Patrick G Redford - Glemme

GLEMME Edited by Beth Battey

All rights reserved including the right of reproduction in whole or in part in any form. Copyright © 2008 by George Tait

First Printing Cover Design by George Tait This book is sold subject to the condition that it shall not by way of trade or otherwise be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any form or binding or cover other than that as which it is published and without a similar condition including this condition being imposed on the subsequent publisher.

2

DEDICATION

CONTENTS Weary Memory Introduction (Page 6) THE BASICS The Original Forgotten Ploy The subject forgets a playing card. (Page 12) The Antidote Explores how to create the illusion that the subject remembers what was once supposedly forgotten. (Page 19) Luminous Lethe The subject forgets the color of his shirt. (Page 20) Dry Memory A handling that makes The Forgotten Ploy possible with a dry erase board. (Page 22) Paper Memory A handling that makes The Forgotten Ploy possible with a pad of paper. (Page 24)

4

LOCKS Careless Combination A subject forgets the combination only to remember and open the lock moments later. (Page 28) Alternate Lock Allows an un-gimmicked combination lock to open on any combination. The kicker: it really is the combination. (Page 32) Legitimate Memory The subject forgets that the combination lock has been set to his own birth year. (Page 36) Your Personal Combination The subject is able to dial in the correct combination on the performers briefcase without knowing how he knows. (Page 38)

FURTHER DISCUSSION Additional Subtleties Additional touches that enhance The Forgotten Ploy. (Page 44)

The Disremembered Effect A little something to forget. (Page 46)

WEARY MEMORY "I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made themfeel" ~ Maya Angelou. Glemme, a Norwegian word meaning: "To forget", explores how to create the illusion of either temporary or permanent amnesia. In reality, it's close to impossible to actually force anyone to forget something. Even the conventional techniques of hypnosis won't bring about a permanent memory loss. Once Information is locked into the longterm memory, it remains there until the mind no longer needs it, or it becomes replaced by new Information. Having the ability to make someone feel as if you've erased a memory is very powerful. Folks will remember this feeling for the rest of their lives. What other performers have gone about doing (Luke Jermay is one notable example) is to prevent that thought from traveling from the short-term memory into the long-term. While this technique is possible, it is not practical in all working environments. If the subject is not in the proper receptive mood, he or she will build up a wall of resistance if the effect is brought about as being a challenge. Jay Sankey and Richard Sanders attempted to solve this problem as well ("Thought Thief", When Creators Collide, 1987). Sankey and Sanders approached this problem using a dual reality concept that was quite effective in leading the subject into believing that he or she had indeed forgotten the thought of card. Afterwards, though, when the audience and subject compared notes, they ran the risk of uncovering the truth of the matter. For a while, I took great pleasure using the Sankey/Sanders method with great success in large groups. I've also had success using Jermay's R.G.M. While I do love both routines, the dual reality that exists in both is still a weakness to me. Both the audience and subject are impressed during the effect, but afterwards the magic is lost. I wanted to be able to perform this effect in any setting and in situations when the effect could stand-alone. I didn't want to have to follow the effect with something else to attempt to distract the audience away from discussing, and accidentally discovering, a method. Even in instances when folks weren't looking to uncover a method, it sometimes would be discovered simply because the audience was interested in what the subject experienced. It only makes sense that the audience should want to discuss the effect. That's a good thing, normally. 6

It was in conversation with my magician and friend Garrett Thomas that I hit upon the basic concept that's explored here. He mentioned something as an aside, as a joke, but what he didn't realize was that taking this concept and adding a bit of subtlety can make it into a killer method. That something was a double backed playing card. When applied in the right way, there is absolutely no explanation left for the subject or the audience to unravel. What I've created does use dual reality, but uses it in a way that allows the two timelines to align with each other perfectly! This rules out any funny discrepancies. I first published the basics to "The Forgotten Ploy" in my book Mendacity (2004). While this work only explained how to apply "The Forgotten Ploy" to a deck of playing cards, most people overlooked the passing mention that I prefer to perform the effect with index/business cards and a written word. When one takes the effect away from playing cards, it opens up the door to more subtleties that even allow subjects to seemingly remember what they've supposedly forgotten. This is a staple routine in my impromptu close-up work and an occasional feature in my show. I've performed this on the subway, in cars, restaurants, offices, and even outside on the street. I trust that you will have fun with this. I know I have.

