MOSAIC

ln loving memory
of my mother,
Kaiti Ntogka,
who is probably
responsible for my
inherent need for writing.
T H A N K s
Special thanks to anyone who self­
lessly gave me permission to use
ideas, moves, plots and scripts for
this book and also people to whom
I have sent the book for opinions
and general inspirations. A huge
thanks to Eric Stevens for believ­
ing and sharing my dream of this
book to become reality.
Finally thanks to all of you for sup­
porting my work and always striv­
ing to be better, absorbing knowl­
edge wherever that may be!

Keep Scripting people!!!

 TABLE OF CONTENTS

CHAPTER I

Foreword by Eric Mead.................................................................................13

CHAPTER II

a. Mosaic.............................................................................................................19
b. Magical Mythos...........................................................................................25
e.Responsibility...............................................................................................43

CHAPTER III
a. PIECES OF p APER

Woman'sTouch...............................................................................................49
Faces of Man.................................................................................................... 57
Cassandra.......................................................................................................... 71
Couples..............................................................................................................85
Attraction..........................................................................................................121
Prometheus.....................................................................................................129
Illusion vs Magic............................................................................................139
Framed Control.............................................................................................155
Timespace........................................................................................................167
ThePainter......................................................................................................195
Icarus................................................................................................................. 219
Erdnase Variation........................................................................................233
Weak................................................................................................................ 243

CHAPTERIII
b.PIECES OF ]ANNOS

Sherlock........................................................................................................... 259
Chaos................................................................................................................287
Friends............................................................................................................. 309
Unfulfilled Love............................................................................................ 333
Beliefs ...............................................................................................................357
M.S.S..................................................................................................................377
Law & Order.................................................................................................... 389
Mid-air Change............................................................................................403
323 Switch....................................................................................................... 413

CHAPTERIV
PIECES OF METAL

Happiness & Sadness ................................................................................... 435

Mr. Midas ........................................................................................................ 453
Ring & Key......................................................................................................469
Coin Pull........................................................................................................ 485
Coin Flap........................................................................................................ 495

CHAPTERV
PIECES OF MIND

Andruzzi's Breath......................................................................................... 507

Quit it! .............................................................................................................. 515

CHAPTERVI
PIECES OF CREATION
Credits..............................................................................................................523
 CHAPTER I

Foreword
BY ERIC MEAD
 16 MOSAIC

pily given my time and attention to people with a burning passion

for magic, who take the craft seriously and work hard to find some­
thing of value to share in its practice, and it's fun talking magic with
Perseus. His questions are interesting, our discussions as thought
provoking to me as I hoped they were to him, and it's satisfying to
play some small part in the development of a professional career.
Still, without becoming pushy, he pursued my input relentlessly, in
a way that bordered on obsessive.

What I'm talking about is a very specific and rare quality that l've
learned to recognize, probably because I have it too. lt's how I be­
friended Dai Vernon, Paul Harris, Tim Conover, Michael Ammar
and other "name magiciàns" while I was still a teenager. I approached
them, respectfully but persistently, and they gave their time to me
because I believe they could see this quality in me. It's notjust pas­
sion, it's a glowing ember inside that cannot be extinguished, that
does not take no for an answer, and will sacrifice anything to learn,
to grow and to connect with the work of being an artist. It's also the
real reason you are reading these words right now. You see, Perseus
asked me to write something for this book more than two years ago.
I politely declined. Too busy I said, and I just can't spare the time
right now, sorry. To which he calmly replied, ''1'11 wait." I laughed, fig­
uring that might last a month, or maybe three, and then he'd move
on to ask someone else. Our relationship continued, our occasional
conversations about art, about business, about magic in the abstract
and specific problems to think about and solve went on as before,
but every now and then he would ask again, "Are you in a position
to write something for my book yet? It's finished, I'mjust waiting for
you." Two months. Eight months. A year. Twenty months. And then
I remembered that Perseus is a Greek Titan. Resistance is futile. Sit
down and do what you should have done when he first asked, Eric.
Introduce Perseus to his readers. So, everyone, meet Perseus. Done.
Now, what else should I say before I invite you to turn the page?
 MOSAIC 17

•••

Words have power. No, that's not exactly right. Let me try to be more
precise. Carefully chosen words, used in the right context have pow­
er. There, you see the difference between those two sentences? They
kind of say the sarne thing, but the first is too broad and thus lacks
clarity. The frst sentence sounds like it means something import­
ant, would make a better bumper sticker or t-shirt, but on closer ex­
amination it could be interpreted in too many ways for the reader
to have any idea what the author means without clarification. The
second is precise and the meaning is, if not perfectly clear, much
more focused. ln a very real sense, this difference is what Perseus is
exploring in Mosaic, where he contends that for magicians, words
do indeed have power, and thoughtful scripting is how we tame the
beast of language in performance.

This is a book about the words we choose and what we say when
presenting magic to an audience. It's full of magic tricks and meth­
ods, sure, but as his first chapter makes clear, the theme is script­
ing, and how words can help to elevate magic tricks to art. He'll get
no argument from me on that point, as I've written full scripts for
my performance material since I began performing professionally
more than 30 years ago. And while I don't think the process of writ­
ing scripts can be broken down into a formula to follow-at least
I've not found anything like a formula that leads me to good script­
ing every time-I feel strongly that understanding what a particular
piece is about, having something to communicate beyond the plot
of the effect itself is criticai in making performances that connect
with people and resonate. Eugene Burger once said that "tricks" are
about what happens with the props, whereas "magic" is about life.
Mosaic is an exploration of one of the major tools helping magicians
go from doing tricks to doing magic.
 18 MOSAIC

•••

I understand that the hard work of original scripting and fnding

something personal to express is not for everyone. Many of our
brothers and sisters in magic have little interest in these pursuits,
and magic doesn't have to be approached by professionals strain­
ing to achieve high art to have value. Magic as a pleasant diversion
or hobby is fine too, of course, and this brings us back to where I
began-with Perseus. Not the author of Mosaic, but the hera from
Greek mythology. One of the most important lessons I learned as a
University freshman studying "Themes of Classic Mythology" was
the truth that great mythology offered any level of depth the read­
er chose to take on. There were the rigorous studies of symbolism,
historical signifcance, life lessons and universal truths that could be
mined from deep reading and analysis of the text, but there was also
the simple enjoyment of the stories as stories, and everything in be­
tween. The sarne is true here I believe: you might choose to learn of
few of his pieces and enjoy Perseus' work simply for what it offers in
the way of magic tricks and methods. You may not care to perform
at all, much less try to write original scripts. Beautiful, and good for
you. But I'm hoping, as I'm sure Perseus is too, that a dauntless few
of you have that burning ember inside, and will feel called to the
greater adventure found in doing the hardest work, and discovering
something personal to share with your magic. It's how we make art
out of craft, turn tricks into magic, and magicians into mythic he­
roes.

