Hypno Effects PDF - Peter Turner Vol 11

Vol#11 Hypno-Effects ClubMagic.Info Introduction Welcome to this month‖s instalment, in this month‖s instalment we will look at ―hypno effects‖ – The title of this introduction is inspired by the term ―Hypno trick‖ (a term coined by hypnotists), a hypno trick is a trick that from an outward pers...

Vol#11 Hypno-Effects ClubMagic.Info Introduction Welcome to this month‖s instalment, in this month‖s instalment we will look at ―hypno effects‖ – The title of this introduction is inspired by the term ―Hypno trick‖ (a term coined by hypnotists), a hypno trick is a trick that from an outward perspective looks like real hypnosis - when in-fact it is pseudo hypnosis and relies on mechanical methodology. I have always felt that term ―trick‖ in the context of mentalism or hypnosis cheapens the process of what it is you are proposing to perform – hence changing the term to ―hypno effect‖ I think that the term ―effect‖ suits the definition of what we are doing much better than ―trick‖. In this volume you will find a range of ideas, from a range of artists that utilise a series of techniques to give the illusion of being able to hypnotise a participant in order to create an effect. Some of the effects in this volume will read on paper as simple physics, don‖t overlook the power of these routines and if you do I promise you, you will regret it. I think there is a strong lesson to be learnt here, many is the time that people read something and dismiss it as impractical, not interesting or too simple to be effective and then sometime later those same people see the effect performed live or on a video and are totally fooled by the effect/ method they read sometime earlier. Those same people fall into the same trap months later and the cycle continues. Take time to try the techniques in this volume, watch the effect that these routines have on the people around you and judge them based on that. My interest with actual hypnosis started when I was about 12 years old, a few years before my interest in mentalism. I remember vividly imagining making people go to sleep and mind controlling people to do whole hosts of things. In all honesty my interest probably started from watching a cartoon with a hypnotist in and having unreal expectations of what hypnotists could do. I remember at the time telling my grandma and granddad that I wanted to do hypnosis and I remember my grandma turning her nose up and saying “You shouldn‖t mess with stuff like that”, instead of this detouring me it spurred me on because if she thought hypnosis was this powerful what 12 year old wouldn‖t want to mess with it? I appeased my grandma and didn‖t speak a word of it for the rest of the day. A couple of weeks later my granddad picked my brother and I up for an afternoon out and it was one of the rare occasions that my grandma came along. We went to a quaint little village not far from us called ―Howarth‖. Howarth is a small village that has a series of cobble streets with bookstores and antique shops that sell war memorabilia and the pubs all serve very traditional home cooked Yorkshire food. Whilst on the subject of food, if you ever get a chance to visit this beautiful little village the food is amazing. As you are wandering up the narrow little streets you can smell the aroma of the home made gravy drifting from the public houses. It is almost as the village has never moved forward in time; ―stuck in a moment‖ is probably the best way to describe the village. Whilst every village around Howarth has moved forward and changed with the times Howarth has always stayed the same. When you enter Howarth it is almost like going into a portal that takes you back in time, the shops are tiny and there are littered with all manner of strange artefacts, the village has several new age shops that stock all types of oracles and the book stores… the bookstores are full of old texts, booklets and books that have been lost and long forgotten about. My grandma was more of a worrier than my granddad, my granddad would have let us run ahead and go through the stores on our own as long as we met him at the top of the street at any given time he had given us to meet him. Whereas my Grandma on the other hand never wanted us out of her eye line. I always hated moving at the slow pace my granddad and grandma moved at, I was 12 and full of life I wanted to run around and explore. My brother and I managed to convince my grandma that everything would be ok and off we ran full pelt racing each other to see who could get to the shops first. I always looked around the book stores for magic books, the old women behind the counter now is but a distant memory I cannot remember how she looked, all I remember is that she was very helpful. Sadly there were no magic books in the store and on the way out I remember building up the courage to ask if there were any hypnosis books. I nervously waited for her answer, was she going to chastise me for asking? Was it a taboo subject? …I waited for what seemed an eternity and her response surprised me, she said she remembered having a few that had been sat there for a long time. She led me over to the section that contained the self-help books and low and behold there were four or five books sat there in front of my face. It was for me like finding a treasure! To give you an insight into how finding these books felt, imagine going on a treasure hunt and finding a treasure chest and then opening that chest and there is a gold light beaming out so brightly that it lures you in. My mind started to race at all the things that I would be able to accomplish after reading these books, but which one to choose? After a moment or so of standing in front of the books in a world of my own, my brother did the thing that siblings are SO good at doing, with one sentence he brought me crashing back down to earth “Grandma said you shouldn‖t mess with things like that”. How was I going to get one of the books now? Surely he would tell on me. How could I silence him? If I was to purchase a book how would I hide the book? I had to have one of them. I promised my brother that I would give him a pound in return for his silence and picked one of the books – If I remember rightly the book that I chose was the ―A B C book of hypnosis‖ (don‖t quote me on that) I took the book to the woman on the counter to ring it up, the book cost 25p! I hid the book down the back of my trousers and pulled my jumper down to hide the book so that when I met my grandma and granddad they couldn‖t see it. The rest of the day went by so slowly and I feel a little bit ashamed to say this next bit knowing now how much I miss my granddad; I couldn‖t wait to get home and read the book. I got a knot in my stomach and a tear in my eye writing that - When it turned dark my Granddad drove us home and I went straight to my bedroom to read the hypnosis book. I didn‖t make an attempt to hide it around my house, you see I grew up with my nan – I never lived with my mum or dad and my nan she never cared for magic, mentalism or hypnosis – She still doesn‖t now. I remember reading the book cover to cover and finding a series of therapy type techniques, I assumed there was something missing from the book as it seemed like a set of instructions instead of a key to opening the hidden dimensions of the human mind. I practiced the scripts and the visualisation techniques from the self-hypnosis sections – They played a fundamental part in my bedtime routine. It wasn‖t until about 6 months later that I successfully hypnotised my first volunteer, the amount of embarrassing moments I endured from failing time and time again over that six months is not even funny. I wish I had back then a series of techniques like the ones that are shared within this volume. I really hope you love the ideas and routines shared in this volume, Peter Turner - ClubMagic - 2016 P.s In-case you were wondering who won the race to the shops in Howarth between me and my brother it was me. P.P.S – I don‖t think I ever gave him that pound for his silence, I am going to call him up now and make good on my word. Ambidextrous – Peter Turner - ClubMagic Effect The performer asks the participant to imagine going back in time to the first classroom they attended to hone their penmanship skills. The performer