7

"The existence of forgetting has never been proved: we only know that some things do not come to our mind when we want them to. " Friedrich Nietzsche

THE BASICS

The Original Forgotten Ploy Basic Effect A Card is forgotten. Verity The secret lies in an impromptu double-backed card. Here's how I introduce the effect to the audience: "The brain is curious when it comes to memory. I misplace my keys constantly, simply because I can 't remember back to the moment when I set them down. I like to think I have an exceptional memory, but I often don't remember where I put them to begin with because I wasn 't paying attention. Is there anyone here who feels they have an exceptional memory? I'd like to attempt this phenomenon with you. In a moment, I'd like you to try, as hard as you can, to remember a simple thought: a playing card. Are you comfortable enough to try this? " The subject is seated in front of the audience. It is important that there be no one behind him. The deck begins with one card secretly face-down at the bottom of a the face-up pack. The cards are turned face-up and spread through so that a selection may be made. To secretly get into this position, I perform a double-lift during the opening banter turning the top two cards face-up as one. Following this, I turn just one of the two cards facedown and use it to turn the deck face-up, being sure to keep the second face-up card from view. The subject may either be standing or seated. I ask the subject to relax. It is, at this moment, I silently cue the subject to shut his eyes by doing so myself. If the subject doesn't close his eyes, I simply ask him to. I continue and walk up to a member of the audience and spread the cards face-up between my hands.

12

"Which one of these do you think would be psychologically easiest to forget? Don't say anything out loud; simply point to one. " The audience member points to a card. It is removed from the spread and shown to the rest of the audience. The cards are squared into the left hand and the face-up selection is used to turn the pack over and ends face-down placed on top of the now face-down pack covering the secretly up-turned card. The top two cards are taken into the right hand as one and held so that when the subject opens his eyes it will be in his line of vision. "In a moment, I'm going to show you a playing card. I'd like you to lock that card into your long-term memory. Okay. Open your eyes. Got it? Do you understand? " It should appear to the audience that the card selected is now facing towards the subject. The subject will not notice the discrepancy of the two backs because his eyes are closed. When the words "Okay? " are uttered, the left hand is placed on the subject's right shoulder. This silently cues him to open his eyes. He will look at the back of the card and back at the performer. It is important that the audience is aware that the subject looks at the card and that the performer is not blocking their line of vision. Theatrical blocking is very important here. "Got it? " is quickly followed with a "Do you understand? " The subject must respond with a "Yes. " "Good. Close your eyes and relax again. " To the audience, it appeared as if the subject opened his eyes and looked at the card. It also appeared as if the subject verbally agrees to have remembered the card and locked it into long-term memory. The subject, however, believes that the card hasn't been shown

13

to him yet and that he was simply saying, "Yes." that he understood what was going to happen. The subject's eyes close shortly after and he is asked to extend both arms with his left hand palm up and his right palm down. During this sequence, the double card is placed back on top of the deck and the top card is placed into his palm up hand for later reference. "I'd like you to imagine that in your left hand there is a ton of bricks weighing down your arm. Tied to your other wrist are a dozen balloons. These are lifting your arm up further and further. Your left arm is getting heavier and your right arm is now lighter than air. Imagine a white wash of fuzzy static like that on a television screen washing over the card in your mind until the thought has washed completely away. Open your eyes." The subject opens his eyes to find that his arms have separated. His left arm has moved down and his right arm up. This is an old hypnosis stunt that you're probably already familiar. If not, try it yourself now. Imagine the ton of bricks and the balloons. It's an eerie feeling when the eyes open. Of course, any sequence may be used here to distance what happened moments before from the present. Not only will the subject be somewhat confused about how his arms came to the position they are now in, he will also find it impossible to remember the card. Either he will claim he was never shown a card or he will claim that he simply saw only the back of the card. In either case, I delete this thought and replace it with, "You honestly don 't remember me flipping over the card and showing it to you? You even said that you got it and remembered it... (Turning to the audience for affirmation) Didn't he?" Saying such with the utmost conviction is what sells the effect. It is at this point that I