Eric Mead
2018
 CHAPTER II

a. Mosaic
 22 MOSAIC

Vinci has put on her smile? On her hands? ln the background?

Can it describe the awe you feel when you first see her in person?
Well...no!

It's a good thing if the spectators can easily describe the effect you
performed to their friends, but that should always be followed with:
"Oh man, I wish you could have been there to feel it," or something like
that.
The main effect should not be complicated at all, but the ideas and
thoughts it expresses can be whatever you feel like. Hell, if the
thoughts and ideas you want to express are too complicated and they
demand a complicated effect as well, I say go with it!

FRIENDS
Another reason why this book is called Mosaic is because not all of
it is mine. It is made from parts, theories, moves and subtleties cre­
ated long before I was even born. I have asked for permission to
include various moves and ideas in this book from people from all
around the globe and they have graciously given it to me, so I guess
that makes this their book as well. I will name them all in the credits
chapter.
Also, if we think about it, this book has bits from most of the Magi­
cians who have shaped the Art of Magic throughout the ages. I stand
on their shoulders, and their hard work and study of this Art, in ar­
der to be able to, after all those ages, create my own path, my own
thinking for Magic, my own Philosophy.
This is a learning process which I know will still be ongoing until the
day I "vanish" from this world.
Finally, there are whole pieces of this book that friends of mine hap­
pily allowed me to include here. I knew you would like all of them
and they trusted my call. So, you'd better like them!
 CHAPTER II

b. Magicai Mythos
 28 MOSAIC

THE MIND
Any effect you perform well will connect on some level with the
spectators' minds. A spectator's logical mind will search for a possi­
ble explanation for what he or she has just experienced. When you
levitate a borrowed bill, the effect first connects with the eyes of the
viewer. Almost instantaneously this activates the logical mind and it
begins searching for an answer.

THE HEART
Sadly, this is the most neglected target in magic. All magic connects
with the eyes, the hands and the mind, but very few performers aim
for the heart. And that is great news for you and your magic because
by focusing your attention in this one area, you can begin receiving
more powerful audience responses without practicing a single new
sleight. You can do anything you want to target the senses and the
mind, but if you miss the heart, your magic will never be as memo­
rable as it can be. Once you touch the heart, spectators will carry you
and your magic with them for years to come.
So, let's focus our attention on what really matters.
To build magic that successfully targets an audience's heart we will
leverage the most underutilized tool in the magician's arsenal. And
what is that tool, you may be wondering?
Aaaaaah, I'm so glad you asked. It's simply this: your script!
Your script acts as the most effective weapon you can use to aim for
the heart and makes sure you'll be hitting the target! It's the way to
hook the spectators emotionally and make them actually FEEL!

Imagine magic as a table with three legs. Picture the three legs of the
table to be the three targets of magic, mind, heart and senses. If one
of the legs is shorter than the others, the table isn't stable. And in my
book, a wobbly table is worthless.
 MOSAIC 31

WHERE TO BEGIN

My mentor Eric Mead some years ago pointed me in the right direc­
tion-towards what we here call:

THE QUESTIONS OF THE SPHINX

These are three questions I always ask myself before I create or de­
sign ANY piece.
1) WHAT IS IT ABOUT?
This question goes to the effect. What exactly is the effect about? Don't
try to wing it with answers like, "It's about me finding the card... " or,
"It's about a coin vanishing... " These won't cut it. Try to find real-life
topics to talk about and use your magic to bring those topics to life.
E.g., The effect "Woman's Touch" is about the importance of women
in society.
2) WHY SHOULD THEY CARE?
This question is directed towards the audience. What's in it for them?
How can they personally relate to this specific topic? For example, I
only (and always) perform the "Woman's Touch" routine when there
is a woman present so she can add her magic to the effect and in the
process have a deeper experience. At the beginning of the routine I
intentionally lower her expectations for her role in the magic to cre­
ate an ideal starting point on our journey to catharsis.
 32 MOSAIC

3) WHY SHOULD I CARE?

This is actually the most important question of all and it has to be

answered by you and you alone. Do you even care? Does it matter to
you? Does the role of women in modern society interest you? Does it
ignite a fire in your gut? Do you want to talk about it and express your
opinions through your magic or do you merely view this presenta­
tion as a catchy patter line that you think will "play" well for your
audience? Be honest with yourself. And, if you don't like what you
discover, drop the whole topic. Change it! Make it something you
REALLY do care about. Again, if you want to connect, you MUST
express yourself.

HOW TO SCRIPT
There are two ways to script magic:

1) Find a subject and then try to find an effect that fits it.
or
2) Find an effect and then try to find a subject that fits it.

You will find yourself using both of these methods. You'll think of an
amazing subject and then search through your repertoire to find an
effect that is a good fit. Other times, you'll stumble upon an amazing
effect that you want to perform and find yourself facing the chal­
lenge of discovering an interesting subject that complements it.
Both methods work equally well. But what do you do next? Now, the
fun really begins!
First, start playing. Start by performing the effect and talking gener­
ally about the topic at the sarne time. All the while, experiment. Look
for the places in the effect where you can insert the subject.
 MOSAIC 33

E.g., You decided to talk about "Luck" or "Fate". Now ask yourself:
What does the deck of cards represent? Possibilities? Choices? Mo­
ments? You decide.
Now record your voice as you talk through the effect. Don't worry
about video yet. That will distract your attention because of the ac­
tions. Perform the effect and record the audio.

Now listen. Write down what you hear. (Oh yes, write the whole script
down.) Which words are not that important? Which phases are bor­
ing to you? What makes no sense at all?

E.g., "J want to try something that has to do

withfate, so please remove a
single possibility from the many
you see. (Spread deck and
offer a selection.) Good."

Now why did I say "Good" at the end? Was it something hard for them
to do and I rewarded them? Did they do something that was "good" ?
No! Remove the word "good". Replace it with "Thank you". That makes
more sense, right? I gave them a task and they did as I asked. I think
a "Thank you" is more appropriate.
Also, what about the word "try"? Why would you use that word? Have
you chosen to present the effect as an experiment? "Do" or "Show you"
are much better choices of words. No. No. Now that I think about it,
it's much too formal. Sharing is always better than showing, don't
you think? So now, let's TRY that again:

"J want to share something with you that has

to do withfate. Please remove one possibility
from the many you see (spread deck and
offer a selection). Thank you."
 34 MOSAIC

Aaaaaah, that feels much better now! Right!?