asks the participant which hand they write with to which the participant replies - "my left". The performer continues "Can you write with your right hand?" The participant responds "No, not at all if I did it would look like a child's writing". The performer asks the participant to close his eyes and imagine going back in time and stepping inside of this room, walking up to the front of the class and instead of picking the pen up in his left hand to imagine picking the pen up in his right hand and very shakily writing down the name with his right hand. The performer asks the participant to look around the classroom imagine is favourite teacher standing watching him. The performer then asks the participant to step forward in time to going on his first real dinner date. Imagine that the meal has finished and that he offers to pay the bill. The card machine gets brought out and instead of instinctively reaching forward and pressing the buttons with his left hand he does so with his right hand. The performer again jots something down and after he has finished he asks the participant to imagine coming back to the present day and when he reaches the present day open his eyes. The performer asks the participant the name of the teacher and he turns over the first piece of card he made a note on and it is revealed the performer has successfully divined the name of the teacher! The performer then asks the participant to tell everyone his old pin code, the one he used at that meal, after the participant calls it out the performer turns around to show that again he has successfully managed to deduce the code! The room settles down, he looks at the participant, I want to give you a gift a gift that is going to last a lifetime. You came up here and stated that you were left handed and you couldn't write with your right hand. I had you close your eyes and imagine going back in time and writing with your right hand and using your right hand your entire time instead of the left. The performer hands the participant a pen and a piece of card - Try write your name with your left hand now and you will see you no longer can. The participant struggles and the writing is a mess. The performer asks the participant to place the pen into his right hand and he will be able to write his name beautifully. The participant tries and to everyone's astonishment he can write it perfectly! The performer takes hold of the participant's wrist looking him square in the eye and says "Look at me, what you have just witnessed goes to show that anything is possible, in a moment you are going to return to your seat and if anyone ever asks you if you were ever left handed you will say no, you will be 100% convinced that you were always right handed. So convinced, that you will imagine that I asked you to imagine being left handed and not right handed. Which the audience of course will tell you is not the case. This has been a positive experience even if you are slightly confused as to what happened". The performer returns the participant to the audience. Breakdown This effect was born off of the back of/ inspired by an old story that I read years upon years ago (but not the same so don't read the story and think you understand this effect) the story goes as thus - During a hypnosis show one volunteer comes forward and it looks like that volunteer is not going to be hypnotisable. It is destined to be a nightmare BUT you have a secret up your sleeve! There is one way to remove yourself from this undesirable situation and it is this; you whisper to your one volunteer that if he plays along, you will give him £50 after the show. After a couple of tame routines, in which the propositioned participant plays along you should now be able to get more people to volunteer and you will be able to bluff your way through your forty minute slot. At the end of the performance, you tell all your subjects that all the suggestions you have given them will be completely cancelled out – except for the initial volunteer. In front of the audience and in a confident tone of voice, you simply tell him that when he wakes up he will firmly believe that the hypnotist promised him fifty quid to play along and that he was never really hypnotised. The participant rapidly opens his eyes and says, "I did play along, he offered me fifty quid honestly!!" - To which the crowd respond with a huge reaction and round of applause. I first heard of this story as a child, when I heard it I grinned from ear to ear at the sheer cheek of it I instantly started using it on my friends (offering them five pounds) it was fun and I was young. When I started taking a serious interest in hypnosis the story never had the same charm it did when I first read it. The participant left with nothing and it was a cheap way to get what I wanted which is something I did not want. I re-read this story years later and I smiled for nostalgic reasons and always wanted a way to incorporate it into a set in which the participant left with something. This routine is a result of trying to give everyone an effect. There are multiple ways to achieve this effect, I am going to outline the main method that I have used in the past (and will use again as I'm feeling re- inspired). The first is the 'almost' real time method. This is going to be utilising a ―one- ahead‖ type method. During your set, you propose to get one participant to read the other participants mind. Address one participant - I am going to teach you how to read somebody else. I am not going to tell you out loud what to look for as I don't want everyone knowing what I'm focusing on to get information. This is where you need to have a spectator as mind reader routine in your arsenal - During giving them instructions add onto the end of those instructions, "nod if you are right handed". This is important; you need to know the participant's dominant hand. If they nod follow with - If at any point tonight if I ask you if you are left or right handed state left instead of right, this will enable me to read you like a book, if I ask if you can write with your right hand simply state that you can try but it will be messy. The moment you trick your brain, is the moment I will be able to read you". Lean out. Ensure that the participant confirms that you didn't tell them what information the other participant is thinking of. They will confirm this is true and then openly state - Performer: "I also stated a very simple way into tricking the brain making it possible to get a good read". This will rein firm that you want them to say the opposite of later and if you wanted to push it you could literally follow with - Performer: "That is literally all I told you". When they say "yes" that's almost your job done. Let the spectator as mind reader routine play out and then seat the participants let an effect or two pass and then look toward the participant you utilised to read the participant earlier, Performer: "I know you came up earlier but I think you may be great for this. Are you left or right handed?" If they call out left you invite them to participate if however they do not (which shouldn't happen) you have the choice of bringing them up anyway and performing something else or simply saying "oh I thought you were left handed, do we have any left handed volunteers?" Then move into another routine with that person. However we will assume that the person states that they are left handed invite them up onto the stage. The next part of the process is to quiz the participant gently as to whether they can write with their right hand. To which they will respond what you asked them to respond earlier. Note to reader*** such a time delay has occurred that the audience will never even be able to connect the dots to get close to figuring out the method. Plus the question seems so innocent that the audience will take the participant's answer as gospel truth. End of note*** The participant is going to sit next to you (be it on stage, in close up etc.) This is where you will apply any one of the inductions outlined in this volume. Theatricality think about what you want the induction to look like, how does it fit into the choreography of the overall routine - personally as the participant is going to be seated (preferably behind a table) I would utilise a seated induction. I