14

encourage the audience and subject to talk to each other. What happens is that the audience will convince a skeptical subject that he really did forget the playing card. A non-skeptical subject will simply accept the occurrence at face value. The card that was selected is always left in the subject's hand or on a near by table. There is no need to call attention to it; the audience will eventually pick it up themselves in hopes to jog the subject's memory. A Real Hypnotic Effect Interestingly, the hypnotic effect with the subject's arms does serve as a tool to help the subject forget. However, they will be forgetting seeing a back of a playing card and not a card value. It's easier to forget seeing a back simply because the mind places little importance on it. If one had actually forgotten the card, the subject's memories would be exactly the same. He would remember up until the moment when he was supposed to see the card, and then every event that happened there after. The memory would simply hop over as if there was a part missing. This exact feeling has been successfully engineered and is impossible to back track. Final Thoughts Please keep in mind that some in the audience may feel uncomfortable with this type of plot: the idea of someone having the power to make you forget something is quite odious. The opening Script makes an attempt to lessen this feeling. I highly recommend researching Jermay's effect "R.G.M." (7 Deceptions, 2002). He has published a very worthwhile script that compares the moment of forgetting to that of a filmstrip.

15

Note: The advanced card worker may wish to use "The Mario Miracle Change eliminating the need for a deck of cards to be in play. Similar Plots found in Print Shanta Batra's "Hallucination" Published in Mantra (1972) "Challenge Mental Hypnotic Suggestion" Published in The Mental Magick of Basil Horwitz's (1982) Jay Sankey's/Richard Sander's "Thought Thief" Published in When Creators Collide (1987) LukeJermay's "R.G.M" Published in 7 Deceptions (2002) Jay Sankey's "Memory Lapse" Published on his 22 Blows to the Head (2004)

16

"At my lemonade stand I used to give thefirst glass away for free and charge five dollars for the second glass. The refill contained the antidote. " -Emo Philips

18

The Antidote How could there possibly be a way to have a subject remember something he never actually knew? What exactly is the Antidote? The simple answer: I simply tell the subject what belongs in that newly created illusion of missing Space, and the subject places whatever that Information is into that bit of pseudo lost memory as if it actually happened. In other words, I lie to the subject with such conviction that he receives it as truth after lying to himself when having nothing else to grab onto. That's the simple explanation, but there's actually a small bit more that needs to happen. The next group of effects explore returning that lost memory to the subject.

19

Luminous Lethe Lu-mi-nous (loo-muh-nuhs) adj. clear; readily intelligible: a concise, luminous report. Le-the (lee-thee) n. forgetfulness; oblivion.

Basic Effect The subject forgets the color of his shirt only to remember again moments later. Verity This is a Variation of "The Forgotten Ploy" has always been my preferred version. The difference is that it doesn't involve cards and it adds an extra subtlety that allows the subject to remember what he never really saw. Instead of playing cards, I use a stack of my business cards and use the back blank space to write the word. I begin: "Have you ever walked into a room and forgotten exactly what you went into the room for? It happens to me all the time. I'd like to play with that phenomenon right now. You don't have to worry; it'sjust a Simulation. I'm sorry what color is your shirt? I'm color blind, sorry." The above serves two purposes. First, it sets up the premise of the effect and gives the subject a story that he can identify with. Second, it interrupts with a strange question that is easy to dismiss, but at the same time it's strange enough to quickly recall later. The routine continues having the subject close his eyes as in the original routine. The color of the subject's shirt is written on the card while I explain, "I'm going to write a word down and as soon as you see it, I want you to lock it into your long term memory as quickly as possible." The top card is turned face down and taken away as one with the next card beneath it. This creates the impromptu double backer. The routine continues as per the original routine at this point. After the forgetting process concludes, I have the subject reaffirm that he really can't 20

remember the word. I then pick up the card with the color of their shirt on it and say, "You don't remember black (or whatever color), the color ofyour shirt?" Everyone at this point has a "duh" moment and admits that they do remember. Being put in the hot seat and forced to forget something this way is very disorienting. The subject will be desperately searching for something to put in that blank space in their mind. As soon as the shirt color is mentioned a second time, the subject grasps onto this and falsely remembers seeing that word on the card. Final Thoughts This is a small but important point. If you use your business cards for this effect, make sure that the backside of the business card is upside-down when the subject opens his eyes to "remember" the word. I have found that doing so prevents the response of whatever name is type-set on the business card when asking what word he's remembering. This way the upside-down writing registers as the back of the business card and not the word the subject is to remember.

