Porce(Be

Witli ryou

rtfie CR,putine
The audience are aU asked to hold both their hands out in front of them, and close
their eyes. They are asked to imagine one hand is being pressed down, and the other
being puUed out by helium balloons. When they open their eyes, they see that one
hand has actually moved up, and the other has fallen down.

One of the spectators, who this has worked best with, is asked to join you on stage.
They are asked to close their eyes, hold one hand out in front of them, and to
concentrate on anything they may feel occurring to their hand.

A few inches above their hand, you mime grabbing their wrist. When you ask what
they feIt, they will say they feIt you grabbing their wrist. You now make a stroking
motion and again they attest to feeling it.

You now tell them you are going to try this with taps and ask everyone in the
audience to count, silently, along with you and see if they can feel a slight tingling in
the back of their hands as you do it. When you have finished miming touching them,
you ask someone in the audience how many times they suspected they were being
touched, to which they will name the correct number.

You now ask the spectator, still with their eyes closed, to count out loud as they feel
each tap land. As you mime touching them, they correctly call out, "1.. .2.. .3. .."

For the climax, you invite the spectator you questioned about the taps to join you on
stage. Both are asked to sit down, and concentrate on what they feel. You clearly
touch the first spectator twice on the shoulder, and don't go near the second spectator.

You then ask both spectators if they felt anything to hold up their hand. Only one
spectator does. But it's not the spectator you touched, it's the other one. He is asked to
indicate, by holding up the number of fingers, how many times he feit touched.

Finally he is to point to where he feIt the touches. He points to the shoulder you
tapped the other spectator on.

(j)iscussion
This routine has been in almost every show I've done in the past five years. It was the
very first thing I created in mentalism, and has been something I've worked on
constantly, to get it to the point where I am excited every time I perfonn it.

The method stems from Banachek's wonderfui routine, a routine I think he should be
charging a lot more for, as to me, it is priceless. It is essential you fully understand his
routine and feel comfortabie with it before moving on to this.

The following explanation will break the routine up into its individual stages, and
explain how each works, why each is important to the structure of the routine and then
the scripting for stage.

A section of the routine does depend on Dual Reality. I don't want to go into too
much of a discussion on this technique right now as I am currently writing a book on
routines which use this technique and all its uses, however I consider Dual Reality to
be when two effects are occuring at the same time. While one may be stronger than
the other, at no point do either portion of the audience feellike they are a 'stooge' as
they still have an effect occurring.

I ntrouction
"How many of YOll have had the experience where you 've been watching someone
cutting up food, and they accidentally cut their finger. Now because they are talking
to YOll at that moment in time, they don 't notice its cut, however YOll do and YOll
jlinch. ft's as ij YOll can actually feel the pain they are sllpposed to be feeling.
ft 's not llnti! they look down they begin to feel the pain, and when they react, YOll stop
feeling itl? This has always really fascinated

me becallse it is one of the c/osest real

life experiences I've found where we send a though unconsciously from one person to
another, so we 're going to try it now. Don 't worry no one wi/I be getting cut!"

:A1.et/iod
Opening of the Routine:
The opening involves having everyone in the audience hold both hands out in front of
them and close their eyes. Using genuine suggestion, you will have them imagine that
one hand is getting heavy, and the other is getting lighter.

The only way to do this is try it. Even with friends and family, have them close their
eyes, and really imagine one hand is getting lighter. The more they relax and
concentrate on it, the higher and higher it will get. Ifyou've never tried this before, I
encourage you to stop reading this right now, close your eyes and give it a go.

As for the hand getting heavier, it works in virtually the same way, however you also
have the bonus of gravity tiring the hand, so it will naturally fall down anyway. The
fact they are also telling their mind to make it go lower, it will.

I seriously encourage you to try this on yourself, friends and family fITst.You will be
amazed with the results and become more confident when opening the routine with it.
The only important part is to emphasise that the person imagines it clearly. The more
detail you add to it, such as the colour of the balloons lifting their hand, or the size of
the weights dragging their other hand down, the easier it is for their mind to think it's
real, therefore comply with what it believes to be happening and react in the way you
are telling it to.

It's important to choose someone whose hands have moved a fair distance apart for
the rest of the routine. While I tend to use a guy, which does benefit the rest of the
routine, it will work with anyone.
So why is it important to add this step in? WeIl the person you are using has now
already experienced something incredible, and as such is open to anything else you
wish to demonstrate. They will also conform to what you ask of them.

Furthermore you have just included the full audience in the routine, changing this
from a micro, to a macro effect. Now everyone feels involved, and are interested to
see what happens next making for an attentive audience.

