect. For more information on this kind of force see his book “Theatre of the Mind”. The Burst Bubble Suggestion Now comes the part of the routine that is really fun to perform. You will actually through the suggestion script make the spectator feel the thought “pop out of their head”. This will use almost all the techniques we have already outlined. It will however take some work to become fluid for you. However as I have already stated you cannot fail in this kind of routine as you still have the revelation of the word to fall back upon. Script: Here’s the scripting I use: “Now in a moment I am going to ask you to really focus your attention on what you are experiencing, because we are actually going to attempt to move one thought from your head to mine. I know that sounds strange and it will actually feel a little odd as page 84

well. Most people actually feel it go, you probably will too - but if you don’t it is ok, don’t worry about it… trust me it will happen.” I am sure you have already recognized the ‘Don’t Lie’ technique here. “Now please hold your hand out. We are going to make that thought travel from your mind into mine, but we need to make some kind of physical contact to do this so just point your finger at me.” Here I use the ‘Old Witch Doctor’ method already taught, slowly moving my hand to theirs. As I touch their hand I state the following: “Ok now, you feel it yes? How strange is that? It’s hard to explain isn’t it? It just kind of pops right out of your head right?” That's all there is to it. To the audience it appears as if the spectator actually felt the word go - this will more often than not be true - the spectator will feel something, however if they do not you still have the revelation of the word. Finish by dramatically revealing the word and you’re good to go. Credits: Credit must go to a few people for the inspiration for method of the book test. Firstly, as stated in the text, Barrie Richardson's Newspaper Test from the brilliant “Theatre Of The Mind” along with Danny Tongs Mind Scan which can be found in “The New Invocation”, as well as a healthy amount of inspiration from the outstanding Chan Canasta book test of which supposed details can be found in David Britland’s work on the amazing man.

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the ice man cometh... ...the ice man cometh

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The Ice Man Cometh Effect: The performer brings forth an old jewelry box which has a red ribbon tied around it. This is placed in the safe keeping of a spectator who takes it to the back of the room, away from the performer. The performer explains that at various times in history ice has been a very precious commodity. He borrows a ring from a spectator and asks a second spectator to examine the ring and really pay attention to it, because in a moment he will need to be able to recognize it once again. The performer takes the ring back from the spectator and makes a fist around it, recounting a specific tale about the value of ice. He asks the first spectator to think about the first time she saw her ring, then he dramatically opens his hand to reveal the ring has vanished. The performer, without going anywhere near the box held by the spectator at the back of the audience, asks him to open it and tell everyone what he finds inside. He tells everyone that it is the vanished ring, but it is sealed in ice! The spectator breaks apart the ice and confirms it is the very same ring he saw. It is then given back to its owner, still icy cold. Method: This really is a stunning routine when used in the right setting. It is a parlour routine and in that context plays perfectly. page 87

You will actually be making use of a dual reality concept. In essence you will borrow a ring from a spectator on your right side, and in the action of walking to show the ring to a spectator on your left side, you will switch the ring for another ring. The ring, of which you already have a duplicate of sealed in the box, is then examined thoroughly and remembered by the spectator. When he finds the ring in the box, as far as he is concerned it is the very same ring. Which in truth it is - the ring is the same as the ring he examined. It is, however, not the ring that was lent to you in the first place. Now let’s look at the staging of the effect because this is where the effect will either be made or broken. I take no risks when using this routine. I borrow a ring from a spectator on the far right of the first row. Then I move to the far left of the row and switch the ring and give it to the spectator on the far left of the first row. This allows me not only plenty of time to switch the ring but plenty of cover to mask the dual reality deception. The box is handed out at the very beginning of the effect to a spectator at the very back of the audience. I like having the spectator walk to the back of the room as it seems to add impact to the effect - it shows the exact distance that the ring has traveled and obviously you have gone nowhere near the box nor indeed had the opportunity to. This is all there is to the method. A routine such as this needs a strong presentation. Let us now look at the one indicated above. "Before the 19th Century, ice was a very valuable commodity. From about 15th C. onwards, an ice cellar was THE household accessory. Built deep underground, and storing great blocks of ice from the winter, only the very rich could afford them. And ice cream was more valuable ounce for ounce, than gold! Into that history page 88

stepped alchemists, known as ice men, who instead of transmuting lead into gold, turned water into ice." This, despite being not strictly true, does make a decent theatrical setting for effect. You continue: "One such chap turns up in the middle of a sultry August to the court of the sun king Louis 14th, when the palace ice stocks were running low, with a reputation as an ice man. And he promises to turn the Versailles fountains into ice, for a little gold, for his trouble you understand. He has few bits of equipment and a small box, which no one could open. My box will be kept safe at the back of the audience." During this statement you bring forth the box already loaded with the duplicate ring, the duplicate of which you have ready and waiting in finger palm to be switched in. You offer to recreate his process, and say that you too will need a little gold, and borrow a ring. This is shown to someone, a glass of wine is also borrowed, and you return to the front and leave the ring in clear sight. "As the nights sweltered, and the king melted like butter in his bed, no ice appeared. So, with soldiers he bursts into the ice man’s workshop and tells him to make ice or else. The ice man takes a cup of the king’s wine, and holding its rim against another cup, mutters something and sloshes the liquid between the two cups". You have placed another wineglass rim-down over the spectator’s cup, and have turned them over, so the liquid splashes between the cups. "Sure enough, the king’s wine starts to become solid and ice is formed in it - but only a small amount". Small solid chunks of what could be ice have formed in the borrowed wine. Kind of like a Slush Puppy drink. Actually it’s wine page 89

plus slush powder you hid in the second cup. This is a good use of slush powder and really does look convincing. "The King is less than impressed - so much gold for a beaker full of ice, so he has the ice man killed." Continue on, "I’ve made some ice, and the deal was for gold, so I think this is mine." Here you will vanish the ring and drop it secretly into a servant on your table, that is filled with ice. More on this later. "The king was in a great rage about the ice man and the loss of his gold, so he trashes the workshop. Eventually he comes across the box, and it is prised open. Inside, he found a great quantity of ice, and inside the ice, the gold he had paid the alchemist." This last sentence is said as you reveal that the ring has travelled into the box. This is actually the duplicate ring embedded in ice. A spectator breaks open the ice and confirms it is the same ring. Under the cover of this happening you will recover the ring from your table servant. The ring is then returned to the original spectator, switching the true ring back in under the cover of returning it, and she confirms it is her ring, and that it is icy cold. Notes: This version of the effect really is a theatrical piece of Bizarre Magick. I must tip a nod to my good friend Caleb Strange for helping me with the story. Clearly this is a deeply involved routine that will take much preparation. However I feel it is worth every second of preparation. A word about the servante: personally I use a version of an idea by page 90

Karrell Fox which appeared in "My Latest Book". He called it "Sit On Servante" however I affix it to the chair I use. I also have constructed the actual "bag" section of the servant from waterproof stiff plastic. The ice is not a solid frozen block; it is lots of ice cubes packed together. Onto this frozen water I have placed a thin layer of gauze. This allows the ring to become cold and yet it is easily accessible and you do not get wet hands in the action of removing it. Like I said a lot of work - but I feel it is worth it. This is obviously related to the classic Himber Linking Finger Rings. It does however take the principle in a very different direction to the original Linking Finger Rings.

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stuck in a moment... ...stuck in a moment

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Stuck In A Moment Effect; The performer talks of his days at school - he vividly remembers desperately watching the clock and seeing the second hand stand still for what seemed like an eternity. Every second that passed seemed like an hour and every hour seemed like a week. He longed to get out of that small, stuffy classroom, but for some reason every time he looked at the clock the hands just seemed to be stuck. A spectator is asked to look at the face of her watch - sure enough it slows down. Eventually it stops and the spectator is seen to be ‘stuck inside of a moment’ not being able to move or even speak. The performer snaps his fingers and brings everything back to a pleasurable normality. “To pass the time I used to actually will the time on the clock to move - well that, and draw on the table.” The performer asks for the help of a spectator. They assist the performer and sit to his right. The performer asks them to glance at their watch and see if; “…the second hand seems to be stuck in a moment.” The spectator replies that they do indeed appear to be stuck there for some time. The performer explains that when we are put into a situation which makes us nervous or uncomfortable, our perception of the amount of time we spend there is not necessarily accurate. This may be the explanation for his days in school seeming so long to him. The performer continues;