Go through the sarne process again and again for the whole script;
over and over, writing and erasing, tweaking and correcting until ev­
erything makes sense to you. Keep playing your new game until you
have a complete script that is logical. But most importantly, keep
playing until you have a good reason for every word you've chosen
to include.
Aristotle once said, "If something doesn't add, it subtracts." That
means there are no neutral words, no neutral actions. If a word or
move does not ADD something to the overall experience, it takes
something away. Extra or presumably neutral words diminish your
audience's attention, focus, interest and ultimately the strength of
any effect you present. Pay attention to EVERY word you say.
Once you're done with the script it's now time to add your video
camera to the mix so you can connect your words to your actions
seamlessly-and begin performing your new magic without sound­
ing like you're reciting something in school.
Remember, your true goal is to authentically share an idea, thought,
or feeling with fellow human beings in a way that connects with their
hearts. You will go back to your script and make alterations to it as
time passes. Even your 'perfect' script will evolve as you perform
your magic in a variety of situations over time.
 MOSAIC 35

COMMON PROBLEMS ON SCRIPTING

When Hercules faced the nine-headed beast known as the Hydra, he

felt truly overwhelrned. When you first work on your rnagic scripts,
you rnay feel the sarne way. Here is the good news: The Hydra Her­
cules fought had the power to grow back each head that was chopped
off. ln scripting, it's exactly the sarne. You are going to tackle as rnany
of those problerns as possible but they will grow back in tirne. And
that is OK! You're always going to be cutting off heads and they will
still grow back and that is how the evolution works.

THE NINE HEADS OF HYDRA

Note: l have made, and continue to make, each and every one of the errors below on
a regular basis. ln fact, we all do. ln many cases, these approaches allow us to begi,n
performing magi,c in thefirst place. However, when you're ready to raise your game
to the next level and start connecting with your audience on a deeper level, the same
practices transform from helpful aids on your journey into traps keeping you from
your destination. Remember to stay patient with yourself, and one by one, you'll
recognize, battle and defeat each of the 'Scripting Serpents' listed below.

1. THE HEAD OF SUBTITLING

Avoid describing what you do. People are not blind. Lines like "J will
now shujjle the deck ... ", "J will put the deck into the box... " and "/ will turn
over the top card... " have no place in a script. Try replacing thern with
logical phrases that flow through the actions. So instead of saying, "J
will now shujjle the deck," and then proceeding to do it, you can pick
up the deck and start shuffling as you rnake a rernark like, "Jt is essen­
tial for any order in the cards to be disrupted because I want to talk to you
about Chaos" (or whatever topic your piece is about).
 MOSAIC

2. THE HEAD OF DEAD TIME

There are a lot of unimportant actions in a piece of magic.
Shuffling the deck, putting the deck into the box, placing it
in your pocket and taking out a purse of coins, the specta­
tor signing a playing card and so on. You have to find ways
to either make the action important or make it invisible.
You can make it invisible if you perform the action in the off-beat.
Start delivering the intro of your next piece with the coins AS you
place the deck in the box, into the pocket and while taking the coins
out.
To make it important all you have to do is to give it a solid reason.
E.g., ln the Chaos piece l don't ask them to sign the card. That would
be meaningless. lnstead l ask them to write down the name of a per­
son of great emotional significance to them. At the end of the piece
it is that name, that person that brings balance to their lives and in
our case...the deck of cards. So since, we are talking about a person
and not a signature, while they are writing it down you can ask them
questions about the person and the relationship between them.

3. THE HEAD OF THE LOST THEME

Quite often we begin scripting with a theme, an idea or a plot in
mind, but somewhere along the way they disappear completely. ln
some cases they reappear only for a brief moment as a punch line in
the final moments of the routine. Once you choose your theme stick
to it throughout the routine!
E.g., You use the theme of imagination to make a coin
appear and then proceed to make it disappear and reappear from
your
elbows without the topic of imagination ever mentioned again. Once
you choose your theme and stick to it throughout the routine!
 MOSAIC 37

4. THE HEAD OF REPETITION

A lot of times you will find you're beginning your scripts with the
sarne words, like "I would like to... " or "At this point l'd... " To avoid
repeating yourself, look for a variety of words and phrases to get the
idea across. Along similar lines, look for different ways to structure
your routines.
E.g., it's wonderful to establish the premise at the beginning of the
routine, but if you do that for every routine it can become a real
snooze. Change things up as often as you can and keep the audience
on their toes!

5. THE HEAD oF Eco

Try eliminating the words "I", "me", "my" and "mine" wherever possi­
ble.
For better results, try substituting "You", "yours", "we" and "ours".
It is always better to express yourself through them. When talking
about experiences that the spectators have most likely also had, try
putting the words that express a united experience.

6. THE HEAD OF SHORT STRUCTURE

You'll find yourself with amazing scripts tied to routines without

enough phases.Just add more phases. Don't be afraid to let the script
guide the routine. If you think the routine needs an extra beat or
two, find a way to add it.

7. THE HEAD OF THE LACKING ToP1cs

While your scripts are piling up, you'll find yourself running out of
subjects to talk about. That is why it's a good idea to take notes. On
what?
Everything!
You hear a funny story? Take a note and later make a routine out of it.
 MOSAIC

You saw something interesting about penguins on TV? Take a note!

Go for it! You had an interesting talk with some friends and someone
mentioned an awesome quote? Boom! Write it down and use it later
in a routine. Stay aware! You'll find scripts everywhere!

8. THE HEAD OF MEMORY

At first, you may find yourself having trouble memorizing all of your
scripts word for word. I promise you that this is not diflicult. You just
need a little repetition and practice. As time goes by, the process be­
comes easier and easier until you have no problem at all. It also helps
if you truly care about the subject you're talking about.