Stage 2:
~ow that you have selected the person, and brought them on to the stage, you ask
them their name and make them feel comfortabie. They stand side on to the audience,
hold one arm out in front of them and close their eyes.

It is important they are stood as shown below, although you could use a mirror image
if that feels more comfortabie.

Spectator

... Audienee

Performer

I would like to draw your attention to the fact the only one of the spectators hands is
raised, the other is still by their side. You also only need to use one hand for this, so
your other hand will naturally be at your side.

The summary for the method at this point, is that you are going to secretly be
touching the spectator's other hand. You will be using the complete misdirection of
the extended hand making motions, to keep the attention away from their other hand.
You also have the fact that their other hand is shielded by their body to assist you in
this process.

I mentioned I use a man for this, which is due to the fact they tend to be slightly
larger, and usua11ywearing some sort of suit jacket which further helps to shield this.
The angles on this are fairly wide, and whilst I tend to do this on stage with the
audience a11in line, I have also done it almost surrounded, and because a11the
attention is on the other hand, I've never let it worry me.

Obviously the scripting is key, as without it, this would just be an instant stooging
effect, which is fine ifyou are happy doing that. I prefer the fo11owing.

Once I have the person on stage, and have introduced myself, I position them as I say

UIwould like you to keep your eyes shut al! the way through this, and keep your arm
here, as this helps build up the connection further between you and everyone else.
This is becallse in a moment you 're going to begin feeling a few things around this

area here...

"

As you deliver this last sentence, you're doing two things at once. From the
audience's perspective of things you will use your left arm to drawattention to the
person's extended right hand, but at the same time you will be taking advantage of the
position in which you're standing to touch the back ofthe spectator's left hand, which

is by their side, with your right hand. The audience won't be able to see your right

I
:..0=.:3S its being blocked, and the spectator won't see your left hand as they have
~~.: ~yes closed.

~ :-cu say the line regarding them feeling things, you are actually tapping them on
:.:.eG"!eft hand, however the audience will not see this as they are situated at the front
3::d dIe spectator's body will hide this.

"Sow obviously its impossible to see what 's going on, but we will see ij what's
happening can be pieked up on...and notiee that 'Steve's' eyes really are shut"

_-\.5you deliver this line you are going to be looking at the spectator, in this case
.Sreve', so they will assume you are talking to them, as they know its impossible for
anyone else to see what is going on, although you also mention how the person's eyes
a.re closed. The audience will assume by this statement you meant that because his
eyes are shut, he won't be able to see what is going on, and you looked at them to
ensure their eyes were closed.

"In a moment Steve, Y0lt 're going to perhaps feel something around aboltt here. I
want you to really eoneentrate on it, as the more Y0lt do the easier it will be for others
/0 piek ltp on how it feit to YOlt. Don 't say a word, jltst focus on what it was YOltfeit.
And like a moment ago, when YOlt all had your arms out in front of you, we 'u see how
weil this goes.

"

Again this reinforces the idea to 'Steve' that it's about everyone else picking up on
what he is feeling, as weIl as the first phase making perfect sense now.

As I deliver the line "feel something around here" I gently touch his left hand with my
right, which is aH hidden, however at the same time, I drawattention

to his

outstretched arm with my left hand for the benefit of the audience. As his eyes are
c10sed he win have no idea you're doing this, and as the audience are watching this
arm, they have no reason to look anywhere else.

I now synchronise my actions. My left hand is clearly seen going above the extended
right ann, however at the same time I also squeeze their left wrist gently with my
right hand and once I have done both of these I step back slightly from them.

Stepping back slightly also allows you to see where their left hand is positioned using
your peripheral vision, so you never need to directly look. This will allow you to aim
where you place your right hand.

''Now 'Steve', yes or no, did you feel something on your arm there ? "

They will obviously say yes.

''Now please teil us what it was you feit happen to your arm.

"

The fact you refer to them feeling something in their arm will stop them blurting out
which arm they felt the sensation in as you have asked a closed question. Using the
word arm in this way causes your spectator assume that everyone knows where they
are meant to be feeling these things, reinforced by the earlier statement "you're going
to perhaps feel something around about here".

For the effect to make complete sense to the spectator, who has their eyes closed, you
will ask the audience who was able to pick up on what was happening.

"Was anyone else able to piek up on what I was trying to make Steve feel here?"

Clearly you will get a number of people saying yes as they all clearly seen you make
the motion of grabbing his wrist. This also helps to reinforce in the spectators mind
that this routine is about the audience trying to pick up on what it is they are feeling,
as they know it wiJl be impossible for them to see it actually happening.