ask the participant to imagine going back in time to a classroom where they honed their writing skills and imagine writing on the board - This piece of information can be any piece of information you desire. This is completely up to you which piece of information you have the participant think of. This is where I feel good prop-less material plays a part as the participant for obvious reasons cannot write something down. One such piece of information might be the participant's star sign for example (Vol #9 has a variety of). The revelation of information is what the participant takes from this routine, whilst simultaneously proving that you were telling the truth when you whispered and thus bringing that full circle. I have found revealing two pieces of information to be the perfect amount of information. I then bring the participant forwards in time to the present day/ time and I am about to move into the kicker - Changing which hand the participant writes with. The beauty of this routine is that the participant could never write with their left hand at all (but the audience believe that they can) - So when the participant tries to write they are not going to be able to anyway! But the most beautiful moment comes when you tell them to put the pen in their right hand and write and they write beautifully (as the participant was always right handed) but to the audience you just changed their dominant hand! This is where the routine comes full circle and you tie up all of the loose ends. The script I have created to tie this up is very remnant of the story I shared at the beginning of the breakdown section of this effect. - The performer takes hold of the participant's wrist looking him square in the eye and says "Look at me, what you have just witnessed goes to show that anything is possible, in a moment you are going to return to your seat and if anyone ever asks you if you were ever left handed you will say no, you will be 100% convinced that you were always right handed. So convinced, that you will imagine that I asked you to imagine being left handed and not right handed. Which the audience of course will tell you is not the case. This has been a positive experience even if you are slightly confused as to what happened". The idea is to make this a moment of tension, try to capture the participant's entire attention - retain eye contact and confidently deliver the script while nodding from time to time. This will if delivered correctly get the participant to nod back, which will seem like (from the audience‖s perspective) that they are hypnotically accepting what you are suggesting.  You could also utilise pre-show in a very simple but clever way to achieve the same result. Pre-show is I feel a nice solution as you can have the participant write down information that you can reveal during the routine and don't have to rely on prop-less techniques. If you were utilising pre-show you would openly say to the participant the same thing you whispered during the aforementioned live variant. Robin Hood – Peter Turner - ClubMagic Effect The performer invites the biggest sceptic out of a group take a seat next to him, the performer openly asks the sceptic whether he believes he could ever be hypnotised or have his mind read to which the sceptic laughs and replies that there is no possible way. The performer only asks that the sceptics tries and but a moment later the performer has the sceptic in a trance. After a few words in the sceptic‖s ear the sceptic sinks deeper into a trance. The performer counts from one to five and the sceptic awakens and instantly reaches into his pocket and starts to give the performer his keys and wallet. The performer cheekily with a smile on his face says "the watch too" the sceptic without missing a beat takes his watch off and hands it to the performer the performer snaps his fingers and the sceptic instantly falls back into a trance. The performer has proven he can hypnotise any sceptic at will, he now sets out to prove he can read the sceptic‖s mind. He awakens the sceptic and then reads the sceptic proving that even the biggest sceptic can be read just like anyone else. Breakdown The methodology of this effect is very much like the aforementioned effect (Ambidextrous). The secret is extremely simple - Choose a volunteer whom is purposefully sceptical, all that you ask from them is to listen to what you ask of them and what will be, will be. Address the participant - Performer: "Before we go any further, do you believe it is possible to hypnotise you?" Participant: "No". Performer: "Ok well don't worry about that, do you think you I could read you to guess information about you there is no way I could know?" Participant: "No way!" Note to reader*** these questions are the most important questions in this entire routine as they allow everything to come to fruition. They also set up the entire scene for what the audience are about to see. End of note*** Utilise one of the inductions in this volume to seemingly put the participant into a trance. This is where the beautiful moment takes place, lean into the participant and whisper, Performer: "In a moment I am going to try and read things about you, nod if you are ok with that (the participant nods) I do this by holding your possessions things like keys and your wallet for a few seconds. When I ask you to open your eyes not yet I want you to hand me your things. When I snap my fingers I want you to close your eyes and I will begin to read you. Nod if you understand. (The participant will nod, raise you voice slightly so the audience can hear you) I'm going to count from one to five, when I get to give open your eyes and give me your things. 1...2...3...4...5". The participant will open their eyes and start to give you their possessions. If the audience start to react you are going to apply the "Dunninger modesty ploy". Look toward them and almost stop them reacting while gently saying "you don't need to react" This is a subtle dual reality as the audience think you are being modest whilst the participant believes that you are telling the audience that they don't need to react as nothing has happened as of yet. After the participant has handed you their things, always push it one step further. If you notice they have a watch ask for it. If they haven't give you the phone ask for it, always ask for one more thing. If the participant doesn't have anything more to give you there is a beautiful moment that occurs here from a theatrical point of view. The participant will verbally state that they having nothing left and this is a beautiful moment. Look at the participant, this is where you are going to hold your fingers in the position to snap them but do not snap. Linger for a few seconds, the idea is to subtly remind the participant that you are about to snap your fingers. As you have told the participant that when you snap they should close their eyes, the moment you do snap your fingers the participant will close their eyes and seemingly go back into a trance. This is the moment that you would move into any type of mind reading routine that you desire, as long as you successfully read the participant everything will seem to come full circle. If you are bold you can openly ask the participant why they gave you their possessions. You will find that the participant's response is something along the lines of - "because you told me to". Which re instils to the audience that you hypnotised the participant. These ideas are simple and straight forward but are routines that served me well gigging in even the worst environments. If you don't like the idea of using a whisper and are flirting with the idea of using this in a stage scenario there is another technique open to your disposal that enables you to give someone instructions in plain sight yet the audience will never hear them! This idea is a very, very old idea which is little known but I can tell you it is beautiful. Whilst reading this technique, think of how powerful this is. Plain sight and sound For this you will need to record your voice, record you saying things such as, "Take a deep breath in, hold it and now breath out. Place your feet together and close your eyes. I am going to count from ten to one, each number I count you will relax more and more... 