21

Dry Memory dry (drahy) adj. evaporated.

Basic Effect The subject forgets a word read off a dry erase board. Verity Transferring "Luminous Lethe" to the stage and making the effect visible to a larger audience seemed impossible. I toyed with gimmicked boards and finally came up with a low tech, gimmick free version. A chisel tipped dry erase marker, a dry erase board, and a flat chalkboard style eraser are needed. The subject is positioned slightly behind the performer. The eraser is held in the left hand with the eraser head held against the writing side of the board (figure 1).

Figure 1. I open the marker and draw a line with an "X" proceeding it across the board. The line is drawn so that it's just below the eraser head. I ask the subject to shut his eyes and turn the board towards to the audience. I write whatever word I want him to forget on the board above the line, but not touching it, in capital letters. I make sure everyone has had 22

a chance to see and read the word. I turn the board towards the subject and place the pen in my left hand fingertips. Gesturing at the board with my right hand, I secretly drag the eraser over the word and back to its position, completely erasing the word. Again, this should simply look like a gesture. I place my hand on the subject's shoulder and he opens his eyes to confirm that he remembers the word. Instead of seeing the back of the board (like he might if performing as originally written) he simply assumes that the word has yet to be written. I then have him close his eyes and follow with, "In a moment you 're going to trace over and over the word in your mind making it bold and as clear in your mind as possible hanging out to it as well as you can" As I say this, I openly take the marker with my write hand, re-writing the word secretly. The audience assumes I'm tracing over the letters as I say "... making it bold and as clear...." The subject can't see what's happening, as his eyes are closed. I slowly turn the board toward the audience as I finish tracing over the letters a second time. The routine finishes as originally written.

23

Paper Memory pa-per(pey-per) adj. paperlike; thin, flimsy, or frail

Basic Effect A subject forgets a word read off a normal sketchpad page. Verity This essentially works the same way as the original "Forgotten Ploy" making use of each side of a spiral bound sketchpad that's opened and folded back over itself looking identical. Instead of writing a word down and then erasing it, I lie about writing a word and show the subject a blank page. I do this by contacting the pad of paper with the tip of my finger, instead of the open marker. The point is to make the motions of the writing a word without making the sound. Instead of secretly re-writing the word to make it appear on the pad, as done in "Dry Memory", the word is pre-written on a few pages down and it's place marked with a crimp in the lower right hand corner. After the subject "confirms" that he's remembered the word, I have him close his eyes once more and rip the prewritten page from the pad and flash the writing toward the audience before folding it and handing it to the sightless subject. Choosing the Word When working with a pad of paper and a pre-written word, PH try to use a word that I may easily obtain about a subject before the show. This may be through casual conversation or simple observation. This allows me to use the Antidote to cause the subject to seemingly remember the forgotten word when it comes time. The easiest pre-show work you'll ever do is the shirt color ploy (see "Luminous Lethe") is simply picking a common color shirt and prepping the pad appropriately. When it comes time to perform, I simply spot someone with the appropriate color shirt and bring that subject on stage. 24

LOCKS

Careless Combination Garrett Thomas, Alex Linian, Patrick Redford care-less (kair-lis) adj. not paying attention to what one does

Basic Effect A subject randomly resets the combination to a padlock and remembers the combination. The performer causes him to temporarily forget-it then slowly remembers again digit-bydigit, successfully opening the lock. Verity This version of "The Forgotten Ploy" is combined with an un-gimmicked lock used for Garrett Thomas' "Combination Lock" (Inside the Mind of Garett Thomas Vol 3., L & L Publishing 2005) effect to make it appear as if someone sets a combination, forgets it, and finally remembers it once again. New Jersey performer, Alex Linian (co-author of 19/20: Thoughts and Stuff from Two Young Magicians and creator of "Punctured") submitted this concept. I've reworked it a bit and added additional verbal deception. This is what we've created There's a lock on the market that sells under the name of "Prestolock" (model "2620 Heavy Duty Combination Padlock"). It's a re-settable combination lock with the combination on its face and nothing on the back or bottom. Most re-settable combination locks on the market normally have the combination on the bottom of the lock; these won't work for this effect. Another important feature this lock has is that it appears to be reset to a new combination, while in reality remaining set to a previously known one. Garrett's original routine is taught on his L & L videotapes vol. 3 (2005) that involves audience re-setting the combination blindly then opening it again. He's given me permission to include the basic handling here. Once you purchase your Presto-lock, you'll learn that to reset the combination, one must pull the clasp out, pivot it 180 degrees and push it back into the lock again. The digits are then turned to new combination. Next, the clasp is pulled out, pivoted back into lock position and closed. Mixing the dials 28