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“At school I was not exactly the crayon in the box, so to speak, however I did learn a lot about myself and about people. You see, when people are nervous they seem to act differently.” The performer asks the spectator to remove his or her watch and just glance at it once again. They see that the second hand again seems like it is taking longer to move than it should. The performer explains that our perception begins to change as he mentioned earlier when a person is placed under a stressful situation. “You see the seconds still pass at exactly the same speed as they would normally, however you are aware of everything around you and everybody for that time. Your nervousness makes the second seem longer, it isn’t you’re simply paying it more attention than you would normally.” The performer continues explaining that it might even be possible to say you were stuck inside of a moment. The performer asks the spectator to be totally silent and raise their hand for just one second, which they will time on their own watch. The spectator’s hand is raised for what seems like an eternity. Finally the spectator’s hand is lowered as they confirm the second has passed. Clearly the spectator has a different perspective of a second than the rest of the room. The performer continues: “You see at school I found myself willing the clock to move to 3.15 so I would be able to get out of that small nasty classroom. But I found that the more I wished it to move, the more it seemed to slow. At times I even thought I had managed to stop the clock. The time seemed to stand still, I seemed stuck to my chair. I couldn’t move and neither could the second hand of the clock.” The performer asks the spectator to focus her attention on the watch face once again, this time she is to will the time to move, just like the performer once did. However the more she does this, page 94

again just like the performer, the slower the time seems to pass. In fact eventually the time actually seems to be standing still. The spectator appears to be stuck rigid to the spot. Just like the performer as a child, she appears to be stuck inside a moment. The performer snaps his fingers and the spectator is fine, as is her watch. She is thanked and returns to her seat. Method: This is a strong mixture of suggestions and magical methods. The majority of the routine is actually suggestion - however the finale phase is simply dressing for the classic feat of PK power, the watch stop. Any method for the classic watch stop can be used. Let us first deal with the routine from a suggestion angle. The first phase of the routine is all accomplished using the ‘Definition = Creation’ technique, however it is not explicitly spelt out for the audience. You relate a story of your own school days. However through this, the ‘Definition = Creation’ can still work its wonders. I introduce the effect as follows: “I vividly remember my school days longing for the bell to ring, so I could leave that stuffy little classroom. To pass the time I used to actually will the time on the clock to move - well that, and draw on the table. It seemed however the more I willed the time to move along, the slower it became. The more I wanted it to move and the more I focused on it, the slower it became.” I then ask for a spectator to assist. I sit them on my right if they are wearing their watch on their right arm, or vice versa. I want the watch to be visible to the audience at large. Here I use a Convincer that the entire routine is built on. Put simply, it is the notion that if you were to stare at the second hand of a watch face page 95

it seems to be stuck, it seems to take much longer than a second to actually move. I am sure we have all had the experience of glancing at a watch/clock, and for what seems like three or four seconds, the second hand seems stuck as you look? I am unsure of the explanation to this, possibly our perception of time. Or whether the second hand seems stuck because you fail to see it tick on as you initially focus? That's by the by. I find it works. This Convincer combined with the first seeds of suggestion you have already planted in the introduction are more than enough to allow the first phase to happen. You ask the spectator to look at the face, to keep her hand raised for the same amount of time it takes for the second hand to move. This will appear strange. To the audience it might even look as if the spectator keeps their hand raised for something like 10 - 15 seconds. This is exaggerated by exploiting The Power of Silence Rule, which we have already covered. I often follow it up with the simple line: “…those second hands seem to be stuck in a moment.” The spectator replies that they do indeed appear to be stuck there for some time. I normally offer some kind of rational explanation along the lines of: “When we are put into a situation which makes us nervous or uncomfortable our perception of the amount of time we spend there is not necessarily accurate. This may be, explains those days in school which seemed so long to me. At school I was not exactly the crayon in the box, so to speak, however I did learn a lot about myself and about people. You see when people are nervous they seem to act differently.” The performer asks the spectator to remove his or her watch and just glance at it once again. They see that the second hand again seem like it is taking longer than it should to move. Here I simply page 96

reinforce the original convincer covered earlier by doing exactly the same thing again. I then state the following: “You see the seconds still pass at exactly the same speed as they would normally, but since you are aware of everything around you and everybody for that time, your nervousness makes the second seem longer, it isn’t simply you’re paying it more attention than you would normally. It might even be possible to say you were stuck inside of a moment. Please be totally silent and raise your hand for just one second. Time it on your very own watch.” The spectator’s hand will be raised for what seems like an eternity. Finally the spectator’s hand is lowered as they confirm the second has passed. Clearly the spectator has a different perspective of a second than the rest of the room. Don’t sell this short, it is a strong moment and will have a deep impact on the spectator. I continue: “You see at school I found myself willing the clock to move to 3.15 so I would be able to get out of that small nasty classroom. But I found that the more I wished it to move, the more it seemed to slow. At times I even thought I had managed to stop the clock. The time seemed to stand still, I seemed stuck to my chair. I couldn’t move and neither could the second hand of the clock. It was if I were stuck along with the movement of the hand right to my chair, my hands were rigid and my lips seemed like they were glued together. The more I tried to move, the more strong I seemed to bond and fuse with my chair, my hands seemed to melt into the table and my lips seemed to become super glued together. No matter how hard I fought it, I was stuck along with the second hand. It was OK though, I know that the moment that second passed I would be able to move, so I didn’t try to fight it.” I ask the spectator to focus her attention on the watch face once again, this time she is asked to: page 97

“Will the time to move.” However the more she does this, just like the performer, the slower the time seems to pass. In fact eventually the time actually seems to be standing still. “As it stands still you will experience exactly what I did, becoming stuck inside that moment. It’s a weird feeling, don‘t try to fight it, just enjoy it.” The spectator will now appear to be stuck rigid to the spot. This works for several reasons. Thanks to the convincer used in the effect, when you come to the final phase in which you will actually stop the watch using your favourite method. None will even suspect that you have actually stopped the watch. You have also used much suggestion all be it indirect. If you re-read the scripting I am sure you will be able to pick out certain rules that we have already covered in the book. All that will remain is for you to restart the watch and the spectator will instantly begin to move again. If they do not, I simply either touch their forehead or snap my fingers loudly. This will cause them to move once again. Notes: This is a powerful routine that has drawn inspiration from several sources. Firstly thanks go to Caleb Strange for pointing out the Convincer used to build the rest of the routine. The moment he mentioned it, I had wild ideas running around my mind and what you have just read was the first of my experiments with this interesting Convincer. Thanks also have to go to Orville Meyer’s work which without this routine would not be either as ambitious or impressive. This routine is also closely linked with the thinking expressed in Orville Meyer’s “Telepathy In Action”, a groundbreaking work well ahead of its time. The well read astute Mentalist will instantly see that this effect can provide perfect framing for Bob Cassidy’s work of genius An Experiment In Time page 98

in my opinion one of the strongest routines of its kind to ever be graciously shared in print which can be found along with several other stunning compositions in mind games in Mr. Cassidy’s “Pseudo Mentally Yours”. Any method you prefer can be used to cause the watch to slow. Several are available on the market, currently I use an unpublished method. I am not at liberty to explain either the marketed versions or the unpublished method, however I am sure the reader will have his or her own preferred method.

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a remote castle... ...a remote castle

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A Remote Castle Mentalism involving playing cards is something of a hot topic. It seems to be an issue that can divide and conquer mentalists the world over. The fraternity seems to be divided into two clear opposing groups. Those who would rather have their fingernails pulled out while listening to the hum of a dentist drill than include any kind of presentation featuring playing cards. Then we have the opposing viewpoint of those who argue most effectively that there are times and rationales that can fully justify the use of playing cards in their performances. Each group offers well defined and well argued stances that each has their own compelling point of view. On one side we have those that feel the very presence of a pack of playing cards is from the outset implanting a suggestion of trickery. Those who feel that an instant link will be drawn between playing cards and the world of dodgy card tricks performed by your least favourite uncle at Christmas. Belittling their “psychic” flavoured entertainment. Of the opposing view point, we have those performers whom include dynamic presentations centering round playing cards. There is no question that a pack of playing cards opens a world of deception that allows the performer to present some wonderfully deceptive and intriguing effects that will and can entertain even the most difficult of audiences when handled correctly. Often mentalists using playing cards in their performances use the concept of the playing cards simply being a convenient and portable way of carry fifty-two separate objects that can allow random information to be arrived at. page 101

I offer no answers as to what is best for you. You will need to answer this question for yourself. I have and am happy with my decision. I limit the use of playing cards in my performance to no more than one effect and then that effect has to meet a strong set of stringent requirements. I feel it is necessary when dealing with playing cards to have an effect in which the performer is “hands off” from the deck. In other words the performer has no physical contact with the deck of cards. It also has to be strongly mental in theme. I use the effect “A Remote Castle” which follows as something that can be used in a parlour setting and to me fits all the requirements. It is overtly mental in nature and is totally out of the hands of the performer. It is also important to me that the effect be about the revelation of information rather than the antics of the playing cards. As I said in the previous paragraph, the pack of playing cards simply represents fifty-two separate pieces of information that are easily carried and easily recognizable by all. It is in this way the pack of playing cards is introduced within the structure of this effect. Let us not dwell any longer on this troublesome topic and move on to the actual workings of this effect. Effect: The performer enters the stage standing in front of a proud standing structure made entirely from playing cards. A spectator is asked to help the performer who then joins him on the stage. “The notion of Remote Viewing is something I am sure some of you at least will have heard about. Often we hear amazing tales of Remote Viewers who can seemingly, without explanations, throw their mind thousands of miles to a remote location and describe in amazing detail that location - despite having never visited this location. It is even thought that the governments and intelligence services in both the US and the UK have used Remote Viewing to page 102