10...9...8...7...6...5...4...3...2...1." Place this onto a disc of a media stick and take it to the venue that you are performing at. Set it up so that it sounds as similar to your live voice through the microphone as possible. Create a signal with your sound man/ woman so that they are aware when to run the disc. When you invite the participant onto the stage, ask them to take a few steps back while guiding them so that your back is briefly on the audience (I know this breaks the 'never turn your back on the audience' rule but I think whilst utilising hypnosis it's ok briefly) and your head is slightly over the participant's shoulder. The sound starts to play, mute your mic. When the sound says "take a breath in" lift your arm up as though directing the participant. When it says "put your feet together", point to the participant's feet and when it says "Close your eyes" gently lean the participant's head forward. Say to them off mic (while the sound continues to play out) - Performer: "Keep your eyes closed and ignore the sound of my voice playing over the sound system, I want you to..." This is where you give them any instructions you want (such as the ones in the aforementioned routines) the audio is counting down from 10-1 so you have a good amount of time to tell the participant what you want under the guise of this happening. As long as the audience cannot openly see your mouth then this will work amazingly. This is so strong because if the participant tries at any point to suggest that you told them what to do the audience will fight your corner and tell them that they are wrong, the same way that they might at the end of a p.k touch routine. Think about it what can the participant say? Jedi Mind Push – Peter Turner - ClubMagic Effect The performer stands in front of the participant and has a second participant stand behind the participant to ensure that if the first participant falls he will catch them. The performer places his hand in front of the participant standing roughly a foot away and then pushes the air (never touching the participant) – The participant falls backwards being caught by the second participant. The performer pushes the participant over without ever touching them! Breakdown This effect is an effect that I have used in a range of situations; it plays out so strong and performed in the right contexts it absolutely kills! I am thinking of filming a series of videos utilising this subtlety as I think it will play out really in the right contexts – Keep your eyes peeled! The preparation for this is the thing that is important; you need to ensure that the participant is standing in a very specific way and that they are not afraid of falling. If I was to do this for video, this would be taken care of before the camera rolls (so all the camera captures is the epic moment that you knock the person over). First things first, the participant MUST trust the person catching them. Have a second participant (I am calling them the second participant for ease of instruction) stand behind the first participant arms extended and stand the first participant with their feet together and get ensure that they are relaxed keeping their legs straight, relaxed to the point that if you swayed them backwards they would fall rigidly into the arms of the second participant. This just ensures that they are comfortable staying rigid and comfortably fall backwards. The secret is simple from here. Without the presentation, if you lean the participant back very slightly and tell them if they feel themselves going backwards to let themselves go wait a few seconds the participant will start to sway and then they will fall backwards. This in itself will not sound impressive, but if you learn to ham up the performance and press on the participant‖s heart then sway them backwards and forwards - step away from the participant a couple of feet and mime holding their heart (you are just holding thin air) wait for the participant to start to sway and when you see them going backwards push your arm forward as though you are pushing them and they will fall into the arms of the person behind. This will seem to the audience as though you have pushed the participant over when in reality you have just utilised the natural sway and fall of the participant to your advantage. This is physics, when you see it from an audience‖s perspective it looks startling and the participant will always swear that they have experienced the sensation of being pushed over. The important thing here is to understand how to create an interesting premise to fit this type of principle into. IPI: Instant Pseudo Induction – Peter Turner - ClubMagic This effect perfectly describes Dual Reality. You never tell the subject to close their eyes, but the subject believes you have done so. If you are in a close up situation (which is what I use this in the most frequently) position the participant is facing the audience. If you are on stage then the participant will naturally be facing the audience. You are going to stand facing the participant so essentially your back will be facing the audience. I KNOW, I KNOW THIS BREAKS THE GOLDEN RULE – never turn your back on your audience BUT it is only for a very brief period and if you angle your positioning standing one step to the left of the right of the participant the audience will still be able to see the participant clearly – If you find you cannot do this and you have to stand directly in front of your participant I would become part of the audience (moving as close to them as possible, so you are literally one step in front of them) that way they will be able to see the participant‖s face clearly. Address the participant, Performer: “When you feel your eyes want to close, just keep them closed.” If the participant‖s eyes happen to close right away have the participant keep their eyes closed and place their feet together. This happens in-frequently but due to the nature of some participant‖s they can either A) be totally susceptible and go into a hypnotic trance (which is rare but happens) or B) they can assume that you want them to close their eyes and comply. For the most part they will nod to acknowledge that you have told them when they close their eyes to keep them closed. Address the participant, Performer: “I want you to follow me and copy my actions so that we are essentially mirroring each other”. I place my feet together – The participant will copy, I then place my hands to my side and wiggle my fingers and the participant will naturally follow. This is where I will remind the participant, Performer: “When your eyes happen to close, just keep them closed.” Stop your fingers wiggling and they will stop wiggling their fingers – I then place my hands into my side and the participant will follow. This is where the Dual Reality happens (really pay attention here and read this a few times) the audience hear me say - Performer “...and just...relax...breathing deeply...staying as you are now until told otherwise.” At the same time as my Jedi waving my hand in-front of the participant‖s face and they seemingly fall asleep. To the audience the participant has gone into a trance, when in reality this is what the participant experiences. As you say to the participant, “...and just” look them dead in the eye and flutter your eyelids and close your eyes… THE PARTICIPANT WILL COPY YOU!!! As you see the participant close their eyes you keep talking saying, “...relax...breathing deeply...staying just as you are now until told otherwise.” Remember what you said to the participant earlier, when your eyes close keep them closed, so they will naturally keep them closed and with the careful scripting when they are closed asking them to stay as they are until directed otherwise ensures that they follow your suggestion. When you see the participant close their eyes this where you wave, so that they cannot copy you as they cannot see you. Imagine this from the audience‖s perspective, they never heard you say “close your eyes” and could not see your eyes, therefore they just saw you wave your hand and the participant goes into a trance. When it comes to asking the participant to open their eyes, imagine that you are waking them from a trance. It is a very simple thing to do, when you are ready for your participant to open their eyes