now locks the lock with the new combination. To open the lock, one must dial in the correct combination and then press the clasp downward before pulling it open. If one just pulls upward, the lock remains closed, even when the correct combination is entered. To perform, I explain and demonstrate the workings of the re-settable combination lock to the audience and have someone join me. I ask the subject to openly reset the combination to something new to prove that it works as described. I then take the lock back, open it and set it so that it's ready to accept a new combination. The secret combination begins set to "0-0-0-0". I secretly pull-up on the clasp but don't let it turn. The audience will assume that turning the dials on the front will once again change the combination. The lock is held face down in your hands while someone else reaches under and randomly spins the dials. Once the subject is finished, 1 pretend to pull the clasp out and pivot it back into position closing the lock. The lock is turned towards the body, holding it by its outside edges. "There are only two people that are permitted to know the combination. ...You and me. In a moment... I wan tyou to dose your eyes. Actually, before you do that, you can comfortably remember a 4 digit combination, right? It's easy; just think of it as two, twodigit numbers. That's easy enough, yes? Good. Close your eyes for me, now. " As the first "me " is said, I tilt the lock up towards myself and look at the combination holding the lock in my right hand. I'm positioned in a way so that the subject is Standing behind me to my left and can't get a glimpse of the combination prematurely. As "you " is said, my body turns towards the subject, my right hand moves towards his body as my first finger curls around the face of the lock entering the ring of the clasp secretly turning the lock around (see figures 1-3). The larger motion of the arm moving covers the smaller action of the lock turning. This is really just a simple paddle move. The subject sees the back of the lock, but the words "in a moment" signal his brain that he'U see the combination "in a moment." The rest of the script serves the same function as the original "got it" ploy. The forgetting process begins and the subject will not be able to remember the combination. Ask him to try and open it. He'11 of course feil, unless he dials in "0-0-0-0". The lock is taken back and the clasp is pulled up until it clicks, and left in this position. I then state, "If I forgot the combination of the lock there 's an easy,

29

but long way to open it. We can solve it systematically. " Dial in "0-0-0-0", hang the lock on your finger and have the subject pull down on the lock and try to open it. He'll fail even though it's the correct combination. The only way to open the lock is to press down on the clasp first, then pull up. It's impossible to do so when the lock is held in this way. Once the subject is satisfied that it won't open, gently press down on the top of the lock, secretly unlocking it. Now have the subject delve into his subconscious mind and dial in his "remembered" combination. The truth is, because the lock is already open, it does not matter what he dials in. Pulling the stem out with a tad bit of force creates the sound of a lock unlocking. The routine now comes to a successful close with a remembered combination and an open un-gimmicked lock that may potentially be given away at the end.

Figure 1.

Figure 2.

Figure 3.

Where to Purchase Locks Most of the time you can find a suitable lock in your local hardware store that shares the specific properties required to perform this effect. If you can't find an appropriate lock, you'll find the web address for two different lock styles. Both locks may be ordered in bulk or individually. PrestoLock Prestolocks may be ordered in bulk at www.cclsecurity.com. Individual Prestolock Orders: 30

http://www.mrlock.com/eshop/locks/mfg/ccl/presto/2620.html 160/50 & 160/40 Re-settable Combination Padlocks Another model Option is the 160/50 & the 160/40 Re-settable Combination Padlocks. The 160/50 modeis allows for a four-digit combination while the 160/40 makes use of only three digits. These may be purchased at: http://www.1st-in-padlocks.com/16050resettable-combination-padlock-p-74.html *These locks don't work the same way but may be adapted to work with the routine as explained on the next couple of pages.