You will often get people stating that they could actually feel it, and I have made a big
deal about this, and then state to everyone else that it could be as minute as a tingle.

r
-::1...~ I

say "feel here" in the above statement, I also point to his outstretched ann

~~~

Lrcellen~

we '/II/}/ Ihis ogoi~ remember ket?/lyo//r 'Yes closed, ond don i move

.a-~"arol as it wil! make it a lot more difficultJor everyone else topick up on. "

:'

::.:~ s:.r:Jwraneouslystroke the back of his left hand whilst I make the motion of

-~

=y hand down their right arm with my left hand. Again this will give the

_'_="''<;.~:m
that I am trying to make them feel the sensation in their extended anno

. ~" ::gain Steve, please teil us, just yes or no, did you Jeel anything there?... Good,

now what was it you Jelt happen to your arm this time? "

again willlimit them from simply saying that they feIt me do something to their

:...'~-.;~arm. It will also cause them to say they feIt me stroke the back oftheir arm.

..''", who was able to pick up on what it was I was trying to make Steve fel this
- -.e'" ..

~ .;s.;ally find more people will say 'yes' this time as they are starting to get into it.

Excellent, you are doing extremely weil Steve, but let's make it a bit more difficltlt.
Tm going to tap Y0lt a nllmber oJtimes in the back oJthe hand"

Agan. I use my left hand to drawattention

to their extended arm, while secretly

:a;ping them with my right.

: want you to really concentrate on the nllmber oJ taps YOltJeel as lam going to see
ij someone else can teil how many YOltfeit.

"

: menproceedto tap them on the back of their hiddenhandwhilst I makethe motions

ofpretending to touch themon their extendedarm.

10

'.Vow Steve I want you to remain absolutely si/ent, but in your mind scream the
number of times you feit me touch you, but only in your mind. ..

: ~en drawattention to someonesittingnear the frontand ask,

:T'ouldyou please teil me how many times you think Steve was sllpposed to feel me
touch him?"

wording of my asking how many taps were supposed to have been feIt, reinforces

idea, in the audiences minds, that I'm not actually touching him because I say

s::pposed to feei'. Therefore, they answer my question of- how many times did I
=me touching him?

~ me spectator still isn't aware that I am miming touching his other arm, he assumes
:=.:!~
the audience is able to pick up on what he is feeling, out of sight.

~ asking them to name the number of taps which they think were supposed to be
~~~~I have Steve confirm itjust to show it is still working.

~s

phase is vital to the routine in order to secure the premise of Dual Reality

:-~.:ausein 'Steve's' mind everyone else is able to feel what he is feeling and the
~ding

of a feeling or sensation from one person to another.

7-.en the second spectator correctly names the number of taps, I tend to quietly
=~gratulate the spectator on stage obviously securing the knowledge that they are
,X';ng weIl, and what they are supposed to be doing. I often find they are a little taken
! ~ck that the number is correctly named by someone in the crowd as this is the fITst
:::methey are made aware 'it is working'.

7-.llen choosing the person to ask here, I tend to pick someone else who reacted weIl
..:lille opening phase of the routine. This is the same spectator who will be used for
~ Psychokinetic Touches phase in a few moments.

11

"I

want to take this a stage further Steve, and again it 's vital you keep your eyes

_ osed. I'm going to tap yolt again, but this time, I want Yolt to say out loud as Y0lt feel
~.=.::htap touch your hand here. The first time you wil/ say one, the second time wil/ be
:-0.'0and so on, bltt wait until you 're really sltre you feel it. As lor the rest of you I
arrtyou tofocus on the back of your hand and see ij you can feel even just a slight
:::.~glein the back ofyour hand as Steve is feeling it. Tm aware this wil/ only work
.~::a few of you who have excellent imaginations and concentration, however I want
.::r..all to pretend for a moment that you can genuinely do this, and I 'm sure you wil/
amaze yourself with the results.

last statement is important, as I fmd it to be very open in a sense, but it also helps

~~e the routine look impossible because now the spectator is calling out loud as they
:~: each tap land, even though everyone can see you are not going near them.

:-~ manoeuvre is the exact same as before, however I like to pace myself with this
l=-i rake my time as it really is a beautiful moment. I tend to tap slowly once, then
-::-:.:eand pause for a moment rubbing my chin. I then put my hand back over for a
:::.;..-rl..
leave it there, then quickly a forth and fifth. Both hands should be perfectly
~.~hronised with each other to present the proper effect.

~.:.e statement above is also geared towards making the suggestion to the audience to
..~

to feel a tingle in the back of their hand. I've found that with the build up, and

~:

playing this as the transferring of thoughts, people do claim to feel things in

-;:-Q"hands, now this is obviously just simple suggestions, mixed with it 'actually'
:..:.::mingon stage. However if you concentrate on any part of your body long enough
:_ will start to notice some little discomfort in that area, and the more you
~ : o.:enttate

.:. :._

on it, the more your mind will magnify and it will begin to feel weirdo

are also telling the audience that this will work with those who are better at

~:o:-~ttating and imagining things. People will want to be included in this group,
::~ won't want to be left out, this will have them further concentrate on wanting it to
..