instead of just asking them to do so address the participant, Performer: “I want you to take a deep breath in for me, I am going to count from one to three and as you hear each number you are going to slowly bring yourself back into back into the room opening your eyes and completely relaxing as you do”. When you count from one to three the participant will naturally open their eyes, when they do this ask them to shake themselves off and ensure that they feel great. This is for two reasons, there is nothing wrong with your participant feeling relaxed and great and at the same time the theatrics are all you need to suggest that they really were in a hypnotic trance. I have had people go into trance when using this in the past and have used this as a rapid induction. Some people will genuinely trick themselves into believing they are in a trance, this is nothing to worry about, if you find this has happened simply ask them to open their eyes in the manner described above and everything will be fine. As you can see this is a very simple yet visual alternative to the ―handshake induction‖ which is also a great way to seemingly place the participant into a trance but is a technique I have not used as much as the IPI induction as the IPI induction suits my performing style greater. Now we have taken a look at the induction section of the routine let‖s take a closer look at the routine. 2 quick, simple but powerful routines Note to reader*** this first effect was something that almost didn't make the cut, not because it isn't a powerful effect, it seriously is, but because of its dangerous nature. I hold no responsibility for the reader‖s actions and accept no responsibility for injury caused as a result of playing with effects like this. End of note*** Flame roulette - Peter Turner - ClubMagic Effect The performer removes two zippo lighters from his pocket placing them upon a table. He asks the participant to choose any of the lighters. The performer explains the idea of mind over matter and that pain is something that can be controlled as long as you learn mind of matter. The performer lights his zippo placing it standing upon the table and then invites the participant to light theirs. The performer extends his palm and asks the participant to check to ensure that there is nothing on his palm. The participant examines the performer's palm and is happy there is nothing unusual. The performer proposes that they both hold their hands over the flame until they can no longer bear to keep them there. Performer: "We will do it at the same time". The performer hovers his hand over the flame the participant follows. The performer slowly lowers his hand onto the flame, the participant copies. The performer closes his eyes, and slows down his breathing keeping his hand over the flame he slowly opens his eyes. He can see that the participant is struggling; the participant then pulls his hand away as he can bear to keep it there no more. The performer keeps his hand over the flame breathing more and more deeply, after 20 or 30 seconds the performer moves his hand. Proving that even pain can be controlled with the power of the mind. The performer will 100% of the time be able to hold his hand over the flame longer than any participant. Breakdown This type of routine is something that I have tinkered with for such a long time. I have tried everything from blocking the holes on the front of a lighter to trying to create a gimmicked lighter with a cool flame. One method that had limited success was a method outlined in Ormand McGill‖s 'new encyclopaedia of stage hypnosis'. It is suggested if you keep the lighter moving (or your hand) the flame from a match will not burn. This is true (to a degree) with a lighter, you do however have to keep the lighter moving somewhat rapidly. I didn't want to have to keep moving my hand or the lighter. I also didn't want to risk burning myself. After talking with several sources that work outside of magic/ mentalism working rather in special effects and film, they shared with me this solution - it is perfect. This is going to have to be something you purchase but for the effect it is well worth it!  Fire stunt gel Take a look at the demo, https://youtu.be/NduDBlwovQs You will see how it works perfectly for what we need. To purchase the gel, visit here - http://store.afstunts.com/AF-Playn-with-Fire-HydroGel-p/af-gel.htm I know what you are thinking - I said in the effect description that the participant checked my palm and yet now I am talking about applying gel onto my palm. The participant can check your palm as you are going to apply the gel AFTER the participant has checked. I will detail the mechanics of this in a moment, before I would like to briefly share how I carry the gel. Take a lip balm; remove the content of the tube. Thoroughly wash and dry the tube and then use a wooden take out coffee mixer (or the handle of a tea spoon) to scoop in the gel into the lip balm tube. You have created a mini natural looking, stunt gel dispenser that is light and takes up virtually no pocket space. One lip balm tube should be enough for three performances. There are two ways in which you can apply the gel to your hand - one is fairly bold, the second would be what I would recommend for TV. Option#1 When the participant is checking your non dominant palm, your dominant hand is operating under the table the dispenser placing gel onto your fingertips. All the focus will be on the palm of your hand. The move is simple after a few seconds have gone by and you have explained what is about to happen. Stretch your non dominant palm towards the participant while addressing them, Performer: "keep your palm stretched, (tilt your hand slightly toward yourself) you will hold your hand over the flame so it lights this area of your hand". As you say "This area" apply the gel across your hand and you are ready to perform. Option#2 This option was inspired by an old effect in which a magician with short sleeves places a coin under a handkerchief, the performer asks before he attempts to make the coin vanish for a couple of spectators to check to see that the coin is still there. The spectators both confirm that it is. The magician waves his hand over the handkerchief and then lifts the handkerchief to show that the coin has vanished! His hands and the handkerchief are totally examinable. I used to love performing this effect as a child, I read it in a pocket coin book made by a company called 'Collins' I have not managed to track the book title down or find it on the internet. If anyone manages to locate it, I would love to hear from you. The method for the coin vanish is going to be the same method we will use to apply the gel (some of you may already be ahead of me). During the coin vanish effect, the first person checks to see if it is under the handkerchief and confirms it is the second person whilst checking if the coin is there removes it and confirms that it is still there. Then ham up the moment the vanish happens and everything is examinable. If I was performing this for television or a medium that was being recorded, I would have the second person who is checking the hand actually applying the gel. It is a ruse that would fly so far under the radar it would go completely unnoticed. The rest of the effect is simple; you ham up the breathing and pseudo relaxation and hold your hand over the flame. Hold it there for a while after the participant. If possible have two wet clothes on hand 'to cool yours and the participant's hand' after the demonstration has taken place. Simply wipe the gel off under the ruse of wetting your hand. I have only played with this live for a very short period of time, I wear black jeans (rarely wearing any other colour) so when I finish I simply wipe my hand on the leg - there is very little gel applied and it doesn't leave a mark. If I was performing this more frequently, I would find a better solution. Most tables have napkins. That concludes the first simple effect. Friction - Peter Turner - ClubMagic Effect The performer places a deck of playing cards onto a table the participant is asked to place their first and middle finger on top of the box and imagine that the box gets heavier, sticking to the table so much so that if the participant tried to push it, it would not