gather intelligence. Whether or not this is true is for you to decide, however I would like to attempt something along the lines of Remote Viewing.” A spectator named Serranne is asked to join the performer onstage. The performer asks the spectator to push the card castle allowing the cards to tumble and fall according to destiny. “Now often it is reported that when a person slips into this altered state - in order to achieve the ability of remote viewing - both the heart and pulse rate are said to slow. Serranne, would you please take my pulse and move your right arm in accordance with the pulse.” The performer suddenly takes on a serious persona, slowly taking deep breaths, his eyes flickering and his body becoming heavy. Serranne’s arm is seen to go from moving at a very regular and speedy pace to a very slow and irregular pace. “Ok I think I may be ready, would you be so kind to relax your grip from my wrist - I would now like you to take a place behind the table.” The spectator moves behind the table, she then pushes the cards which fall haphazardly onto the table surface. “I would like you now to allow your eyes to fix onto the playing cards in front of you. I want you to see all the playing cards - so please if you would be so kind as to close your eyes firmly. Wait for just a moment and then open your eyes allowing your vision to fix onto the playing cards you see, allowing them to become fixed in your mind’s eye.” She closes her eyes as requested and opens them, looking quickly down and allowing her vision to fix on one of the playing cards. “Excellent - thank you. Now I have to ask you to fix your mind on page 103

exactly what you see. Perfect, I am seeing a scattering of playing cards, there are exactly 4 red cards facing upward and exactly 6 black cards facing upward. There are exactly three picture cards. I can also see the Joker with the word ‘guarantee’ written across it. Would you please count the Diamond cards for me. Silently in your head, count each Diamond you can see.” As the spectator takes a moment to do this, the performer raises his hand in a fist and begins to raise fingers stopping with 4 of his fingers outstretched. “I can see exactly 4 Diamond Cards - correct?” The spectator confirms this is indeed correct. The performer continues: “I see your eyes being drawn to those picture cards - just relax and allow your eyes to fix on one of them - that's right, I can see you being drawn toward the centre of the three - just stare at that centre card of those three playing cards. You are looking directly at the Jack of Diamonds - correct?” The spectator looking slightly dazed confirms that all the performer has stated is 100% accurate. Method: For this effect you will need to gather a few special cards and you will need to gather some card castle building skills! Required: In order to achieve this deception you will need to construct a special deck of playing cards. It consists of 40 double backed playing cards. It contains one double faced Joker pagethat 104 shows the Joker on each

side. I use the guarantee Joker as it allows me to apparently “see” another element of detail that will add to the impact of the routine. You will to this combination add the following 10 double faced playing cards again showing the same card on both sides of the cards: JD, 7C, 8D, 10S, AD, KH, QS, 3C, 2H, 8H Due to the nature of the deck these are now the only 10 cards that are possible to fall face up when the card castle falls onto the tabletop. These 10 cards along with the Joker will later be described to give the impression of Remote Viewing. Preparation: You will need to build a card castle with the deck. This is something that is nowhere near as troublesome as you might first think. If you find it difficult simply bow the cards short edges in opposite directions allowing each card to act as a support for the last. Another intelligent move for the working performer is to actually apply a small layer of magicians wax along the short edges that rest against one another in the card castle to ensure a further stability to the castle when in the performance. The 10 card stack and the Joker will be placed in specific positions in the card castle. 4 cards will be placed in the bottom line of 8 cards on the left side of the inverted pairs of cards; each pair consists of a double backed card which is the card on the right of the two and a card from the force stack which is on the left. 3 more of the cards will be placed in the second row of inverted pair of cards on the left side of each pair of cards. 2 more cards will be placed in the next row again on the left side of the pairs of cards. The last pair of the 11 cards, the remaining card from your 10 card stack and the Joker will make up the final pair of cards on the very top of the card castle. This situation can be seen clearly in figure 1. page 105

a remote castle...

figure 1

...a remote castle page 106

Presentation: The effect can be presented in any way you desire, however I feel it works especially well for the theme of Remote Viewing, as due to the nature of the method it can offer such detailed descriptions of the deck’s situation on the table - something that apparently was controlled only by destiny. It is a nice theatrical touch to blow the card castle down. Or allow the spectator to blow the card castle down. I like the notion of having the castle blow over. It allows many possible patter routes about the total randomness of the wind and items that have been blown away resting quietly in a corner totally beyond the control of any human. All that remains now is to reveal the cards and describe the situation that exists at present. The way this is done is a very carefully planned psychological guiding sequence; the revelation of the final card is closely related to a wonderful effect of Justin Higham’s. The Guiding: You will appear to allow the spectator to settle on one playing card, which you will then reveal. In actual fact you will describe the situation, the amount of black and red cards and the amount of picture cards. Following this you will incorporate a wonderful visual element when you ask the spectator to count the number of Diamonds. You will raise your clenched fist and raise 4 fingers slowly. This appears as if you are seeing the cards and counting the cards as the spectator is. This is a small but all important touch. The final guiding of the selection is very simple. I state the following: page 107

“Of those Diamonds I can see you are drawn to the picture card aren’t you? I want you to allow that card to become clear and bright in your mind - perfect! I can see the Jack of Diamonds.” As you can see the spectator doesn’t actually settle on a playing card at all, you simply guide them to thinking of the card you wish to describe. Obviously you can interchange the stack cards and use any of the cards as the final selection. Final Notes: This routine is something that in my mind is far more than the sum of its parts. It makes for a theatrical and compelling demonstration. The use of the card castle makes the whole effect a nice presentation piece for either parlour or stage performance. Upon occasion I use a slightly different introduction to the effect in which I talk of the use of Remote Viewing in the Cold War. I time it to the line: “But sooner than was expected the castle fell.” I blow the card castle allowing the cards to fall to the table. This makes for a theatrical and pleasing visual to introduce the routine. I decided to omit this presentation and leave the effect as neutral as possible allowing you to create what ever presentation will work with your own wonderful style. Alternative Method: It would be possible to do a similar effect without the double backed playing cards or the stack - it would lose some of the detail. It would however allow you to perform the final revelation of the thought of playing card. page 108

I for this would simply use a force deck, which would be made up from 5 decks - repeating a run of 10 cards. You could slightly change the presentation. Instead of asking the spectator to allow her eyes to fix over all the cards, you would need to say something along the lines of: “I would like you only to focus upon one playing card. Tightly close your eyes and then allow them to pop open. I would like you to focus your attention on the very first playing card you see, make a large picture and see it brightly and clearly in your mind’s eye.” You could now move forward in the revelation as per the normal force deck handling. Fishing, until you discover the full identity of the playing card. Credits: The idea of slowing the pulse to apparently slip into an altered state is in my mind an inspiring and wonderful one. It comes from Leslie May, a prolific thinker who created a number of wonderful mental and bizarre effects. The slowing of the pulse with no gimmicks can be found fully covered in my effect For Andruzzi which appeared in my first book “7 Deceptions”. The guiding of the final card selection is related in one way or another to Justin Higham’s Reverse Mind Reading from his booklet “The Simulation of Miracles”.

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blind sentence... ...blind sentence

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Blind Sentence Effect: The performer claims to have an unusual ability, namely to be able to see through his fingertips. This vision, which he calls Dermoptic, he goes on to display in a startlingly fair way. A number of books are resting on a nearby table - the performer asks the spectator to select any book they so wish. He then asks the spectator to hand the book to him. He riffles the pages of the book asking the spectator to call stop when he wishes. The book is opened at this point. The performer runs his fingertip along the page from top to bottom. He asks the spectator to once again call stop at any time. A paragraph has been randomly selected on a randomly selected page from a randomly selected book from many. Despite this, he with his fingertips ‘reads’ out loud the very sentence the spectator has stopped the performer upon. As a kicker the performer begins running his finger wildly through the pages and amazingly begins to relate information about the book’s plot and its characters. Method; Despite there being little new here, I think all comes together in something of a neat way. I have used it several times in my own blindfold routine. It is interesting to note that despite essentially being a blindfold routine, it does not appear to be.

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You shift the focus of this effect away from the notion of the standard ‘Blindfold’ routine into an area of ‘Seeing with the Fingertips’, something that to your audience will appear very different. This effect is also a very good example of the way I feel any kind of ‘Blindfold’ routine can build elements of believability. In this sequence you can actually perform the effect with no sight. You do not need to be able to see through your gimmicked blindfold. This allows me to actually close my eyes during the performance of this piece during my ‘Blindfold’ sequence. This means that for the entire duration of the effect I am actually ‘sightless’. As I have discussed already, such things do affect the way in which you will communicate to your audience without even knowing it. Let us look at the problems we face in presenting this effect: Firstly, we need to somehow discern which of the pile of books has been handed to you. Secondly, we need to discern exactly which page has been selected and finally which paragraph has been selected. Let us deal with each of these in turn. Firstly, we have two options open to us in the problem of discerning which book has been selected. We can either secretly mark the books. However, one of stipulations of this effect when I created it was to be able to use any book so it would seem that this option isn’t available. Another stipulation was that the Blindfold had to be real - this would allow me to perform this effect no matter what was thrown at me. A psychological or mechanical force of the book is also open to us. I for one wouldn’t want to be in a position where I do not know if a psychological force has worked effectively or not. I also wouldn’t want to carry a mechanical method of forcing with me. It would seem that both of these options are in no way available to us. However I take advantage of what has been dubbed ‘The Virgin State’ by Tony Raven in which you can take advantage of page 112