31

Alternate Handling and Lock If you'd like to be able to give the lock away at the end of the routine and have the combination actually be whatever the subject dials in, you'll want to purchase the 160/50 Re-settable Combination Padlock from Computer Security, Products Inc. This lock is re-set by dialing in the correct combination, pulling the clasp up past the catch mechanism, and turning a small wheel on the side of the lock. The wheel found on the side of the lock has a slot running through it so one can turn it with a coin, flat head screwdriver or even a fingernail. When the set-wheel has been rotated clockwise, the combination dials will turn when the lock is in an open State. When the set wheel is not turned and the lock is in the open, the combination wheels wont turn. I prefer this lock because it doesn't "spring open" when in the unlocked State like the Prestolock does. This means I can unlock in the same manor as I described earlier with the Prestolock and not have to hold the clasp in place, hiding the fact that it's unlocked. I begin, before the show, by setting the lock combination to "0-0-0-1". When it comes time to perform, I simply dial in my set combination of "0-0-0-1" while being sure to keep the combination hidden from view. I find that if I don't have the combination reset, it doesn't make the effect any less impressive. I pop open the lock showing that it opens. "I'm currently the only person who knows the combination that belongs to this lock. Willyoujoin me?" I invite a subject to join me in the Performance area to my left. After the subject has joined me, I openly swing the clasp back into the lock and click it closed. "Before I turn the numbers to lock it, I'd like you to also remember the combination. You'11 be the only other person who knows the four digits on the lock... in a moment...I want you to close your eyes. Actually, before you do that, you can you comfortably remember a 4 digit combination, right? It's easy; just think of it as two, two-digit

32

numbers. That's easy enough, yes? Good. Close your eyes for me, now." As before, a paddle move is performed secretly turning the lock around as the lock is shown to the subject on my left actually showing the backside of the lock. To the subject it appears as if I'll be showing him the combination, "in a moment". To the audience, it appears as if he's looking at the combination and agreeing that he understands that he's suppose to remember it and that remembering the four digits is "easy enough". I now openly mix the numbers on the lock. Legitimately locking it closed. The only combination that will open the lock is "0-0-0-1". Now it comes time to throw in your presentation of choice on making the subject "forget" the combination. 111 leave this to you. When it comes time to have the subject remember again, I have the subject try a few combinations to non-verbally show two things: One, that the lock will not open on just any combination dialed in. Two, that the subject really doesn't know the combination. Now that the subject has seemingly forgotten the combination I ask him if he knows of an easy way to open the lock. Answers will vary. I suggest that it may be opened systematically. Dialing in "0-0-0-0", then "0-0-0-1" and so on. I take the lock back and dial on 0-0-0-0 and allow him to pull on the clasp in the same manor described in the previous lock handling. Because one must push down on the clasp before pulling up, even once the correct combination is dialed in on the face, the lock won't open. I dial in "0-0-0-1" next and allow the subject to try to open the lock. He of course fails.

"There is of course an even faster way, you simply ask someone who knows the combination, or take a sledge hammer to it. Luckily, I know the combination but so does your subconscious. All you have to do is tap into that and extract the proper digits and open the lock."

33

Figure 1.

Figure 2.

Figure 3.

As I deliver the above Scripting, I press down on top of the lock allowing it to click open. My right index finger enters the underside of the clasp (figure 1.) and pushes it up slightly so that it clears the catch mechanism. Next, my right thumbnail enters the setwheel and secretly turns it (figure 3). The advantage that this model lock gives is that the wheel doesn't have to be turned completely for it to be in the active state. Only a quarter turn is needed to be done. Finally, I press the clasp down again. That further disguises the fact that the lock is now actually open. You can see this unlocked but closed state in figure 2. This may seem like a lot but it happens quickly and discreetly almost all with one hand. Practice this movement in a mirror until the moves seem natural. It happens in the offbeat when no heat is on the lock. The lock is now in "re-set" mode. I may now hand the lock back to the subject and have him dial in any four digits of his choice and pull up on the clasp. Instead, though, I hand the lock to the subject and tell him PH send him each digit one at a time. Whatever comes into his mind first, that's the number he's to dial in. I place one hand on his shoulder, we look each other straight in eyes, and I send the first digit. I ask, "What number did you receive?" They respond. I command, "Dial it in!" Based on whatever the first digit called out is, I throw out a guess as to what the next digit may be that he calls out. I place my hand on his shoulder and send the second digit. Before he has a chance to respond or dial it in, I apologize for sending the wrong digit by saying, "I'm sorry, I just sent you a nine. That wasn 't the right number let me send it once more. " If the subject received a nine, it appears as if this 34