move. In fact it would stick so solidly that the box will stay in place but the participant's fingers will slide across the box. The participant attempts to push the box, it locks solidly in place! The participant tries harder to move the box and as the performer suggested the participant's fingers slide across the box. The performer asks the participant to lift their fingers and gently pushes the box proving that it was never stuck and it was simply all in the mind of the participant. Breakdown This effect looks amazing! It won't work in every location but works all of the time - Let me explain. This is simple science. It depends on a couple of factors, the surface you are attempting this on and the directions you give the participant. First try this for yourself. Place a deck of cards onto a table in the box, take your first and middle fingers and place it upon the deck. To try and describe the location I will reference the back of a bicycle card. There are two angels on the back of a bike deck if you orientate the deck like you might if you were to ribbon spread the deck and place your fingers on the angel closest to you. (This is where you want the participant to place theirs - you will utilise this same position even if the deck is not a bike deck). Press down the cards apply a good amount of strength and whilst applying this strength try push the deck. Depending on the surface the deck shouldn't move! Whenever you decide you want to perform this, simply test the surface briefly in the manner just described. The idea is to use scripting to make it seem like you are controlling the participant's actions. Get the participant to push down on the box while they are pushing down on the box down address the participant, Performer: "I want you to imagine as you push down on the box that it is not a box that you are in-fact pushing down on a weight. A weight that is so heavy you wouldn't be able move it with your fingers alone. Whilst retaining the pressure, try pushing the deck". This is a simple idea that is very throwaway in nature but is strong. With the right amount of language this becomes something that looks incredible and is very interesting as a lead into something that is framed around using the power of the mind. Mirage – Peter Turner - ClubMagic This effect is more suited to video work; it is simple yet effective and from the audience‖s perspective looks exactly like hypnosis... Even though it's not! Effect The performer hands the participant an envelope proclaiming that inside is a prediction of things that are about to occur. The performer proposes to try an experiment; he places a ball in the centre of the participant‖s outstretched palm and asks the participant what they are holding... The participant looking a little impatient proclaims that they are holding a red ball. The performer instructs the participant to take a deep breath in and when the participant reaches the height of their inward breath the performer snaps his finger and the participant goes into a trance. The performer talks to the participant for a few seconds and then asks the participant on the count of three to open their eyes. 1...2...3 The participant opens his eyes and the performer points back to ball, Performer: "Looking at what's in your hand, describe what you see now". Participant: "It's a rectangular shape, its blue and it‖s solid". Performer: "Ok, what are you holding in your hand?" Participant: "A Lego brick". Performer: "You're being 100% honest; you're not lying to make me look good?" Participant: "I'm being honest" Performer: "Stare at it and your eyes will start to get heavy". The participants eyes start to get watery, Performer: "If your eyes start to hurt close them and keep them closed". The participant goes back into a trance. Performer: "When I count from one to five open your eyes and you will notice that you are holding a ball and that everything is back to normal". 1...2...3...4...5 The participant opens their eyes and proclaims everything is back to normal. The performer asks the participant to open the envelope - inside it says, 'I will make you see a Lego brick'. The participant freaks out! Breakdown As mentioned earlier this involves no hypnosis whatsoever - Yet clever pre-show/ dual reality. The participant gets an incredible effect (a bigger one in-fact than the audience). When the participant watches the effect back, it will also be how they remember the effect playing out - Leaving us clean and in a beautiful situation. This effect relies on a few clever moments of actual psychology and directorship to pull off before the camera rolls. Start by having a stack of business cards with different items/ objects on. Address the participant, Performer: "I have an envelope that is going to be important later - Before we get to that, I want you to select anyone of these cards, look at what item or object is on the card and place it back into the stack and mix them back up. Please don't forget what object or item you saw on the card. Later I am going to place this ball into your hands, I'm going to ask you to describe it to me without telling me what it is and then when I ask I want you to tell me it's a ball. This might seem ridiculous but it will help your brain adapt to what is about to come after that. I'm going to get you to close your eyes and re-open them after you have said it's a ball. When you open your eyes and I ask you to describe what is in your hand I don't want you to describe the ball... I want you to describe the object/ item you saw on the card. To quickly reiterate, first describe the ball, tell me what it is close your eyes when I ask, open your eyes and then describe what ever object you saw on the piece of card. Follow what I ask after this moment and when you hear me say THINGS WILL GO BACK TO NORMAL Freaky Friday – Peter Turner - ClubMagic Note to reader*** this principle long pre-dates my existence on this planet, I first read of this principle within Ormand McGill‖s 'New encyclopaedia of stage hypnosis' and it has subsequently been featured in many other sources. In each instance the write up of this principle is relatively short and lacks a performance of any kind. I have tried to find an interesting and fresh way to apply this premise which I feel takes it to the next level. Effect A burly man and petite woman are invited to participate in an experiment based on suggestion. The man and woman sit facing each other. They are both asked to stare at the tip of the performer‖s finger. The man and the woman start to slip into a trance and when both participants‖ eyes close the performer starts to suggest they imagine being sat in the other chair looking at themselves. The performer explains that it will almost feel like an out of body experience and when they start to feel this way they are to imagine slowly becoming the other person. The woman is asked to imagine being more burly and strong and the man is asked to imagine that he is dainty and petite. And when they have fully seen themselves changing places open their eyes. The male is asked to relax back into his chair and the female is instructed to press her forefinger into the male participant's forehead. The male is asked to try and sit up and get out of the chair with all his might. The male cannot not stand! The female has managed to hold him into a chair using nothing more than a single finger! The participants are returned to their normal states and then returned to their seats. Breakdown This is a self-working effect that requires nothing more than chops as a performer to make your audience believe you are utilising hypnosis. The method works as thus - Ask the male to scoot forward in the chair so that he is not sat totally back in the chair. Guide the male participant to lie back in the chair so that his head is rested against the back rest of the chair. Have him relax his legs and lay them out. If you rest your finger against the forehead of the participant and ask him to try sit/ stand up he will not be able to. The reason he will not be able to move is that he needs to be able to lift his head to sit up in the chair or attempt to stand and this will make it impossible. This is the method that we will be employing in this effect. I always felt that the flaw in this routine was that you are hypnotising the participant