differences that are actually naturally occurring within your props. This allows me to use any book at any time. Something that in an effect such as this is very beneficial to the performer. I ask you to go to your own splendid collection of literature and decide on three or four of your favourite titles. Now run your fingers along the spine and the outer top edge of the closed book. Repeat this with all your books. I am sure you noticed that each book is already marked by the nature in which it has been manufactured. Some books are made with a laminated cover, some a hardback, some are saddle stitched and some a perfect bound. It is unimportant in what way the books are made all that is important is that you are able to remember how each of the books feel to the touch. This allows us to have any book handed to us and, simply by the way each book feels to the touch, instantly know which of the books has been selected. This is a very interesting and utterly deceptive method that will not ever be questioned. It is also very close to embarrassingly easy to execute. Let us now look at the second of our problems - discerning which of the pages has been selected by the spectator. We need either force a page or peek the page. As I have already stated, the blindfold had to be real so it would seem that to make a peek is out of the question. Forcing a page of a book is a very simple matter and not something that will look out of place in this effect if it is handled correctly. The force I use more in a formal situation is actually a gimmicked book - I simply cut one of the pages slightly shorter than the rest and then use timing to allow the pages to fall a moment before the spectator calls stop allowing all the pages above the short page to fly past - thus forcing the page you want. This option is more than adequate for the effect; however in test condition settings I once again take advantage of the ‘Virgin State’ - however page 113

in a very different way to discern the book’s identity. Before being blindfolded when the books are presented to me, I allow myself to patter briefly about each of the books, engaging the spectator in conversation about the book. If I happen to have read it I do not mention this. I allow the pages of the books to naturally fall open. There will be a point in the book of which the spine is broken more than any other. This will be the place that the book is more likely than any other to open when pressure is applied to the outer right corner of the book. I push the corner of the book and apply a downward pressure - this will cause the book to make a break at the place in which the spine was broken. It also looks utterly fair. The book is gripped at the very outmost corner between your fingers. I allow the book to open and briefly glance toward the book while making some relevant comment. I make a mental note of the sentence that appears roughly two thirds of the way down the page. I now insert my pinky (little finger) into this break and transfer it to my left hand. I am now in a position to do a standard riffle force. The actual transfer sequence I use can be found described in great detail in Richard Busch’s “Peek Performances”. I now riffle force the page upon the spectator. I have so far discovered which of the books has been handed to me. I have also managed to force the page of which I remember a sentence during the introduction roughly two thirds of the way down the page. Finally we need to somehow force the sentence we have remembered. I find the best way to do this is to actually simply use a timing force. I run my finger from the top of the page to the bottom asking the spectator to call stop. I time it so my finger is in the right general area. I then push my fingertip deeply into the book - this will ensure that you have your finger overlapping the forced text. page 114

I then run my finger along the page, left to right. Now all that remains is for me to reveal the remembered sentence. I then hand the book to the spectator removing my finger and ask the spectator to: “Read the line out loud.” Due to the way you have worded your request, the spectator looks to the area in which you stopped and then for the sentence you said out loud - they will then repeat exactly what you have said moments before. As something of a kicker finish, upon occasion I run my finger through the book very quickly and continue this for one or two pages. I then seemingly, in amazing detail, relate the plot to the audience. This makes use of a concept Kenton Knepper first introduced in his work “Miracles of Suggestion” under the title of The Subconscious Book Test. To achieve this, during the introduction after noting the sentence I wish to force, I briefly absorb some of the information on the book’s summary which appears on the back cover. This will provide you with plenty of information to relate back about the story. It will give you the names of the main characters and the most important moments in the book. This is especially good if using borrowed books as the owner can then confirm that you were accurate in your summary. An optional kicker that I use upon occasion. I hope you too will find a time in which this can fit into your own performance.

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projected personality... ...projected personality

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Projected Personality Effect: The performer introduces his next experiment: “The aura is said to be a field of energy that is held to surround the physical body and which certain sensitive people are said to be able to actually pick up on. A bright band nearer the body with a less defined band further away, with the occasional strong flare of colour. It has even been thought that the golden halos seen in depictions of saints in early religious paintings could be an expression of auras. I wonder would you mind if we were to take a brief look into your aura?” The spectator agrees to have her aura read and the performer removes a pad and begins sketching what he sees. He then explains what each colour is thought to represent and it seems to fit like a glove the spectator’s own personality. The performer then claims that he feels the spectator, with the proper training, could also easily pick up on people’s auras. He then asks the spectator to close her eyes firmly. She is to picture a bright white screen with nothing else entering her mind. As the spectator is doing this, the performer lights a candle and leaves it in the centre of the table. He then asks the spectator to open their eyes, keeping the brilliant white screen at the forefront of their mind, and to stare intently into the candle flame. As the spectator is staring deeply into the flickering flame, the performer removes an envelope which he places on the table top.

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The performer then explains that all the spectator has to do is imagine that they will actually see colour in a dizzy haze surrounding the performer’s hand. The spectator looks toward the performer’s hand and to her own amazement she can now see a strange colour surrounding the hand of the performer. The performer asks what colour the spectator sees as his own aura. The spectator replies: “I saw green with a bit of blue.” The performer nods and with a knowing smile rips open the envelope, taking out a card with a drawing much like the sketch he made earlier. It shows a hand with a green aura surrounding it. The spectator managed to correctly read the performer’s aura. Method: This is a very simple but nonetheless pleasing combination of suggestion and classic conjuring methodology. Let us deal with the actual mechanical method first. We need to actually match whatever the spectator will name. The actual prediction itself is simply a drawing of the outline of a palm with the colour surrounding it. I make these up on card stock thick enough to ensure that the other side will not become visible under strong light and to make sure that no ink seeps through the card. Now this is not as difficult as it might seem at first. I have found that when dealing with the notion of reading an aura four main colours are named. I have found that Purple, Red, Green and Yellow are the most commonly named colours. This is something that I observed when I performed only the suggestion sequence

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without the sketch - simply confirming what the spectator saw. The actual envelope is simply a double envelope. That being one envelope stuck back to back with another. This allows me to have two separate predictions in the envelope revealing whichever I need. I then double this by having the predictions double up on each side of the card. I have a double faced prediction in each side of the double envelope. This allows me to simply cover all four of the required colours with ease. Now comes the interesting stuff. This is an extremely powerful suggestion sequence that I use when doing cold reading in combination with drawing auras. I am sure many of you will recognize what needs to be done from the first section of this book - however let’s now cover the scripting and the bold methods used. Let us assume we have joined the performance after the performer has sketched the spectator’s aura while delivering a cold reading. Now it is the turn of the spectator to read the performer’s. “OK. Now I would actually like you to attempt to read my aura. This is something I truly believe you could do and something I think you could get much enjoyment from. Please let’s begin by just putting you into the right frame of mind. I would like you to close your eyes firmly. Really tightly. Keep them as tightly closed as you possibly can. Now picture a massive white surface in front of you. All you can see is brilliant white.” If we look at what has been said, I have basically showed my faith in the spectator being able to do what I have asked of her. This is important. I have also asks her to close her eyes tightly. This is an interesting and pivotal element to the effect. Close your eyes now - very tightly. Keep them closed as firmly as you can. Then open your eyes. This will now actually cause a few small “blots” of strange wild colour to almost float across your vision. I have no idea exactly why this occurs but I am sure you know exactly what page 119

I am referring to and has happened to you like me on several occasions. “I want you to snap your eyes open when I say, until then you keep them firmly closed just thinking of that white screen. When I bang my hand on the table I want you to open your eyes and stare intently upon the candle flame you will see directly in front of you.” As the spectator is closing her eyes and picturing the screen, you simply remove a candle and light it directly in front of her vision. I have used this visual induction in another effect in my book ‘7 Deceptions’ called The 7th Deception. Basically it will appear to alter the state of the spectator’s mind. It will in actual fact simply be causing a natural reaction in the vision of the spectator. Again I invite you to actually do this yourself. Stare directly at the flame of a candle for some time and see what it makes you feel and see. I am sure many of you will be somewhat surprised at the efficiency of this method. “OK, now I would like you to actually stare directly at my palm. You need to visualize colour streaming from my fingertips. If you just believe you can see it will happen for you. It might take a while and don’t lie to make me look good but it will happen, take as long as you need.” Here you will recognize the Honesty Suggestion from earlier in the book. Now I allow The Power of Silence to kick in as we have already talked about. This is now more than enough to cause the spectator to see colours coming from your hand. I then ask the spectator what colour they say and remove the correct prediction. The actual prediction is not framed in such a way that you predicted what the spectator would see but instead as a way of confirming that the spectator was correct in her reading of your aura. Now we need to allow the spectator to bask in her glory for a page 120

while. Trust me - in sharing the limelight in the short term you will gain in the long term. Credits: This effect was loosely inspired by Richard Webster's “Oral Reading”. However, this almost works backwards in relation to the Webster effect. Concerning the first sequence in which you sketch the spectator’s aura. I simply use a cold reading while I sketch a few colours around an outline of a body. I would recommend Ian Rowland's wonderful “Full Facts on Cold Reading” to anyone wishing to look into this powerful technique. I would also recommend the discerning performer reading up at least to a decent degree of knowledge on the subject of auras. It is a popular notion and many spectators will know an alarming amount about such things that a little homework will go a long way in establishing some credibility. The actual reading I deliver is a simply short and snappy reading. I do not feel it is needed to develop a long and detailed reading for such an effect. Another good source for those looking for stock readings is any tabloid newspaper - just turn to the horoscope section and you will be delivered with 12 shiny new readings everyday! It may occur that the spectator will request you to further elaborate on the reading in which case I would simply do so but after the performance away from the audience.