9. THE HEAD OF IMPRISONMENT

Don't be afraid to leave your script. You won't lose it; it's not going
anywhere. And you'll find your way back to it. When you first start
scripting your magic you may be afraid to respond to your audi­
ence's authentic reactions and responses. Magicians new at scripting
tend to view a response as an interruption. Always remember that
an interruption is actually an opportunity for authentic engagement
with the audience. When the audience begins to engage, the battle
for the heart is at least half won. Respond. Leave the script. And then,
come back when and how you choose. That's how you stay in control
of the pace of the performance and ultimately facilitate the ability to
craft truly magica! experiences for your audience.
 MOSAIC 39

TIPS & TRICKS ON SCRIPTING

Hermes was the emissary and messenger of the gods. He was also
perceived as the devine trickster. I chose him because he was the
protector of travelers as well and we are after all to our journey to­
wards Great Magic, right?

THE TIPS OF HERMES

1. HoLD vouR BREATH

The most beautiful music ever written is based on the pauses, not
on the notes. Add pauses deliberately in specific places to create
suspense, to create an atmosphere. There are a many kinds of paus­
es. There can be a long suspenceful pausejust before a revelation.
A short shortness of breath right before an afterthought. Or even
the all time classic "shut up" pause when your audience is reacting...
Seriously though. Shut up. Don't make a remark, don't say ajoke.
Let the final moment sink in. It's what you built the whole thing up
for. Let them have it.

2. REMEMBER ME

Find ways to put your name in your scripts so that the audience re­
members it in the future.
E.g., "And at this point I know what you're thinking. A lot ofpeople tell me:
'Wàit a second, Perseus ! U1iat would happen if... "'.
This way you are creating a bond with the audience. When they tel1
their friends about your magic there won't be describing what "a ma­
gician did... "; they will be sharing an experience they had with you.
 40 MOSAIC

3. HUMBLE BRAG

If you have experiences with celebrities or important people you can

add these to the intra of a routine to raise the respect and excitement
of the audience. ln Los Angeles I heard this is called "The Humble
Brag".
E.g., "/ have performed this for the British Ambassador here in Greece. He
loved it."
I have no clue which one was actually his favorite routine but I still
always begin a specific routine I do with: "Let me show you the favorite
ejfect of the BritishAmbassador. When I showed him this, he almost fell offhis
chair." This is a half-truth. I did perform magic for the British Am­
bassador and I did make him nearly fall of his chair in astonishment
but I really have no idea which routine I did. (Strangely enough I
just realized that this humble brag is a humble brag within this book
itself. ...strange).
4. MEMENTO

Find places to plant false memories of the audience doing things

they didn't. Technically the memories are real; it's the actions that
are false.
E.g., A spectator cuts the deck at some point. Later on in the routine
you can turn to him and say, ''And you did cut the deck, and shuffle it,
right?"
He will answer "Yes" because he did cut the deck and, if you say it
correctly, he may actually think he shuflled as well. But even if he's
not sure, because he said "yes" the rest of the audience remembers
him cutting and shuflling the deck. On the sarne note, when a spec­
tator selects a card remembers it and replaces it in the deck, if you
emphasize the fact that he now has a card in his mind, later on you
can come back to it in the form of "... and you have a card in mind, right?
You 're thinking of one card, you never showed it to anyone so this card only
exist inside your mind and inside this deck".
 MOSAIC 41

5. CLEAN AS A WHISTLE
When a sleight has already been performed and you can do some­
thing as cleanly as possible, say it! "And please note that I will not do
ANYTHING at all. ". This creates the impression that the Magic just
happens. Like the magician is just the catalyst. You can't imagine
how satisfying it is for you when baflled spectators scream "But you
didn't move a muscle!!!" and you know you did. But it was invisible to
their perception.

6. HEY! TEACHER!
Don't be afraid to eductate. If you have something interesting to
share that you know the audience is not aware of, share it! If you
have found a rare coin and can include it as part of a routine, don't
hold back on telling the audience about the coin and its history. You
will find yourself in the possition of people thanking you for a new
found piece of information. So, always do your homework! When
you want to include history, mythology or anykind of fact, always
do your research when writting your script. Imagine how much it
would suck if a spectator was correcting you on your facts during a
performence.

7. BLEED
Art, like life, is not all candy canes and lollipops. If you want to touch
on dark matters to express something specific, go for it. If you need
to express something seriously, do it. It is more difficult than com­
edy in some ways. But, if it gets to your authentic feelings, that is
where you'll find the gold. Trust me!

8. HAHA
Humor is great. Just remember to look deeply at what you are pre­
senting and take care that your humor is not merely a shield to pro-
 42 MOSAIC

tect you from exposing your authentic self to your audience. That
kind of humor isn't funny and it certainly won't touch your audi­
ence's hearts.

9. ÜNCE UPON A TIME

Yes, we began by saying that Scripting Is Not Storytelling. That

doesn't mean you shouldn't write Storytelling Scripts. Stories are
great! Just don't use the Kings as thieves and the deck as the bank!
Read literature, study how to write a story, be inspired by film and
theater. People lave stories. Scratch that! People lave well written
stories. You do what you want! But also do what you need to express
yourself honestly and completely.

CLOSING

Since you've taken the time to read this essay, I owe you my sincere
thanks. But, I must also leave you with a grave warning:
Once you choose the path of scripting your magic with the goal of
touching your audience's hearts, the change is irreversible. There is
no turning back, even when you want to. And, trust me, there are
some points ahead where you will want to.
There are no "tricks" anymore. At least not for you. An unscripted
trick will begin to seem a shapeless mess-a mere shadow of magic.
For myself, I have learned to feel at ease with this new reality. My
magic connects with the audience in a way that was never possi­
ble before, and once you try it for yourself, you'll see exactly what I
mean.
Hercules on his wanderings was visited by two nymphs - Pleasure
and Virtue - who offered him a choice between a pleasant and easy
life or a severe but glorious life: he chose the latter.
ln the sarne way, what will you choose?
 CHAPTER III

a.Pieces of Paper
History: This effect rnight be the sirnplest but at the sarne tirne one
of the strongest pieces of rnagic I perforrn. It is basically a scripting
solution to a sirnple effect. The good old "oops-I-rnade-a-rnistake­
that-is-not-your-card-let-rne-rub-it-and-it-changes". It is the defi­
nition of how easily you can take sornething sirnple and elevate it
to a wonderful piece of rnagic through scripting. DO NOT OVER­
LOOK THIS PIECE! Try it out and you'll be arnazed by the results.
The Effect: A randorn card changes to the selection with the aid of
. '
a spectator... tw1ce.
Set Up: You will need to have one of the Queens on the bottorn of
the deck.
--======::::::#.6�����e= � =====----­
Meihod: Begin by having a card selected.
You swing cut half of the deck to place the selection in the "rniddle"
and control it to the top by using your favorite rnethod. What you
want is for the selection to end up on top but the Queen to rernain
on the bottorn.
I prefer using the Pass.
Perforrn a double turnover to show an indifferent card at the top.
Have your spectator extend her pointer finger towards the ground.
Lift the double card (indifferent card with the selection) and tap its
face on the extended tip of the spectator's pointer.
Turn the double over on the deck and take the selection face down
with your right hand.
Tap its back on the extended tip of the spectator's pointer.
Both of the taps should have the sarne pace, like you turned a card
 52 MOSAIC