in the chair. It was too simple and the line back to the method was too linear. One might argue that I am being over analytical but stay with me; it's always nice to have options. I always thought that by utilising a second participant and 'hypnotising' that participant to be strong the process becomes more real and more impossible to backtrack. I also think that visually it is more appealing. The line back to the method in this variant is also blurred simultaneously, making the whole thing a neater package. The participants are going to sit in the chairs facing toward one another. To get them to close their eyes (in a trance like fashion) you have several options. Option #1 The I.P.I induction (described earlier) Option #2 The light / finger method. This is an old technique that is utilised in hypnosis, I came across this technique years ago in a therapy book but it works perfectly and looks visually great in this context. Ask the performers to refrain from moving their heads. Ensure their heads are in a natural position (facing forward, not pointing upwards or down) and ask the participants to stare at the tip of your finger (or you can ask the participant to pretend that you are holding a ball of light) ask the participant to follow the tip of the finger with their eyes. This is where you lift your finger up above the participant's natural line of sight (so they are starting to look up) - Keep raising your finger until the participant has to raise their brow to stare at your finger. The participants eyes will naturally get tired in this position. Address the participant, Performer: "You will notice that your eyelids start to get heavy, take a deep breath in and slowly let it out and as you do this you will notice your eyelids getting even heavier. If your eyes happen to close, keep them closed". This is an important line; it ensures that the participant keeps their eyes closed. Option #3 Performer: "When I snap my fingers close your eyes and keep them closed". Simply snap your fingers. Option #4 This option is the option that is seen very frequently on the Derren Brown special. It is the handshake interrupt pseudo induction - This pre dates Derren by many, many years (the original source is not known). Address the participant, Performer: "Hi my name is xx" As you say this extend your hand to take the participants (as though you were about to shake their hand). The moment the participant passes you their hand, grab the participant‖s wrist with your spare hand and lift their hand over their eyes whilst simultaneously saying "Close your eyes and relax your head". As you say "relax your head" with the hand you used to shake the participants touch the back of the participant's head and bring their head forward. This all happens very rapidly, practice the above until you have it flowing beautifully if performed correctly this looks visually stunning. Option #5 Flashlight induction - This is very similar to the staring at the fingertip induction, the only difference is that you are going to use a mini led flashlight. If you have ever tried staring into an l.e.d light you know it is difficult. The best kind is the kind that utilises a dim control on it. Set it so that it is not startling bright, but not so dim that you can stare at it. It needs to be in- between. Have the participant stare at it, flicker the light in a pattern of repetitions. Use the same scripting as the fingertip induction. The reason that this type of pseudo induction is great, is because if the participant googles what they have seen - Which people might very well do these days it will instantly give credibility to what you are doing when the participant finds information about a 'Flashlight induction'. - Once you have induced both participants, you are going to suggest that they are to imagine switching places. The male is asked to imagine being dainty like the female and the female is asked to imagine being strong. Try to create the vision in the audience‖s mind that the participants are mentally changing places. Don‖t rush this process. Take your time, have the participants open their eyes a couple of times and re-close them and imagine what you are suggesting to a deeper degree. When you are ready to move forward simply lay the male into the chair as outlined earlier, have the female place two of her fingers onto the males forehead and direct her to close her eyes and press down onto the male participant‖s forehead. Ask the male participant to try and sit up, he will not be able to! It will look as though the female participant is holding the participant down with just two fingers! When you have demonstrated this impossible looking feat, de-convert the participants. The way to do this is to ―re-induce‖ the participants and ask them to imagine slowly being themselves again. Don‖t overlook the simplicity of this routine, it really is powerful. Imagine this as the introduction to a spectator as mind reader routine, having the female participant think of a word and then letting her take the credit for holding the male down and finishing by having the male reveal the word that the female is thinking of – Truly proving that they have swapped places. The Try Principle – Peter Turner (Written by Ian Rowland) - ClubMagic Note to reader*** this article was written by Ian Rowland about an effect of mine he had seen and loved. I could have never written this as eloquently as he did. End of note*** As this is my fortieth article for MAGIC magazine, I wanted to bring you something truly special. I urge you to give this item careful attention and consideration. It is one of the most delightful ideas I have ever come across in mentalism, and it‖s new. Not only that, it is very baffling and almost infinitely versatile. When I was first introduced to this remarkable principle, I immediately started using it at every possible opportunity and had a lot of fun in the process. I hope the same will be true for you. This particular spark of genius comes from Peter Turner, who has very kindly given me permission to share it with you. As with all the best ideas in mentalism, it enables you to create truly baffling, impressive, and entertaining effects and yet the secret is charmingly simple. Let‖s start with the effect and the presentation. Imagine you are at an informal social gathering such as a party or a get-together in a bar or coffee shop. The conversation turns to your remarkable mental talents and your friends ask you to show them something. You choose one of those present, let‖s call him Alan, and offer to demonstrate something that you think is quite fascinating. You ask the group to nominate any small item that is easily held or lifted, such as a coffee cup (it doesn‖t matter which item they choose). You start by asking Alan to lift up the cup, and of course he does so with ease. You say you‖ll get back to the cup later. You now take everyone through a little ―mental conditioning‖. You say, “Can I just ask all of you to relax and clear your mind. Now, I‖m thinking of a very famous singer. See if any particular image comes to mind. He had a song about blue suede shoes, long sideburns, white jump suit, played Vegas a lot, starred in some movies too... is there an image in your mind?” Of course, at this point everyone is thinking of Elvis Presley. You continue, “Ten seconds ago, none of you were thinking of Elvis and now all of you are, even though I have never mentioned his name. Why? Because I triggered a series of associations that were already imbedded in your mind. That‖s what this is all about, but we can take it a lot further.” You turn to address Alan specifically. “Alan, please look back over your life and think of any time when you faced a challenge that you thought was difficult or even impossible. You don‖t have to tell us what it was. It can be something from your childhood, your teenage years, early career... anything at all. Don‖t give us any details, but just nod when you have something in mind.” Alan nods once he has thought of something. “Okay. I‖m going to associate a trigger word with that emotion and that experience, and that word is ―Limit‖. Got it? Now, let‖s get back to this coffee cup. Are you still confident that you can lift it up?” Alan will say he‖s sure that this is so. “Go ahead; lift it up one more time.” Alan