::k. I"ve always had fantastic and fascinating results in this final phase. Whether

::.:.=~ because there are genuine suggestions at work, or whether it is because they

12

~e

it is happening for everyone else and they agree because they don't want to be

~.:::}"Jt.I honestly can't say.

:;-I!\"ethat was excellent you can put your arm down and open your eyes now. You

done that absolutely perfectly and I want to take itjust one stage further. "

:" 5 obviously very important to make Steve aware that he is doing everything
:.:c-ectly and very weIl.

=a. Stage:

7"

-".:;::-;.;;
point I invite the second spectator who was asked to assist earlier in telling me
:._~ ~y
~

taps were supposed to be feIt, to join us on stage and they are both asked to

a 5eat.

both of them to close their eyes, and become aware of any sensations they may

:& 3lid to remember where they feel them. I now perform the original Psychokinetic
- _c:.:heswith a slight variation.

= L:.eoriginal routine, only one person is touched however both feel it, and in the
: -.:i.:'~same place the exact same number of times, I've always feIt tbis was the perfect

_.;..~.a:!of a psychologicalvoodoo doii. My routinediffers slightly in that I touchone

-:rs~

and when I ask both who feIt me touch them, only one person holds up their

:.a:..:. however it's the person I didn't touch.

::=:1:-iliis flips the premise of Banachek's original routine as it now really does
- -:-~':"CJIeme transmission

of a feeling from one person to another. You will of course

": Z"=zreof Banachek's routine, so once you have performed the method, and are
Ir. --~o

beside the other spectator you won't actually touch them in the shoulder.

'- re just miming toucbing however tbis time you want it to look more realistic.
~ :~d
..

the best way of doing this is to boog my fingers down just behind their

~_~ever so slightly, as from the front tbis makes it look like you are pressing

..= ~gers into their shoulder.

13

~~~ :-cili still have their eyes closed when I ask "hold your hand up if you felt me
__.: : cu", I openly point to the person who was supposed to be touched, further
:=7~i5ing

and suggesting that I have just touched them. When that person doesn't

- ~..:;' their hand, but the other person does, people gasp. We have to thank
~-=.!:~k for that.

-. =- ~:: hundreds (maybe even trillions!!) of performances of this routine, I have

:~

j}e orientation of which spectator I use for this fmal phase. The options being

=~

have the fITstspectatoractuallyfeel the taps, or being the personsupposedto

~.'mg the taps. Both ways work weil, but to bring the routine to a logicalclose, I

':

~ have the first spectatoras the person I mime touching.It seems like, for one

u.~

~. - ::me, they have sent a feeling from their mind to someone else's.
~.~.k you both very much for your help here. Steve, you have done extremely weil
_

-: :roly amazed

these people. Don't worry about the Jact that all this wil/ become

--:: when you try and think about it later, because when people try to remind you of
~at was happening it's just going to freak you out more. I know it 's a weird

":"t~ence to take in and there 's a lot of people wondering how they were able to feel
.~ YOll were Jeeling, so thank you very much for taking part. But let's leave them
wondering.

"

=~:~that, done properly, the final phase is the one which people remember, and I
-~_:Jmmendplaying it up the way Banachek recommends, baving the spectator point
~

here they felt the taps, and indicatinghow many they feIt.Ending by phrasingit

.;;:.:.:people will be asking them how tbey, as an audience, were able to feel things, and
:: - he as the spectator was able to feel things emphasises, in their mind, that is what it
:.;.sbeen about.

: 3Il audience member is going to ask them anything at aH, then they are most likely
;::-~g IO ask "Did you reaHy feel him touch you", to which they will have to say
.

~".

-..sa little aside, this is the exact presentation for my 'PK Touches' portion of my
.:.DW,there is another effect I use both spectators for, in which a thought is sent from

14

r--

one person to another. I feel this is a perfect time to do such a routine due to the build
up already given, however isn't necessary and I only do it in longer shows.

.-\side ITom the routine I use, I think one of the most perfect routines for this is
Richard Osterlind's 'Watch Routine' which can be found on Volume 1 of his Mind
~Iysteries DVD's. It is simple and direct and will further aid in 'confusing matters' as
ra what exacdy occurred on stage, so people will just remember being amazed at what
occurred, and not the specifics of what happened and when. This is a principle I add
ro a number of my dual reality routines.

15