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a safe anchor... ...a safe anchor

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A Safe Anchor Effect: Three business cards are shown. On two of the blank sides of the business cards smiley faces are drawn, on the final blank side a skull and cross bones is drawn. The performer explains that the smiley faces represent safety and the skull and cross bones represents a poison or danger. The performer explains that it is his task to avoid the skull and cross bones card. The three cards are mixed and spread on the table. The performer then raises his hand above the spread cards and selects two for himself. They are turned over revealing the safe smiley face cards. He then explains that it is now the turn of the spectator to avoid the dangerous skull and cross bones card. He asks the spectator, while holding the two smiley faces, to recall a time in which they felt happy and safe. He then asks the spectator to hold the skull and cross bones card and to recall a time in which they felt in danger or unhappy. The three cards are mixed face down, no-one knowing which card is which. Another spectator is asked to push one of the three cards forward.

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The spectator is asked the concentrate on the card and to decide whether it is safe or the card representing danger. The spectator answers: “Safe.” The card is turned over and it is indeed the smiley faced safe card. Another spectator pushes one of the remaining two cards forward and again the spectator is asked to concentrate on the card making their decision between safety and danger. The spectator replies: “Danger.” The card is pushed forward. The final card is turned over revealing the final smiley face. Finally the remaining card is turned over revealing the dangerous skull and cross bones. Thus bringing the effect to a viable conclusion. Method; This effect makes a neat combination of both a classic and simple principle in Mentalism and a psychological forcing procedure revolving around the notion of anchoring the emotions of the spectator. The opening phase has nothing more to it than simply marking the back of the danger skull and cross bones card. I do this by simply making a nail nick on one of the edges of the card which is visible to the performer but will remain invisible to the spectators. I bring out three business cards and on the face of two of the cards draw smiley faces. I then draw a skull and cross bones on the final card.

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As I do so, I make the nail nick on the left short end of the card. I then turn my back, have the cards mixed and spread on the table top. I turn back to face the audience and look for the marked one of the three business cards lying drawing side down on the table top. I then raise my hand above each of the cards. I appear to concentrate for a moment or two and then select the two business cards with no marks on them. I reveal I am “safe” in my selections. I now explain that it is the turn of the spectator to dabble with the poison gamble. This is where the real fun begins. We need to anchor the emotions of both safety and fear. I often then ask the spectator to think of a happy memory for safety and an unhappy memory for fear. Since the emotions of safety and fear are often hard to recall vividly in the spectators mind. I begin by asking the spectator to recall a time in which they felt happy or safe. This is where the first anchor will take place. Let us now look at this anchor in more detail. Let us first explain exactly what the notion of an anchor is. The only type of anchor which we need to concern ourselves with in this performance is a visual and auditory anchor. I ask the spectator to recall vividly a time in which they felt happy. I then hold the smiley face card up in my left hand leaning toward the left. As I ask the spectator think of their happy memory I also place my right hand on my chin. I often appear to scratch my face with my first finger. I then, as I say the following, allow my hand to move sharply away from my face toward the table. “Ok so that's the happy and safe memory.” I now mirror what I just did for the unhappy or dangerous anchor. page 125

I display the card in my right hand and instead of raising my left hand to my chin instead rest it on my left arm. I then repeat the hand moving away from the face sharply to the table as I say; “So that's the unhappy memory.” Now let us look at the way in which we will use these anchors. The cards are mixed on the table top. I keep track of the marked business card and make a mental note of its position. I then ask another spectator to push any of the three cards forward. If it is the marked “danger” card I will perform the same actions as I did when anchoring the dangerous or unhappy memory earlier. If it is the smiley face card I will do the same actions as I did when anchoring happy or safe memory earlier. Obviously if the danger card is the first selected there is only the need to anchor the unhappy memory then simply reveal the other two safe cards. If the danger card is last again theatrically the effect is strong. I simply anchor the first two cards using the happy memory anchors, revealing the danger card as the finale. If the danger card is the second card selected I then reveal the happy smiley face card revealing the danger card as the finale.

Notes: This is a fun effect to perform. Let me make some comments about the way in which it is needed to have the card selected. You must make it clear that the spectator is to think about the card after it has been selected. If they make a predetermined decision the anchors will not work. I also make the spectator look me flatly in the eyes as they make their mental decision. page 126

Another element can be brought into play with this effect. Many years ago, Paul Wilson pointed out to me that one of the strongest forms of misdirection was to look someone in the face and raise your eyebrows. This sounds weird but it really does work. I incorporate this into the happy anchor. I also use the idea of voice stressing. I state things in a similar tone when the happy cards have been selected, as I also state things in a similar tone when the unhappy card has been selected, attempting to make my voice sound as it did when anchoring in the first place. This is an effect I have used exclusively for some time. I have performed it regularly for the last two years and have had very pleasing results. I am sure if the reader takes this to his audience he too will enjoy a similar success. I am sure the astute corporate performer could easily replace the idea of safety and danger images on the cards to “Product X” and the product you are booked to promote, allowing for a presentation with the spectator always choosing the correct product, with instant first impressions. Obviously the markings can be replaced with any of your existing marking methods. I personally prefer the use of the nail nick but another method I used for a while was simply the Lee Earle and Larry Becker method of replacing numbers on the face of the business card allowing each card to be numbered. I simply number the danger card differently to the other two cards in use.

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out of t(his) world... ...out of t(his) world

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Out of T(his) World I will flatly state that this is the hardest item in the book, possibly the most challenging of all the effects I have ever put in print. I do not have 100% success with this and if I am honest I can’t see it ever being 100%. Now many of you have turned the page I will continue. This effect was born out of a desire to perform a version of Out of This World in which you actually did what you claimed. Namely influenced the spectator into correctly guessing which of the cards were red and which were black. This is a natural if somewhat ambitious outgrowth of A Safe Anchor using many of the same methodological approaches. If we take a very basic overview of the effect, the performer will basically suggest through the use of language and some anchoring which colour each of the cards are. Now obviously it would not be practical to use such a method for an entire deck of cards. I use roughly a third of the deck. To me this is enough to effectively convey the power of the effect but also keep the method workable. I at times open this effect with a sure-fire small packet version of Out of This World using only six cards. I will detail this sure-fire method to begin, then move onto the more challenging version afterward. Effect: The performer displays six cards - three of which are red and three of which are black. The cards are shuffled and spread on the table top. page 129

A spectator is asked to place all their concentration on the colours of the cards and slide three of the six cards toward himself. He himself then picks up the card and turns them over - they are the three red cards. You turn the remaining three over to display the separated black cards. Method: This is a basic card effect dressed up to make a neat introduction to the more exciting version that follows. Some basic card handling skills will be required but nothing more than some simple multiple switches are needed. You will actually be making use of nine playing cards rather than the six that the audience will be aware of. I begin by arranging the following cards in the following order on the face of the deck. Any three middle black spot cards followed by any six middle spot red cards. These cards are left on the face of the deck. I then display the six cards that the audience will be aware of, the three red and the three black. I also spread past the six cards allowing me to obtain a break below the entire packet of nine cards. I then lift these nine cards up from the face of the deck and turn the deck face down. I then flip the packet of nine playing cards over face down on the top of the deck. I then spread the top six playing cards over and place the rest of the deck onto the table. I now shuffle the six card packet which the spectator believes contains three red cards and three black cards. However in truth all the cards in the packet are red. page 130

I now spread the cards on the table top. I allow the spectator to push three cards forward. They can then pick these cards up. In the action of moving the deck from the table in order to allow space for spreading the packet on the table, I pinky count three cards obtaining a break below the top three cards of the deck. I ask: “Which do you prefer - the red or the black?” Regardless of their answer I will always end up with the black cards and the spectator the red. I handle this as follows: If the spectator replies “Red” then I say: “Fine, you need to attempt to separate the red cards for yourself.” However if they respond “Black” you say: “OK I want you to focus your attention on the black cards, sliding forward the red ones and eliminating them.” Either way the spectator will end up sliding three red cards forward. This is simply unavoidable as they can only touch red cards as there are no black cards in the spread packet. The spectator slides forward three cards. I pick up the remaining three cards, and square them holding them in a Biddle grip in preparation for a Paul Le Paul ‘Multiple Top Change’. I then allow the spectator to look at the cards they either chose for themselves or eliminated. Under the cover of this action I perform the multiple top change. This move switches the three red cards for the three black cards. Everything appears as it should. This entire sequence is a short, sharp and snappy effect. page 131