face up, tapped it at her finger, turned it over and tapped its back at
her finger as well.
Slowly turn the card over to reveal the change and place it onto the
table.
As everyone is reacting, boldly take the Queen off the bottom of
the deck and place it on top. If you don't want to do it like this, just
use an overhand shuflle to bring the Queen from the bottom to the
top.
Again, swing cut half of the deck and place the selection on the
Queen supposedly in the middle of the deck.
Control both to the top.
You are left with the selection on top and the Queen under it.
Perform a double turnover to show the Queen.
Perform the Houdini/Erdnase color change to transform the
Queen into the selection.
Perform the KM move to clean up and hand out the selection.
Perform a Pass to place the Queen in the middle of the deck in case
somebody wants to take a look at the top card.
(That sometimes happens.)
 MOSAIC 53

SCRIPT
WoMAN's T oucH

I want to begin with a question: I'm sure you all have noticed
that all Magicians worldwide ALWAYS use female assistants,
right?
And that is the question! Why the Magician's assistant must
always be a woman.
A lot of people tel1 me because of the looks; others tel1 me be­
cause of the flexibility.
And although both of those reasons are valid, none of those is
the most important one.
To be honest, very few people know of the most important one.
And we will get back to that in a while, ok?
To begin with I want you to select a card, memorize it and put it
back around the middle.
(They do. Swing cut, place selection back and keep break.)
Now, be honest: Do you think there is even the slightest chance
I may have any information about your selection?
Apart, of course, from the fact that you put it somewhere in the
middle.
(Pass.)
If I told you, that without doing ANYTHING, with only just by
casting a shadow over the deck, your card rides through all the
others, comes on top and it's now the first one, would that be
something amazing?
(Wait for an answer.)
54 MOSAIC

(Double lift.)
(Wait for response.)
Yeah, I didn't say I would do it, Ijust asked if it would be amaz­
ing or not.
Of course that is not your card and that brings us back to the
initial question: Why do all magicians always use female assis­
tants?
And the answer is this (while pointing to the wrong card).
We are men. And we make mistakes. And women can correct
those mistakes with a special something they all have.
Would you please extend your pointer towards the ground?
W hat we actually use...is what we call...
(Tap the face-up double on the finger.)
...the Woman's Touch...because they say that whatever a woman
touches...
(Turn double over and lift the single selection, tapping its back
on the finger.)
...changes...
(Turn card over and place it onto the table.)
...forever...
(Give it time for reaction.)
(Place the Queen from the bottom to the top, swing cut and put
the selection in the middle. Control to the top.)
Now a lot of people tel1 me, "Wait a second, Perseus. Since
you're claiming that all this happened with the Woman's Touch,
what would happen if there were no women in our group?"
And the answer to that is simple. T hank God, there are enough
women to help me out within the deck. All they need is a man's
 MOSAIC 55

touch...
(touch pointer on face down deck)
...for a Queen to actualy ride through the whole deck and literal­
ly arrive on top.
(Double turnover to show the Queen)
Now the Queen as a woman has certain characteristics. She likes
to be treated well...
(Stroke the face-up Queen.)
...likes to be protected...
(Place your hand over and start performing the Houdini/Erd­
nase change.)
...likes to be spoiled...
(After the manoeuvre where the selection is over the Queen,
under your hand pull the selection away from the Queen for a
last-minute glimpse before the change.)
...and sometimes...sometimes...shejust agrees to help us out...
(Reveal the change, KM move, leave selection on the table, and
Pass.)

FINAL NOTES

I said it in the beginning and I will say it again:

�: DO NOT OVERLOOK THIS PIECE!

This is a piece I always perform when a woman is present in a

group. It can be done almost without any setup and, if you're
really in a hurry, you can performjust the first phase completely
 MOSAIC

impromptu.
What is great about this piece is the emotion it holds within its
simplicity. You grab their attention from the very beginning by
/Ietting them know that they are going to find out something hat
"very few people know".
While you're asking the initial question you are going to hear a
lot of responses, the majority of which are going to be trash talk
about women and their importance in magic shows. So, when
the change comes and you actually declare how useful and im­
ponant women are in maic as well as in modern society, the
women in te group are going to Iove you and the men are go­
ing to respect you.
If you add the cleanliness of those two color changes you've got
yourself a wonderful piece of magic that is going to serve you
forever. This is my opener 99.999% of the time when I approach
a group with one or more women in it.

Believe me when I tel1 you. Try it out and you won't believe the
reactions it gets!
82 MOSAIC

SCRIPT
CASSANDRA

Have you heard of Cassandra? She was a character in Greek my­

thology to whom Apollo gave the gift of foreseeing the future.
Well, after denying his love he gave her a curse where although
she could see the future, no one would believe her prophecies.
Now, I want to make a Cassandrian prediction.
(Turn over top card.)
I predict that you will choose the Two of Hearts.
(Pick up the double and place it onto the box.)
Before we start I want you to make sure that this is the only Two
of Hearts that exists in this deck of cards.
(He does.)
But if we think about it...
(Drop the single onto the deck and leave the deck on the table.)
... there is still a chance you could actually pick this Two of
Hearts, so it's not really a Cassandrian prediction at all. But if I
destroy...
(Rip the card into quarters.)
... the card and actually isolate the pieces...
(Put pieces into box.)
,... so they are far away from the deck, then you would agree that
it is indeed impossible to choose that card anymore, right?
(Perform a force.)
Don't look at your card yet because I think we need to recap.
I predicted that you would choose the Two of Hearts. And, to
 MOSAIC

make it as dose to a Cassandrian Prediction as possible, I actu­

ally destroyed the card and isolated its remains in the card box,
making it literally impossible for you to select it.
(Pause.)
Unfortunately, that is exactly the essence of a Cassandrian Pre­
diction...
(Pick up box.)
It's a blessing and a curse...
(Open box and show it empty.)
No one believing you... when your gut tells you you're right. I
personally always trust my insticts.
(Nod for them to look at their card.)
...like poor Cassandra.

