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
the main secret, of the

secret, of the greatest magician’s

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 By Steve Banacheck page 9
Introduction By Luke Jermay page 13

Section One First thing first page 16

Section Two Definition is creation page 19
Section Three The power of silence page 23
Section Four The old witch doctor page 27
Section Five Convincers page 33
Section Six The building block technique page 42
Section Seven An essay by Kenton Knepper: page 45
“What are you suggesting by
using suggestion”
Section Eight Mixing magic and mentalism page 51
Section Nine Methodology page 55
Section Ten Effects page 59
1. ‘Divided by hate’ page 62
2. ‘Stigmata to go please’ page 68
3. ‘The kats kradle’ page 74
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
11. ‘A presentation’ page 136
12. ‘A strange garden’ page 140
13. ‘Judgement day’ page 149
14. ‘Zeroing in’ page 158

Afterword By Peter Nardi 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

page 12
 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.

page 15
 section one

first thing first...

...first thing first

page 16
 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 one-
man 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

page 19
 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.

page 21
“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 over-
play 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.”

page 22
 section three

the power of silence...

...the power of silence

page 23
 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.

page 24
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.

page 25
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.

page 26
 section four

the old witch doctor...

...the old witch doctor

page 27
 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.

page 32
 section five

convincers...
...convincers

page 33
 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”.

page 34
 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’.

page 36
 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.

page 37
 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.

page 38
 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?”

page 40
 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?

page 41
 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.

page 43
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.

page 44
 section seven

What Are You Suggesting by

Using Suggestion?

What Are You Suggesting by

Using Suggestion?

an essay by Kenton Knepper

page 45
 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 “non-
sense” 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

page 51
 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.

page 52
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?

page 54
 section nine

methodology...
...methodology

page 55
 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.

page 57
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.

page 58
 section ten

effects...
...effects

page 59
 effects
1. ‘Divided by hate’ page 62
2. ‘Stigmata to go please’ page 68
3. ‘The kats kradle’ page 74
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.

page 61
divided by hate...
...divided by hate

page 62
 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.

page 64
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.”

page 67
stigmata to go please...
...stigmata to go please

page 68
 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.

page 72
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.

page 73
the kats kradle...
...the kats kradle

page 74
 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…

page 76
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.

page 80
the ernie ball book test...
...the ernie ball book test

page 81
 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.

page 82
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.”

page 83
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.

page 85
the ice man cometh...
...the ice man cometh

page 86
 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.

page 91
stuck in a moment...
...stuck in a moment

page 92
 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;

page 93
“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 ground-
breaking 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.

page 99
a remote castle...
...a remote castle

page 100
 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”.

page 109
blind sentence...
...blind sentence

page 110
 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.

page 111
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.

page 115
projected personality...
...projected personality

page 116
 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.

page 117
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

page 118
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.

page 121
a safe anchor...
...a safe anchor

page 122
 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.

page 123
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.

page 124
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.

page 127
out of t(his) world...
...out of t(his) world

page 128
 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!

page 135
a presentation...
...a presentation

page 136
 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.

page 139
a strange garden...
...a strange garden

page 140
 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.

page 148
judgement day...
...judgement day

page 149
 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 one-
ahead 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.

page 157
zeroing in...
...zeroing in

page 158
 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

page 161
 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 sales@alakazam.co.uk, 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