However this is not the method that I feel you will be most interested in. I am sure you all have your own personal favourite method using your own personal favourite sleights. However, as I stated, this effect was born out of wishing to abandon the need for sleight of hand in this effect. Let us now tackle the more interesting method. I begin with a normal shuffled deck of playing cards that can even be borrowed. We need, much like in A Safe Anchor, to perform a set of separate actions that will register in the subconscious mind of your spectator and that will allow the performer to recall the subconscious instructions without the spectator knowing. Effectively you will invisibly influence the spectator into separating each of the colours. The actions I use in the introduction to the effect are those which will serve the purpose of our anchor. Let us deal with each colour separately. The Red Cards: I begin by asking the spectator to focus their attention on the face of any red card, which I hold in my left hand with my entire body leaning toward the left. I also flick the card with my right fingers. I also state the following: “Now I want you to remember this colour and the feelings you have right at this moment. In a moment I will ask you to begin to visualize the colours of the cards. I want you now to turn the colour of this card up as brightly as possible. Keep it bright and vivid in your mind.” As I say this, with the spectator focused on what I am saying, I actually bring my right hand close to my face upon occasion I page 132

appear to “scratch” my cheek while doing this. This acts as a further anchor. The Black Cards: Here I basically mirror the actions of the red anchor. I hold the black card in my right hand leaning my body to the right. I do not flick the card. However I do raise my hand to my face, but instead of touching my face, I then drop it sharply to the table. Again here I ask the spectator to vividly focus their attention on the card. I also state the following: “OK, now the black cards. Again I would like you to think about the way this feels. It’s simple. In a moment we will work together to create something amazing. Hopefully we will understand each other and you’re going to really impress all your friends here this evening.” This simply sets up the notion of working together to create something amazing. Hopefully the spectator will now be aware that they are working with you to make this effect happen. Now all that remains is the combination of the method and the presentation. After I have performed the above Anchoring actions and the introduction statement I move on picking cards from the top of the shuffled deck, glancing at the face of the card. If it is red I continue as follows: “OK visualize a big screen. Now turn the colour up very brightly. Vividly picture all that colour rushing in. You will see the colour brightly filling the screen. It is simple - just go with what feels right, don’t try to fight it or trick me or this won’t work, simply follow your gut instinct, your first impressions. Is the card red or black?” This is how I handle the first few cards, obviously as the routine page 133

moves forward the process becomes quicker. However it is worth working slowly for the first few cards. As I say “is the card red or black”, on the “red” I move my hand to my face, then make a small facial movement - more often than not I raise my eyebrows. All the above is delivered as I repeat the actions used during the initial Anchoring procedure. Leaning my body to the left, the hand movements as covered at the beginning of the explanation. If the top card was black I would then say the following: “OK, concentrate on the colour. Imagine it filling the table top. Now work it out, what colour is it? Make your mind black.” The word black should be said in such a way that it seems as if you said blank. This is a common method employed with such psychological forces and is often applied to card forces. Now again, as all the above is delivered, I repeat the actions covered at the beginning of this explanation when I anchored the black cards. Now comes another important point. If we had, say, laid down a red card and the spectator correctly guessed it was red, the spectator has to be reinforced with praise. I praise what they are doing as being “perfect and to keep it up” or some such. Another important point is how to deal with the colours in their order. Let me explain - say for example we have laid a red card down, the spectator has correctly guessed. We next look at the top card of the deck and it too is red. This now allows us to make a statement that will again help with the success rate. “OK now just as you did. Do it again.” This is delivered as the actions for the red Anchor are repeated. It basically underlines the idea that the card is another red card. page 134

Now let us look at the way I handle the times in which the colours switch from red to black or black to red: “OK, now I want you to really re-focus your attention, almost think as if you are starting a new sheet, something totally new and different to you.” Again all this is said as the Anchored actions for the desired cards are performed. Now let us look at the way in which I deal with the times in which the spectator misses the card guessing incorrectly. I do not make a big point of acting negative toward the actions. However I do state the following: “OK I think we might need to relax a little and regain our attention. This is something very difficult and really needs all your attention as well as mine. So take a deep breath and let’s begin again.” Notes: This is clearly a very difficult effect to perform. It will however be very rewarding when you begin to gain favourable results. To me it is the most startling and exciting version of Out of This World. Many have suggested that this could be used as a way to lead into a number of effects. I have in the past used this before performing Ian Rowland’s “Sense of Touch” and a friend who I first shared this with now uses it to lead into his own version of Out Of This World using traditional card magic techniques. It is at first read a scary concept - however when you gain the confidence to try it out in performance for the first time you will see it is nowhere near as scary as it first seemed. All that remains is for me to offer you the best of luck with it!

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a presentation... ...a presentation

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A Presentation It has been said that the art of Mentalism is all about the performance and presentation, not the method. This is something I could not agree with more. As they say the devil is in the details. I will now offer a presentation of the classic psychological 1 - 10 number force. I find it plays especially well for couples. I have only ever performed it in such a way, I would not wish to use such a presentation when dealing with two strangers. “It is thought that up to 90% of our thinking is down to our subconscious mind - something we have no control over. If this is true it would appear that seemingly random actions are not so random after all. Madam, would you mind if I asked you to simply, without thinking in your conscious mind, just to think of a number between 1 and 10. The first number that comes to your mind…now.” The performer hurries the spectator by snapping his fingers as he says “now” and continues on. “OK sir, I also would like you to think of a number between 1 and 10. Again, without thinking, just get a number in your mind…now.” Again, the performer snaps his fingers rushing the spectator’s thinking. “You may have noticed I was rushing your thought process somewhat. This is simply because I want you to make a totally subconscious decision rather than a laboured and conscious decision. As we were speaking of earlier, the subconscious is page 137

thought to control much of our thinking. One theory says that the subconscious actually assigns a number to our self in our mind between 1 and 10 rating our own attractiveness to others. It is thought that we actually seek and find people with the same number rated in their mind as to our own most attractive. For example, someone thinking of the number three could secretly be searching for another three. ” This is actually a true theory. However ludicrous it may first appear, many spectators will have already have heard of this, it often features in many glossy women’s ‘lifestyle’ magazines. I find that presentations born from such theories and stories seem to hit home much stronger with female spectators than male. However the effect at the finish will still impress both the male and female spectators. It also makes the man feel important and more importantly removes any feeling of threat. As Banachek pointed out in his lecture notes, a good-looking, young performer displaying a set of unusual skills can at times be a threat to certain male spectators when we tend to focus our attentions toward their female partner. I feel it makes sense to actively attempt to build up the male spectator to his partner and generally make them feel proud of their relationship. I avoid any kind of flirtatious performances when in such situations and I would suggest the reader do also. The performer continues: “Now I am sure both of you are wonderful together, and maybe your subconscious sought one another out using the number rating idea we were speaking of. Please tell me what number did you think of?” The spectator will almost unquestionably respond: “I thought of the number 7.” page 138

In the opening sequence I try to rule out the second most likely number, 3, by mentioning it openly in the scripting. The performer then turns and asks the gentleman: “And you sir, your number?” The spectator responds: “I was also thinking of 7!” This is nothing more than a simple presentation of a classic force. It is very important that you have the spectator think of the number before introducing the premise of the attractiveness theory. If handled the other way it is very possible that the force will not work as desired. However if you handle it all as written it will work wonderfully.

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a strange garden... ...a strange garden

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A Strange Garden Effect: The performer, after spending a delightful late autumn afternoon in Mr. Helise’s garden, is invited to perform for the assembled guests. The guests have been told about the performer’s strange talents and wait patiently as the sun begins to set and a cold chill imposes its presence. The performer graciously accepts the invitation and begins to explain that: “Often the notion of reading someone’s mind may seem like an unnatural talent. This could not be further from the truth. It was a talent that grew with me, maturing from an early age - my constant companion throughout the troubling times of teenage years and becoming a faithful friend. It is at times however as much of a curse as it is a blessing.” The performer takes on a more somber tone and seems to be reflecting over the long years he has spent with his “natural” ability to read thoughts. The performer removes from his wallet a battered and worn Tarot card. It can be seen through the age and wear to depict a male figure standing at a table. “The Magician.” The performer explains. With a knowing look taking control of his face, he continues: “The figure this card represents is a travelling entertainer- a page 141

showman, a common character in medieval Europe. Part mountebank, part wise man, and at times a pick pocket. The magician or sorcerer lived on the fringe of society and law. He was regarded with both fascination and suspicion. The magician was at the time thought to be in league with some dark force that allowed him to work his miracles. He was regarded with such suspicion due to his intimate knowledge of herbal medicines and the ways of the natural world that surrounded him. Above all he respected nature and in turn nature respected him. This card, a present from a dear friend, has become something of a good luck charm to me. He also represents a powerful way of living.” The performer reaches down and picks up a fallen leaf turned a wondrous shade of brown, a state afforded by the time of year. “Things that seem beyond our level of understanding surround us all the time. Right now we are sat in a wonderful garden surrounded by amazing feats of nature that could be said to be more amazing than anything man has ever created with his infinite wisdom. A simple leaf it would seem?” The performer hands the leaf to a spectator who is instructed to hold the leaf on her flat outstretched palm. “The magician had an uncanny link to the natural world around him and understood that at times, if we simply look deeply into what surrounded us, our problems would seem insignificant against the greater whole.” The performer explains he wishes to attempt to demonstrate that link. He asks a spectator to look intently into the centre of the leaf. He asks the spectator to describe exactly what they see. For several moments the spectator remains totally silent, transfixed by what appears to be happening in front of her very eyes. The performer asks the spectator exactly what she saw happen. She responds: page 142