thought transmission really is taking place. If the subject received some other number, it doesn't matter, as nine still wasn't the right number anyway. For the third number, I let the subject dial in and try to get a secret peek at whatever number he's set. If I see that the subject set that dial at "4" (for example), I quickly comment, "I was sending you a four, did you get it?" This really makes the subject feel like he's inside your mind. The last digit I play straight and allow the lock to be opened. The lock will feel like it's opening when the clasp is pulled up. For dramatics, I prefer to hold the lock myself, and pull down on the body of the lock over to emphasize that satisfying click of a lock opening. The only clean up that now needs to be done is that the set-wheel needs to be returned to its normal position. Turning it with your thumbnail at the appropriate moment does this secret work. I tend to do this action when the subject is receiving their well-deserved applause. Final Thoughts It may seem a bit bold to hand someone a lock that's already open and have him re-set it without knowing it, but that's part of the tun! I once performed this effect while driving down the freeway with a friend in the passenger seat. I didn't bother with the forgetting portion and went straight into, "I'm mentally sending you the combination". This perhaps played even stronger in this environment as she had been playing with the lock and found she couldn't open it prior. Also, my attention was focused on the road and not what she was doing with the lock. When I called out numbers to confirm she received them after dialing them into the lock, she kept demanding to know how I was getting inside her mind!

35

Legitimate Combination Basic Effect The subject forgets the combination set to their birth year only to remember again later. Verity The combination may be set and opened legitimately if one programs it to the subject's birth year. Examining the Script "Have you ever set a combination lock to your secret set of numbers only to forget it again when you wanted to unlock the lock? Most of us have, I'm sure. An easy way around this is to set the combination to something you already know. If you're comfortable sharing, what year were you born? ...Really? So you might set the lock combination to 1974. While that 's an easy enough number to remember, I might set it to my mother 's birth year for a little added security. Even with such a personal number as the combination, our minds sometimes can 't hang onto it when we 're put on the spot to open the lock. I'm going to reset this lock to a new combination. I don 't want you to see it just yet." The above works just like the shirt color ploy used previously (See Luminous Lethe). The difference is that when it comes time for the subject to dial in the right combination, he's cued with the following: "You know the combination. All you have to do is think back to it. It's a bit hard to hang onto, but you know it. " Most of the time this is all that's needed to cue the subject's memory about his birth year. The nice part about this is that the audience doesn't necessarily realize the lock's combination is simply the four digits called out by the subject. If you find that asking for the subject's birth year inappropriate, you may ask for an anniversary or any number of other dates that may be of significance.

36

Of course the lock is handled the same way as explained previously to seemingly make the subject forget the combination.

37

Your Personal Combination Basic Effect The subject correctly dials in the correct combination on your un-gimmicked brief case and is able to open it. Suspension of Reality The performer enters the performing area with a small locked case and sets it down on a small table. "I've brought afew things with me today to play with your minds. They 're currently locked inside this case. It 's your job to open it so we may begin the show. It 's a combination lock. It 's an easy task; there are six numbered wheels that are used to enter in the combination. You can turn them to each display a different number or even make them all zeros if you 'd like. If you can 't open the box, there 's no show and I'll leave you to impress these people. I'm serious about this, but don 't worry you'11 have it open in a moment. The fate of the show rests on your shoulders. Go ahead." The subject dials in whatever he wishes and pushes the two unlock buttons, but the locks wont budge. The performer shrugs, and Starts to leave the stage. Pausing just before leaving the performing area, he turns around looks at the audience and back at the subject on stage and picks up the case and begins to leave again with it. "I'm kidding. That wouldn 't be fair, I wouldn 't leave you like that. I understand how scary it is being left standing alone in front of an audience; trust me I do itfar too often to count. You have the power to Channel that fear and turn it into something constructive. Look at me. You know the numbers, even if you don 't know that you know." Placing one hand on the case the performer sets all six of the dials to zero. "If you had to solve this systematically, you might Start at zero on each dial and change each one until you 've gone through all five hundred and thirty-one thousand four hundred and forty-four combinations. I personally don 't have that kind of time, there 's