FINAL NOTES

"Cassandra" is not what we traditionally call a ''worker"; some­

thing you can perform at a gig over and over on every group. I
have discovered, though, that if you keep an envelope with you
with spare duplicates, it is fairly easy to ring a duplicate in the
deck and pair it with its rnatch to perform it at least every two
tables or groups. I personally perform it to two to three groups/
tables per gig. I think it is really too strong a piece to waste on
every group. Reserve it for the worthy...
 MOSAIC 119

FINAL NOTES

The "Couples'' piece is one of my favorites andis probably the

one I perform as an opener when I approach a couple� It is not
one of the routines where the spectators play an active role in
terms of actions. They basically choose the crd and then watch
you tell the story. They do play a big part, though, emotional­
ly. As each phase of the routine passes you'll see them nod in
agreement and hold hands as you touch on subjects all Couples
go through. On the final color change you will hear "Awwww''
or even see them spontaneously kiss, and that is great! It means
you did yourjob well!

*Funny Story: I was performing at one of my regular weekly

gigs when two girls called me to perform at their table. I noticed
their body language and it screamed "Couple'' so I just went with
it and boldly asked, "How would you describe your relation­
ship?" They responded, "Erotic," and I replied, "Right. So, we're
going to needthe two Queens for thad" and went along per­
forming the Couples piece! They loved it! The sarne thing has
happened to me with two dudes. A couple is a couple no matter
the components.

The wonderful thing with this piece is that you may finda cou­
ple having a rough patch and actually leave them holding hands
and trying to solve their problems through a new perspective.
This piece has much more power than you might think...
Havefun!
 MOSAIC 127

SCRIPT
ATIRACTION

Did you know that all matter attracts matter?

Yeah! Absolutely, let me show you. Please pick a card, remember
it and write down a name you feel attracted to with this Sharpie.
(They do.)
Put it back and we'll leave it here around the middle.
(Control it to the top, palm it off, leave deck on table.)
Now, since you wrote on the card using this Sharpie, it's missing
some ink. That means that the Sharpie is attracted to that ink...
(Transfer Sharpie and hook it to the card, start dribbling the
cards.)
...and if I throw it through the cards...
(Throw.)
...it catches your card...feeling whole again...

FINAL NOTES

Don't discard this piece for its simplicity. It really plays big!

Make sure the Sharpie with the palmed card goes THROUGH
the cascade and is not stuck in between. It is the sarne effect but
it is much more aesthetically pleasing for the spectators to see
the Sharpie emerge from te other side of the cascade, snatch­
ing their card, than having to search through the pile of cards to
find the Sharpie with their card attached on the hook!
, Also, if you're having trouble dribbling the cards with your left
hand, you can perform a DPS in yur left hand when the se­
lection is pushed in the deck, place the deck face down on the
tab1e, hook the pen to your left hand and dribble the cards with
your right hand face down before throwing the Sharpie through
the cascade using your left hand.
 MOSAIC

we as well must pass around from generation to generation.

Now I want you to pick a card that will represent a piece of in­
formation.
(Force the card, they put it wherever they want in the deck, box
the deck and table it.)
Albert Einstein once said, "Imagination is more important than
knowledge," so I figured we should use both to create something
unique!
(Mime the spreading of the fingers.)
Would you please open your fingers like that?
(Mime placing a card in between.)
Close them. T hank you. I want you to truly imagine, make it a
picture; imagine that you are holding the card you selected be­
tween your fingers and parallel with the ground. Do not picture
it like a playing card; picture it like it is transparent; like you're
holding its soul, if playing cards had souls.
(Bring out the lighter.) So, we have the first component, your
imagination.
Now we need the second one... knowledge ... Promethean knowl­
edge, that is.
(Mime to another spectator to make a duck shape with his hand,
pointing upwards.)
Go like this and open your thumb and forefinger.
(Put the lighter in his hand and have him hold it tight; open the
lighter and snap your fingers over the wheel to light it up with
style. Guide his hand under the "invisible" card. Pick up the Pro­
metheus card and wave it over the flame.)
I want both of you to imagine that the flame goes through the
soul of your imagination and hits my business card, leaving a
little piece of itself... an imprint maybe... make it a picture...
(Table the card, dose the lighter and pocket it.)
 MOSAIC 1 37

Now...let's recap. You could have selected any of the fifty-three

cards in my deck, correct?
(They agree.)
And you have all seen the card? And, no one said anything to
anyone so I couldn't hear anything, right?
(They agree.)
So, there is no chance I could've known the card... and to be
honest I don't care about it. The only thing I care about is your
imagination. Did you actually visualize the card?
(They say yes.)
Did you actually imagine the flame going through it and hitting
my business card, leaving a piece of itself?
(They say yes.)
Then, if all went well, behind my business card there is a little
piece of your imagination. Before you turn it over I must warn
you... the result will be really weird... but beautiful at the sarne
time. ln closing, I don't know which is more important, knowl­
edge... or imagination... The sure thing is that the combination of
both is HOT!
(Nod to them to turn over the business card. When you see their
eyes open wide, reinforce the idea that it could have failed by
asking:)
Did it work?
Wonderful!
152 MOSAIC

SCRIPT
ILLUSION VS MAGIC

(The Joker is on the top.)

A lot of people ask me what is it that I do? Is it Illusions? Is it
Magic? And you know there is a great difference between the
two. I'll demonstrate. Name any card you want us to use.
(They do. Let's say the 3 of Diamonds. I spread the deck and
find the 3 of Diamonds.)
This one? OK, I'll leave the...
(Close the spread while culling the 3 of Diamonds to the top
over the J oker.)
... 3 of Diamonds where it is because we are going to use the wild
card.
(Turn deck over and double turnover in preparation for the Bal­
lerina Change.)
An Illusion is basically what you see is not what it is. What I
mean is if I pass my hand over the Joker and...
(Ballerina Change.)
...make him appear like your selection...
(Undo the move.)
...it's obviously an Illusion. This is a piece of paper. It cannot
morph under my command, right?
(Pause for them to catch their breath.)
Open your hand, please.
(Double turnover and <leal the 3 of Diamonds on their hand.)
Cover it with your other hand, please.
(They do.)
But if I actually make the Joker...actually BECOME...the card
you merely thought of...well...
 MOSAIC

SCRIPT
TIMESPACE

Have you heard of TimeSpace? Well, TimeSpace consists of

three elements: Time, Space and the combination of the two.
We are going to explore the paradoxical properties of all three
of those.
(Place a random card between the Kings and put all on the box.)
I'm going to leave this random card between the Kings and out­
side· the equation for the time being... which is a paradox on its
own. Numbers often come in fractions, and fractions come in
two parts: The number above the line, the numerator, and the
number below the line, the denominator. I will need the Ace of
Spades, which will act as a denominator during this exploration.
(Cut the Ace to second from the top, and do a double turnover.)
The Spade will act as a compass because we will experiment
with Space first. Pick a position on the table to put the Ace.
(They do. Turn over the double and leave X-card on the spot.
Swing cut and hold a break.)
Say stop at any time to choose a numerator.
(They do. Cut the cards at the break and use a double turnover
to show the selection.)
Now, if we place your card...
(Turn over the double and put the Ace next to the X-card on the
table. Obtain a pinky break.)
... exactly where the Ace is, and put the Ace...
(Place the X-card on top of selection.)
 MOSAIC 193

...on the deck... paradoxically...