“The leaf’s centre began to move in swirls. It was circling.” The performer explains that: “This is only the beginning. I would like you to remain totally silent while I talk to you. I would like you to observe everything you see. In a moment the leaf will begin to move again only this time you will see the pattern form into two simple shapes. One inside of the other.” Again the performer and the spectator remain silent. The spectator seems clearly affected by what is happening in front of her very eyes. Finally the performer asks: “Would you mind telling us the shapes you saw one inside of the other?” The spectator replies: “I saw a circle inside of a triangle.” The performer smiles a knowing glance toward the table Tarot card of the Magician. He reaches slowly and deliberately, turning the card over to reveal boldly across the card’s back scorched into the surface, a circle inside of a triangle. “The link is almost uncanny…” The leaf and the card are given as presents and the performer leaves a wonderful memory of the amazing qualities of the natural world. Method: This is actually not as hard as you might imagine upon reading the laboured description of the effect. It is an effect that was an page 143

outgrowth of one of my own effects which appeared in my book “7 Deceptions” under the name A Twisted Palm Reading in which a spectator believes they see the lines on their palm move wildly. The second source of inspiration comes from the ever amazing Banachek who in a conversation suggested that it could be possible to handle a psychological force after the “Twisted Palm Reading” by having the spectator visualize the lines on their palm moving to form the name of a playing card. This was a truly inspired thought. It was this thought that set my mind racing and through several unsuccessful performances, I eventually ended up with the routine that follows. Obviously the leaf can be replaced with another item if you so desire but personally I only perform this effect when actually in a garden and I find the notion of the link between the Magician and the natural world a pleasing presentational hook. You will need to obtain a tarot card depicting the Magician. I then age this card, or better yet, see if it is possible to find a genuinely aged card from a dealer in such items. Personally I used the tried and tested schoolboy method of a light baking in the oven followed by some liberal smudging of dampened tea bags. This was more than adequate in my opinion. I then scorched the image of the circle inside of the triangle onto the back using some heated shaped wire. Be careful not to fall into the same trap as me, ensure you wear gloves and avoid the burns that I didn’t! I am sure that every reader will be aware of the significance of the two shapes. They are of course the classic shapes used by mentalists the world over for psychological forces. However I feel this is a new framing for such a force. Many of the techniques covered in the first section of this volume will be employed through this effect. Make use of them well and they will reward you generously. page 144

You will open the effect with the introduction given in the description of the effect. It is during this introduction that unbeknown to the spectators you will introduce the prediction or the link in the form of the Magician tarot card. This to me overcomes some of the problems I see as being inherent in the presentation of standard prediction effects. If we look at a standard prediction effect in which a prediction is handed out at the outset and introduced as such, to me the focus of the effect now shifts from the surprise afforded in magic to the stringent conditions needed to give weight to the prediction. The effect in my mind shifts from something magical to a strict governing of procedures to ensure all is fair and above board in the selection of the information that will be revealed in the prediction. This is not always a bad thing and many entertaining routines can be built working from that premise. It was however not the route I wished to follow with this effect. I introduce the effect with the covert introduction of the prediction which is left on the table top throughout all that follows. You can pluck a leaf from a nearby plant or if you are lucky enough to have one upon the floor then take this to your advantage. I then ask the spectator to hold the leaf upon their palm. I now, as I am sure you already know, make use of The Power of Silence. I allow the spectator to simply stare at the leaf while we both remain in total silence. I then move forward with the scripting that differs somewhat from the effect mentioned in the opening comments of the explanation, but still fits the same model. “I would like you to notice all that you see; I want you to form a similar bond with nature as we spoke about. Just wait and see what happens. I know I was surprised the first time I simply stared into the centre of the leaf.” page 145

I now again remain silent for some time. I then continue with the following: “OK, I want you to notice those textures and patterns that you have become aware of.” The spectator will actually now be aware of the subtle textures and shades of the leaf. This is simply because the spectator has been look intently into the leaf’s centre. Often they will have already seen the textures and patterns moving. We will now develop this suggestion using many of the techniques already taught. “OK, now I don’t want you to lie to make me look good. Just in your own time you let me know when you see the textures and the patterns begin to shift, almost as if they had a life of their own.” This is often enough to push the spectator over the edge. I now simply develop this further. “Its weird isn’t it? I know how strange it felt when I first saw it, but don’t worry you’re doing the right thing. You can see it can’t you?” Here you will take as much or little time as is needed for the suggestions to take effectively. I will now move on as I feel the reader has an understanding of the techniques needed to do this. Let us now look at the way in which we will frame the psychological force of the shapes. To the audience at large it will appear that the shapes made themselves present upon the leaf. It may or may not happen. However the force will still be handled comfortably and work with great success. “Now I want you to see all the patterns forming two simple shapes one inside of the other. Let them form in your mind.” I then, as I deliver the above, make two simple gestures with my hands forming the shapes of the circle and the triangle in the air. page 146

This is standard methodology in the force and I am sure you will know and understand exactly how to handle this force. I will now not cover this force any further as it is well documented in print in numerous places. An especially good source is Banachek’s wonderful “Psychological Subtleties”. This force takes place as if you were simply forcing the shapes in a normal sequence. It will be framed in such a way as the routine comes to a close that will make it appear as if the spectator saw the shapes form on the leaf. To do this I simply state the following: “It’s amazing how you see the patterns on the leaf move and those shapes form. Tell us what shapes did you see?” The spectator will respond with the desired force objects and all that remains is to reveal the prediction or link on the back of the tarot card. Alternative Method: This could actually be titled an occasional method rather than an alternative. It is not something that conditions will always allow. However on the occasions that do, it is worth having in reserve. It is an alternative method for forcing the shapes on the spectator. They can be more detailed and can be different every time you use this method. It is actually fairly regularly that the chance t use this method will arise - however I still use the method of forcing outlined above to create the same effect with a little less work. I offer it here for completeness. Basically when I am referring to “occasional” what I mean by this is you will need to have the fortune of certain conditions. These conditions are by no means hard to find here in the UK however those readers in a slightly more welcoming climate may page 147

find this difficult. If you happen to have a damp leaf nearby, simply draw the shapes you wish to force with your fingernail. This will leave a white line in the shapes of the desired force. Now during the opening sequence it is actually almost impossible to see this line. However when you begin to actually bring up the idea of shapes appearing you will find that suddenly the force shapes stand out massively. I simply use the following wording: “Now I want you to get two simple shapes one inside the other. They could appear to form on the leaf - often the more creative people instantly see these shapes, the more analytic person tends to have them form. Either way, two shapes will make themselves clear to you…yes?” Now on the face of this you might fall into the trap of seeing this as an instant stooge method and in a way it is. However the major difference here is the fact that the spectator does not actually see the shapes until they are told to. To them, after they have experienced the pattern’s moving, the shapes suddenly appear. Like I said, in order to achieve the best results from this is to seek to a slightly dampened leaf. Give it a go and you might just surprise yourself.

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judgement day... ...judgement day

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Judgement Day In Thoughts and Words... This is a strong routine. I will offer each force independently, however it is possible to string each force together to create a simulation of the original ESP card test with no gimmicks, no angle restrictions and totally examinable cards. I have at times used the back of business cards to simply draw the designs on. This can add an element of spontaneity and also allows you to perform this with little preparation which can be done right in front of the spectator’s eyes in a matter of minutes giving you a strong anywhere, anytime demonstration. This is a very simple verbal force of an ESP symbol. For those of you who consider such things as mere nonsense, I assure these are tried and tested, they work. Trust me. I begin by arranging the ESP cards (star, wavy lines, circle, square and cross) in a known order from the top of the packet. In my own sequence a spectator is given their own packet to use and then you have your own; the force happens as you apparently explain what the designs are as follows: I begin by going through the well known patter about Dr. Rhine and his legendary tests for extra sensory perception and then go on to explain the designs/symbols: “We have a group of simple designs. The star (briefly flash the face of the star and drop it to the table), the square (flash the face of the next card in our example the wavy lines and then correct yourself) ....er, wavy lines.” The above should be delivered as if it were a genuine mistake on page 150

your part - you simply messed up on the order of the cards. You correct yourself in the way you would correct any normal “slip of the tongue” and continue: “Circle, the square and lastly, the cross.” Notice the repetition of the same words (the square). The words in bold type should be said with either a lighter or stronger tone of voice to the other words (depending on which works best for the individual - personally a stronger tone seems to suit my style and works better) and maintaining eye contact as they are said. The wording ‘simple designs’ will be used in much the same way in a moment when it comes to their selection of designs. It also pushes the spectator away from the designs such as the star (generally in my experience the favourite with female spectators), pushing them ever so slightly toward the square or the circle. This is good. “Now I want you to get the simple design in your mind now” This is said with an air of urgency which is underlined with a snap of the fingers - this will cause the spectator to rush the thought process and they will in my experience plump for the repeated design (in our example, the square). It is important that the repeated design be said once at the beginning and once near the end, this solidifies the design in the spectator’s mind. Notice the use once again of repetition of phrasing - this is to further direct the spectator in the right direction. I know, it’s a lot of effort for only the first selection process in an ESP card sequence, but it is one of the most direct and startling openings for such sequences that I have ever performed. It works...it works very well. page 151

For those interested I would suggest that 70 - 80 % of the time the next selection will be the star, especially when using a female spectator. I usually ask them to picture “their favourite picture” which is exactly the force that comes next if you were to use all the forces together to form a routine. Using each force one after the other allows us the knowledge of which cards are likely to be selected immediately after which. This was something I noticed when I only used the In Thoughts and Words force to open a oneahead style routine. However I noticed that the overwhelming majority of women would next select the star. I then built the following wording to encourage this probability even further. My Favourite Picture Force… “OK, now it begins to get difficult.” This is only said if used to immediately follow a previous force. I attempt to suggest the notion that with each card we place to the table the next selection becomes more difficult for me to mentally divine. This is not only fun for the performer when he can state this knowing full well things actually become dramatically easier for him, but is also theatrically sound. “I would like you to picture an empty picture frame. I want you to imagine all the lines of one of the design coming together inside of the frame making a nice little picture. If you like you could picture it with further detail around making it into a more developed image- however we will just deal with the actual symbol.” This will also open up another possibility to show how accurate our apparent mind reading skills are. The selection will almost always be the star. This allows us to play with the images that go along with a star during the “divination” sequence. Again here in my own sequence I ask the spectator to remove the card they’re picturing. I then reveal it in the following manner: page 152