38

a show to be done. Just to be sure, try opening it on the manufacturer assigned combination, all zeros. Does it open? Of course not, but that 's your first clue to opening the case. Dial in the first three digits. Don 't think about it...just dial them in. Don 't second guess your self, just turn the dials and stop on the numbers thatfeel right the first time." The subject dials in the first three numbers and finally the last three numbers. "Don 't try opening it yet. I told you when you first got up here that if you didn 't open the case on the first try you 'd be left here to do something amazing on your own. When you press those two buttons, if the two locks give you that satisfying dick, all this applause is for you. " The performer moves away from the case and the subject presses the two buttons. The case opens. Verity Before getting into the method, let me say, I love this presentation. I don't get to open my show with it as often as I'd like due to frequent format constraints. The presentation came out of a conversation I had with friend and cohort, Rudy TwoMoon. You may already own a brief case that has a re-settable combination lock that has a specific attribute that may be used to allow it to seemingly open on any combination and not even know it. I discovered, after purchasing a case from Vaultz.net, that the mechanism was able to be reset even when the lock itself isn't in the open State like the directions indicated. This isn't to mean that the lock may be changed to any combination at any time, but the combination must be set on the proper numbers before it may be re-set. Have a look at the lock mechanism instructions at http://www.ideastreamproducts.com/vaultz/Vfacts.html. It explains that to reset this lock, one must first open the lock with the default combination of "0-0-0". With the lock in the open position, one must push the button in towards the numbered dials instead of pushing it away, as would normally open the lock. While being held in this position, the

39

dials may be rotated to set a new combination. I discovered that this also works with the lock closed! That's the secret. "So what, Mr. Redford? " you may ask. First, no need to call me Mr. Redford. Second, just stay with me for a moment.... When then the subject is rotating the dials, I secretly push the button inward while they rotate the numbers around. This is very casual looking action. If you look closely at the first photograph, you can see that my thumb is actually pushing the button inward while casually resting on top of the case as if to steady it. In photo two, I've stepped behind the case and am holding it steady on my small stand with two hands. I'm also secretly pressing both buttons in, allowing the subject to dial in the combination of their choice.

Figure 1.

Figure 2.

If you're uncomfortable doing so, you may simply rotate the numbers yourself and have the subject verify each number as you dial them in. Even still, if you'd like to remain completely hands off, the button will "stick" in the in ward position if the first dial is rotated between numbers. If you turn the first dial and let it stick partly between two numbers, you may let the subject dial in the next two numbers on that side. While this method may seem the most ideal, it's not very reliable from case to case.

40

Another Touch If you choose to only utilize a three-digit combination, making both locks the same combination, it gives further excuse to key in the other three digits for "time sake" after letting the subject key-in the first couple himself. Works Cited Thomas, Garrett. "Combination Lock" Inside the Mind of Garrett Thomas (L & L Publishing, 2005) Linian, Alex. Unpublished handling Redford, Patrick . "The Forgotten" Mendacity - Experiments in lying for the Professional Entertainer (Redford Press, 2003)

41

ADDITIONAL SUBTLETIES

Additional Forgotten Subtleties Here are three additional techniques I'll throw in once in a while. They're not necessary, but they all add a bit to the effect. An Extra Convincer "My fingers aren't in the way, and you can see the entire card, yes? Good. You got it? You understand what I want you to do, right?" This sentence further enforces that the subject is really looking at the information he's supposedly remembering. This works especially well when playing the effect in a closeup setting making use of a playing card or the back of a business card. The Power of Touch Anchoring the concept of forgetting not only works as a great presentational touch, but also will help force the subject to forget seeing the back of the card as well. I touch the subject on the shoulder when describing the forgetting premise, and touch once again when I ask if he can remember at the conclusion of the forgetting process. It's Not All Hypnosis Sometimes I simply dialogue with the subject about a time he forgot something after walking into a room instead of going through the pseudo hypnosis stunt. After the subject begins to speak, I interrupt him mid-sentence and ask him if he can remember. This serves as a pattern interrupt and makes the entire effect feel a more like legitimate Ericksonian Hypnosis.

44

Works Cited Thomas, Garrett. "Combination Lock" Inside the Mind of Garrett Thomas (L & L Publishing 2005) Linian, Alex. Unpublished handling Redford, Patrick . "The Forgotten" Mendacity - Experiments in lyingfor the Professional entertainer (Redford Press, 2003)