(Turn the tabledAce over.)
... theAce remains on the table and...
(Double turnover.)
... your card remains on the top of the deck.
(Double turnover. Place the X-card outjogged in the middle.)
I want you to remember this image because we are striving to
achieve the exploration ofTime!
( Push the X-card into the deck. PlaceAce on top of the deck face
up.)
This time, the Spade is going to represent the hands of a clock.
(Turn theAce face down, second <leal and place the selection
outjogged in the middle.)
If I place theAce... approximately where your selection was...
(Revolve theAce 180 degrees.)
...and turn the hands ofTime counter-clockwise...
(TurnAce face up on top of the deck.)
... we go back in time to when theAce was on top of the deck...
(Lift the deck to show the face of the selection.)
...and your selection was sticking out of the middle of the deck.
(CoverDPS as you deliver the following line and call attention
to your face.) Isn't science beautiful?
(Leave the deck on the table face down and pick up the King
sandwich.)
What about those guys, you may ask? Well, I forgot to tel1 you
from the beginning, these guys are actuallyTime and Space
themselves.
(Add the palmed selection onto the bottom and reverse count.)
 MOSAIC 215

SCRIPT
THE PAINTER

When people tel1 me that what I do is tricks, I think it' s like as­
suming that a painter and a guy who paints his house walls are
doing the sarne thing. The tools might be the sarne but what you
do with them is a lot different, right?
I'll demonstrate.
(Remove double from an envelope and place it on top of the
box.)
We'll come back to that.
(Slip cut force card in the middle.)
As I riflle through the deck I want you to call out "That one"
whenever you like me to stop, so we can select a subject for our
"Painting".
(They do.)
Don't let me see it, show the others as well, and also sign it on
the face, please.
(They do.)
We'll leave it back in the middle where it carne from because
the subject is already in the painter's mind.
(Control to the bottom, pick up double.)
Now, before we begin, I removed this card from an envelope.
This is actually going to be our canvas.
(Stewart-Gordon and show the spectators the blank side.)
Now when a painter starts to paint, from the time he decides on
a subject, what comes next? Right! The sketch! And...
 MOSAIC

SCRIPT
lCARUS

Success is a lot of times an invisible journey.

(Find the Kings and remove them from the deck.)
Let's say these two are the finish line...the moment of success!
(Turn to one spectator, spread the deck.)
Please pick a card that will represent one of your life's goals.
(Gesture for them to put it back and control it to the top.)
A lot of times your goal is lost within life itself...
(Palm selection; table the deck.)
...seems out of reach...
(Pick up the Kings with your left hand and with your right pre­
tend to pick up the selection.)
You can't see it but your goal is coming near...
(Move slowly towards the Kings.)
Time flies by and you are coming closer...until one day...
(Throw the selection and catch it between the Kings.)
...you're there...
(Spread the three cards.)
...at the finish line...so be patient and your goal might be...
(Turn them over to reveal the selection and remove it from the
Kings for a clearer view.)
...right around the corner...
 MOSAIC 251

SCRIPT
WEAK

I want to present something for you but I will need your per­
m1ss1on
for that. It's going to take us to dark places.
You up for it?
(They agree.)
Before we begin, say stop...
(Begin Hindu Force.)
...at any time. It really doesn't matter which card; it's not one of
those kinds of pieces.
(They say Stop, and you immediately remove the card and fold
it in half, working the crease.)
I'm working that piece because I will need it torn and I want it
to be neat.
(Tear it.)
There we go, we'll come back to that in a little.
(Leave both pieces on table.)
Let me ask you something. Was there any time in your life
where you felt completely powerless? A moment in time where
something horrible happened to you, a point in your life where
you really stood in the middle of things numb and unable to
even move a step?
(They nod.)
I will give you a few seconds to go back to that moment. Take
a few deep breaths and try to remember the details...how the air
252 MOSAIC

smelled... What was the colar of things through your eyes? Gray­
er maybe? Are you there?
(Give them time; slowly pick up the Weak part of the card.)
Bring your hands together please and open up your elbows like
this.
(Mime the action.)
Hold that piece...
(Pause.)
...and TRY to tear it. And when I say...
(They begin to try.)
...try, I say it because the harder you try, the harder it gets. No,
really give it your all!
(They REALLY try and cannot tear it.)
...and that is because we went back then. You are there where
you felt completely powerless and the world seemed so big and
the solutions to your problems so far away...STOP!
(Say "Stop" loud enough to shock them a little.)
Take a deep breath and relax. Come back to now, give me that.
(Take piece, under the deck switch and leave the switched-in
piece on the table as you touch them on the shoulder.)
You ok?
(Nod.)
Good. Let's do the opposite now. I want you to find another
point in your life. A point where you were proud of yourself. A
moment when you felt you could do it all! When you felt like
the King of the world. A moment where THAT "you" would turn
back to the other "you" from before, pat him on the back and
tel1 him, "Everything is going to be ok, buddy. Keep trying."
 CHAPTER III

b.Pieces of Jannos
 MOSAIC 281

SCRIPT
SHERLOCK

(Remove two Kings and place them on the box face up.)
Have you heard of Sherlock Holmes? What was hisjob?
(They answer.)
Right, he was a detective! He expertly solved crimes and myster­
ies. The interesting part though is HOW he solved them. He did
it by using a method called "Deduction". Deduction is basically
when you get into a crime scene and all possibilities are open.
You eliminate what doesn't fit according to the clues...
(Hold your index finger and thumb open, gradually closing
them to foreshadow what is about to happen.)
... and what is left has to be the truth! And, this is exactly what
are we going to do; we are going to visualize that process. So,
to begin with we need a possibility. A crime. I need you, sir, to
kill a playing card. As I dribble the cards I want youjust to say
"BANG!" whenever you want to, as if you're shooting someone.
(They do. Cut the deck and show him and the rest of the group
the bottom card of the top packet, and hold a break over it as
you return the top packet.)
Now, be honest, do you think there is even a chance I could have
ANY information...
Fan the cards.)
... about the identity of the victim at this point?
(They say "no".)
Which means that ALL possibilities are open.. just like a Sher-
282 MOSAIC

lock Holmes case!