“OK I think you did actually go a step further with the image, did you not?” If the spectator replies in the negative, then you have lost nothing as you can simply commend them on the clear and focused concentration as the image came through to you wonderfully. Then remove the star card and you’re ready to move onto the next force. However the majority of the time the spectator will go further and create some kind of image. This will now allow for some general common sense to add an extra layer of deception to the force. “In fact I am seeing something very shiny but it is not bright. My first impression is almost wrapping paper but I know that’s not what I am seeing, it is dark and I can clearly see a reflection of some kind…oh perfect.” It is in this way I apparently divine the symbol the spectator has in mind and apparently hit on what image they have focused upon. Simple common sense allows for an extra step of mind reading in this force. If you were to use all the forces together I would then move onto the… Blink Force... If using this force in the sequence you will only have three cards in the spread. This will actually make this almost child’s play. I will describe it as if you were to use all the five of the ESP symbols along with an interesting out that can be combined with it. However in my own sequence I use this force with three cards, so the Star would already have gone. I obviously omit the out covered here, which is included for those people who wish to use the forces independently of one another. This one has been getting me excited ever since first playing with page 153

it. In effect you fan a packet of cards in front of the face of a spectator (in my own routine ESP symbols). Ask them to close their eyes and then to open them once again, then to retain the image of the first one they came to see. You then, with no fishing, gaze deeply into their eyes and name the chosen design. This one (in my own opinion) has lots of potential. “Victorian arm-chair scientists loved the idea of the captured image. In fact they so believed in this they thought you could catch the culprit of a murder simply by gazing into the eyes of the victim. The murderer would be the last person the victim saw and thus, according to the arm-chair theory, his would be the retained image. A naive and humbling concept, I think you would agree. But we will try it anyway. I would like you to close your eyes firmly. Then open them but do not let them circle around, simply retain the image of the first design that comes to your vision.” By using the phrase “do not let your eyes circle around” you will have, unbeknownst to our sweet-hearts, firmly elbowed them away from the circle. The circle itself has importance in the positioning of the fanned cards. Place it directly behind the star, which is the middle card of all. When fanning these cards allow the star to be on show slightly more than the others. Balance here is the key, too much and the whole thing becomes a joke. This is an obvious variant of the old chestnut - the fan force. By encouraging them to close their eyes tightly their vision will be momentarily blurred upon opening them. Ask them to open their eyes, accompanied with a sharp snapping of the fingers, and then move the fan toward them slightly. Ask if they have a design (notice the use of the word design rather than shape - design sounds much more complex than shape thus page 154

helping to eliminate the circle, cross etc) Square the fan. Look intently into their eyes and smile a knowing nod. Remove the star, ask them to hold their hands out and state: “You didn’t happen to go for the wavy lines did you?” If they say yes, this may happen as the wavy lines are instantly recognisable even with blurred vision. You simply state: “Thought so” or “I knew it!” Pick up the card from their palm and replace it onto the packet. If they say no, you state: “No you didn’t, that's why I put the star on your hand.” (Obviously, if using this as a continuation of the earlier two parts, it would be the Cross on their hand.) This sequence is a veritable balancing act of management and direction. It draws inspiration from (obviously) Wonder Words, a think a card routine by Dan Garret who places one of two possible cards on the table and uses the “you didn’t” line and finally an effect of Ken Krenzel where he places a gimmicked card onto the spectator’s hand and simply trust them with it. This is a very strong tactic when concealing something - give it to them, suddenly they are not so interested. Just make sure they are responsive and helpful spectators. As I stated at the outset of this description, when using this in a sequence I simply force the middle of the ESP cards. Then move onto the next force. This is the easiest force of all and in a way is not actual verbal but it fits very well onto the end of the Blink force. page 155

The Heavy Arm Force… This is a force especially suited to follow the Blink force. Due to the Blink force, I know the positioning of the ESP cards the spectator has resting on the table. If you are using this in a sequence you may need to discover this in another way - however if using it as written, everything flows perfectly. I ask the spectator to hold each of their palms flat out. I then pick up the first of their ESP cards which remain and lay it face down on their outstretched palm. I already know which of the symbols this is due to me glimpsing the positions of the cards during the Blink force sequence. I now mirror the actions of the spectator by placing my remaining two cards on each of my outstretched palms. I know the positions of these cards as I simply look at each one as I place it onto my palm. Do not stare; a simple glimpse will do the job perfectly. I then use the next suggestion script to cause one of the spectator’s arms to feel heavier. It is in this way the spectator chooses her symbol. I then simply close my eyes and act as if the hand which holds the matching ESP card is becoming heavy and then I place this card onto the table. “Ok I want you to relax and allow this to happen. Instead of simply making your decision by whichever card you may like the most, I want you to pay attention to what your body is telling you. In a moment you will feel one of your arms falling to the table, it might feel drastically heavier or just a subtle change. However you will feel it, sometimes it takes longer than others. Please do not lie to make me look good, just wait for it to start happening.” I am sure you recognised all the techniques from the earlier section of the book. I now simply as stated fake my arm becoming heavier - I ensure that I drop the arm holding the same symbol as the spectator. page 156

No force is needed for the final card so I simply flip over what I have remaining and display that both the spectator and I am left with the same symbol. All that remains is to reveal the other forced cards to match. Notes: This is obviously not a sequence everyone will want to use. However each force has been offered independently of one another and in that they can be used. However if you take the plunge and go all out, I am sure you will find it very rewarding. Both the In Thoughts and In Words force and the Blink Force first appeared in the pages of Kenton Knepper’s “Miracles of Suggestion” as a guest contribution. I urge the reader to track down a copy of this work as it contains some wonderful gems of thinking. This is the first time all the forces have appeared in print together and as a sequence.

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zeroing in... ...zeroing in

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Zeroing In I have chosen to leave this section until last for several reasons. Firstly it is something that is very difficult to put into words, as in my own experience it is something that I feel is heavily reliant upon your own hunches. That said there are some points that I feel are important to consider before attempting suggestion sequences upon spectators. Before performing any kind of suggestion sequence, I always perform a good, strong stand alone theatrical piece of Mentalism. I hope to set the tone for the rest of the show, as I have covered in the ‘First Thing First’ section. It will instantly either live up to the expectations of the audience, or break their negative preconceptions. Either way you are moving in the right direction. This alone however is not enough. I often use another idea, something that many hypnotists and suggestion artists have used to great effect in the past and fits well within my own performances. It also singles out a good spectator for suggestion type routines. I will home in on three or maybe four spectators who I feel will respond well to my suggestions - I normally end up with a young mildly attractive female spectator with self-confidence. A personal preference, but I tend to end up with a young blonde woman with self-confidence. As I said, a matter of personal preference. However at the risk of sounding like a male chauvinistic pig, I actually feel my material works best with someone I find attractive. I tend to perform with more conviction and passion. This is something I have always done - however I find this tends to spur my performance on further. From the two or three, I then attempt a quick sequence with a page 159

pendulum. I borrow some items from each of the spectators. I lay them onto the table. I then explain the notion of the pendulum and use it as a way of making the rest of the performance more believable. I talk of the subtle body movements we all have, but may or may not be aware of. I then allow each person to hold the pendulum and hold it above each object telling them that the pendulum will remain still until they come to their object, which they must focus upon. Due to the nature of the pendulum this will happen. I allow each of the three to do this. During this, I watch for which spectator made the pendulum move the most. I then follow this up with one final sequence, which wraps up the pendulum sequence well and also reassures me in my decision. I have the spectator focus upon one of the objects, telling them they can think of any of the objects they see in front of them. I then explain that the pendulum will remain still until it is held over the object they are focusing upon. This will happen. I will not cover the workings of this in detail as I am sure all of you are already familiar with it. I now have zeroed in from the three spectators I felt were the most likely to respond to my suggestions to the one I feel will respond best, all under the guise of an effect - an effect that actually plays very well. You are now free to move on into further test to build suggestion or continue on with your pendulum routine and move forward with your suggestion effects later in the set. This approach has served me well in the zeroing in on a spectator I feel able to work well with. There is nothing new here; it is simply the way I pull it all together to make it into an effect, so nothing need be done pre-show. That said it also makes for a compelling and useful demonstration. page 160

afterword... ...afterword by Peter Nardi

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afterword by Peter Nardi From myself Peter Nardi as the publisher and on behalf of my team at Alakazam Magic, I would like to take this opportunity of thanking everyone involved in the creation of this publication including you, the reader, for your purchase and, of course, Luke for his fantastic and inspiring work in the first place. We were particularly proud also to have been able to include Kenton Knepper’s essay on the subject of ‘suggestion’ as part of the first volume of this publication. Along with a foreword by Steve Banachek, not to mention the ‘rave’ reviews this book has been given internationally, we are sure that you will treasure and value this book and that Luke’s work will inspire you to achieve even greater heights in this truly fascinating and increasingly popular branch of the magic arts. For details of our other and forthcoming publications, please contact us at [email protected], or see our web site www.alakazam.co.uk We also run a unique and popular site for all those interested in mentalism. This can be found at www.readminds.co.uk We look forward to being of help to you.

www.alakazam.co.uk www.readminds.co.uk page 162