(Pick up the Kings.)
The Kings are going to represent our percepüon; one on the
bottom and one on the top sandwiching the whole deck,be­
cause all possibilities are open!
(Put one King over the selection and the other one on top of
the deck. Close the fan and push the bottom King flush. Bottom
palm an X-card.)
Now,in arder to identify the victim I will be needing some
clues,but YOU WON'T say a word! Everything is going to hap­
pen between our minds by telepathy. Clue number one,just
think... DO NOT SAY... the calor of your card. Only think if it was
red or black.
(They do.)
Watch as the first King...
(Colar change.)
... vanishes from the top!
(Turn over deck.)
And the second King vanishes from the bottom.
(Spread a few cards.)
They don't actually vanish,they remain in the deck.
(Cut the spread cards under the deck.)
They just re-arrange themselves... coming closer together,ELIM­
INATIN G possibilities.
(Turn the deck face down and spread the cards.)
Now the frst King has eliminated some cards from the top and
lies a bit lower in the deck.
(Outjog the first King.)
 MOSAIC

The second King eliminated some cards from the bottom and
lies a bit higher in the deck.
(Outjog and cock them to the left.)
If I asked you, how many possibilities do you think are left be­
tween them?
(They usually guess thirty-five to forty. Push the Kings in, hold a
break around middle and Pass.)
I want you to notice my hands; I'm not going to do ANYTHING!
Clue number two, again only think...DO NOT say... the suit of
your card: Club, Heart, Spade or Diamond.
(Pause.)
You'll notice...
(Start spreading.)
... that the first King is now faaaarther down...
(Outjog the King. Hold the middle finger in contact with selec­
tion. Continue spreading.)
... and the second King has risen waaaaay up here...
(Close the spread, keep the finger break and cock Kings to the
left.)
...leaving us with obviously fewer possibilities, right? How many
would you say there are between them now?
(They estimate, and you misdirect for The Graduate with the
following line:)
If we think about it and the fact that he was thinking of the suit...
(Do The Graduate.)
... there should be exactly thirteen cards between the Kings, be­
cause each suit has thirteen cards from the Ace to the King.
(Push the King.)
330 MOSAIC

SCRIPT
FRIENDS

Notice the similarity in the words "Spaceship" and "Friendship".

One is a vehicle to explore new worlds in the vast space of the
Cosmos and the other a vehicle to explore life itself here on
earth.
I want to show you the power of friendship.
Let's say this Ace is one of you guys.
(Put Ace of Spades in the box and give it to the spectator who is
supposedly him.)
You've had your rough times, right?
(He nods.)
Times when you thought you could come over on your own...
isolated...
(Place the Aces in position for the first vanish; turn to one of his
friends.)
Would you hold my wrist, please?
(He does.)
Then comes a friendly look...a look of understanding...
(Vanish happens.)
...to come and ease your soul...
(Place the Aces without the get-ready and act as if it's not work­
ing.)
Then...then...
(Get the Aces ready for the move and turn to another friend.)
Oh! Right! Hold my wrist, please.
 MOSAIC 331

(He does.)
Then comes a friendly hug...a hug of compassion...
(Vanish happens.)
...to come and ease your heart...
(Display the single Ace and put it back for the final vanish; turn
to another friend.)
Hold my wrist, please...
(He does.)
...and finally comes a friendly talk...a talk of advice and guid­
ance...
(Vanish happens.)
...to come and ease your mind...
(Spread cards face down.)
...and although it sometimes seem your friends are nowhere to
be found...
(Turn over the deck and spread face up.)
...although distance may sometimes make you feel alone...or
even abandoned...
(Gesture for the box, cop the Aces and table the deck.)
...you are not.
(Place box on hand, turn wrist and open it.)
Because true Friends will always be with you...
(Take out the Aces.)
...on this wonderfuljourney in life...
(Fan the Aces and turn them over.)
 MOSAIC 353

SCRIPT
UNFULFILLED LOVE

Have you ever had an unfulfilled love? Yeah, we've all had at
least one of those.
Please select a card that will represent that unfulfilled love.
(Spread the deck and have them select a card.)
Please place it back in the crowd.
(They place it in the deck and you control it to the top.)
When an unfulfilled love happens, it's not the end of the world,
right? Life must go on. So touch three random people.
(They do.)
Because even though our minds are stuck to that person, we try
to overcome that obsession with seeing other people and testing
our luck.
(Strip-out, turn face up, display, turn face down.)
But unfortunately, we always compare...compare with that un­
fulfilled love.
Does she have the sarne smile?
(Turn triple, turn face down and <leal.)
Does she cry the sarne way?
(Turn double, turn face down and <leal, place all on the bottom.)
Does she even like the same music?
(Show top card as selection, place on bottom.)
It is literally like she is everywhere...
(Flushtration count, flip and do the move to show the indifferent
cards.)
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SCRIPT
QUIT IT!

So, as you probably know, many people that want to quit smok­
ing tend to try various methods to quit it. From hypnosis tapes
to acupuncture, people try everything to get rid of this hab-
it. Some people say these things work, others just quit it for a
month or so and then re-start smoking as usual. Truth is, you
don't need any of these to quit. The only thing you need is
strong will.
Once you decide it's time you quit it, you can - and you will do
it.
Is anyone here interested in quitting smoking?
(Someone volunteers.)
You? Perfect. On the count of 3 you will stop smoking.
(Counts to 3 then snaps fingers.)
Did it work? Of course it didn't. I told you, it's your decision and
until you make up your mind about it no one else will make you
do it. How many years have you been smoking? Are you a casual
smoker? Have you been smoking these cigarettes all this time?
(These are important questions so that you can find out if it's
going to work or not.)
BUT, while I can't snap my fingers and make you quit smoking,
I can very easily show you that you don't need it. I will show you
that in your head, smoking is not even happening. Please light a
cigarette and dose your eyes.
Now with your eyes closed please take a deep breath. Inhale,