lifts the coffee cup and puts it back down again. “Very good. Now, look at me, and I say the word ―Limit‖. Go ahead, try to lift up the cup.” Alan tries to lift up the cup, and this time he is unable to lift it. Everyone watching can see that he is gripping the cup as normal, and doing his very best to lift it with all the strength he can muster... but to no avail. It is exactly as if the cup were securely glued to the table. At this point, you can ask Alan to verify a few things: he really is trying to lift the cup, he is not lying or pretending, and he is not hypnotized. Alan confirms all these things, and he is telling the truth. It should be clear to all present that he is providing sincere, honest responses and not just playing along to make you look good. You do not need to have any physical contact with Alan for this demonstration. It‖s not the sort of effect that relies on a secret cue with your foot under the table or anything similar. You can stand on the other side of the room if you want. You then look at Alan again and say, “No limit. Lift up the coffee up.” Alan grasps the cup and lifts it up with ease. You say, “Alan, let‖s take this same idea but use it with something else.” You then invite the group to suggest any similar, simple action that ought to be quite easy for Alan to perform, such as pushing a spoon across the table, reciting his own name or tearing a piece of paper in half. It can be quite interesting to see what your friends suggest! You then repeat the same pattern as before. First of all, Alan demonstrates that he can perform the task with ease. You then use the trigger word ―Limit‖, and Alan cannot perform the action no matter how hard he tries. Finally, you remove the trigger word and he can perform the task easily. The secret is beautiful, ingenious and elegantly simple. It all comes down to a very smart bit of what technically counts as pre-show — but please don‖t stop reading, as this is unlike any other pre-show you have ever used. The only requirement is that you can talk to Alan privately for a couple of minutes and then give your demonstration a while later. The interval doesn‖t matter: it can be several minutes later, several hours or even several days! The pre-show goes like this. Let‖s say you happen to have a glass to hand. Say to Alan, “Here‖s something interesting that‖s quite good fun. See that glass? Do you think you could lift it?” Alan will presumably express confidence that he can. You say, “Go on. Try to lift it up.” Alan will reach over and lift up the glass. Using quite a clear, emphatic tone, say, “No. That‖s lifting the glass. That‖s not what I said. I asked you to try to lift the glass.” At this point, Alan may well simply lift the glass again, in which case you go over the point once more: “No, listen carefully. That‖s lifting the glass. What I want you to do is to try to lift the glass.” In my experience, you only need to explain this distinction a couple of times at most before people understand the point. Alan will then reach over, take hold of the glass, and try to lift it without actually lifting it. In other words, he will look and behave exactly as he would if the glass were stuck to the table. As soon as Alan understands this sly verbal distinction, smile and congratulate him. “Great!” you say, “Now you understand the difference. We can have some fun with this later on. When you see what I do, you‖ll be able use the same idea yourself on other occasions. It‖s good fun, it will get everyone guessing, and the thing is I will never ask you to lie for me — I don‖t do that — or say anything except the plain, honest truth.” You are now all set. At any point later on, you can turn to Alan (seemingly at random) to be your test subject, and present the effect as explained above. Alan can sincerely and honestly confirm that he is not hypnotized, he is not pretending or faking, and he really is trying to lift the cup (or whatever else you ask him to do). In my opinion, people can tell when someone is just acting or playing along, or when they are being utterly sincere. It is the participant‖s sincerity, when he assures everyone he really is trying to lift the glass (and he really is), that sells this effect. I suggest that the pre-show demonstration and the first demonstration in front of the group should be similar, such as lifting up a cup or glass. After that, you can use the line, “...let‖s take this same idea but use it with something else”, and apply the same ruse to any other test or demonstration that the group suggests. Alan will understand what you want him to do. The participant won‖t give you away for a very good reason. When he sees what you do, he will realize that he can use the same idea on other occasions and thus become a master mind manipulator just like you! It is in his interests to keep quiet and leave everyone amazed and entertained. It also helps that at no point do you require him to lie or pretend — he can stick to the honest truth at all times. This tends to foster loyalty. As I expect will be clear, you can dress this effect up in a thousand different ways. I like to use the patter structure I‖ve given here, with the preamble about Elvis and association triggers, just because that‖s my style and I think it helps to ―sell‖ the effect. You don‖t have to follow suit, but I think it‖s a good idea to develop a presentational framing that adds a little credence and weight to the effect. I hope you can see the value of this beautiful secret, and that you will have a lot of fun with it. All credit for this principle goes to Peter Turner, although in this article I have used some additional thoughts by Karl Scott. Positive actions and words speak loudly – Peter Turner - ClubMagic This routine is something of which I am particularly proud. It incorporates a lot of different techniques to achieve the end result, but I promise the end result is worth all of the practice. Effect The performer is sitting with a participant and asks her to think about a question pertaining to a particular situation that is occurring in her life at the moment to which she would like an answer. The performer then talks to the participant. After working out exactly how she thinks, the performer guesses her star sign, and proceeds to tell her about herself. After he has built a rapport with the participant, the performer answers the question in the strangest of ways that really proves that actions and words can make all the difference. Breakdown This routine is essentially a Q+A routine with a difference: instead of answering the question verbally, you are going to get the participant to answer the question for themselves using a series of hypnotic actions. (This is still ambiguous I know.) I promise all will make sense in a moment. There are a few factors you need to understand when performing this routine. The first is the most important element of Q+A: the most important element to the participant is not the question, it is the answer to the question. I tend to find that the most important element to the performer is proving that they actually deduced the question. In all honesty this doesn‖t really matter. The thing that is important is making the participant believe you know what the question is, and giving them an answer that fits the situation that they are in currently. Once I understood this, I then realised that most situations in life can be resolved. There are not very many situations we get into in life that we cannot get out of in some way. I am not saying ALL—that is very important to point out here—as there are some situations in life where there is not an easy resolution. Anyway, I am going off on random tangents, but I think this tangent will later prove to be important. This got me thinking: if I could imply that I knew the answer to the question and then throw out a stock line or apply a cold reading style technique, maybe I could make the participant believe that I answered their question. I did it like this for some time, never actually giving anyone any advice (as I am not qualified to do that), but just trying to answer their question. I then realised this was a waste to the participant, as they were still in the same situation they were in to start with and all I had proved (to them at least) is that I had somehow read them. Then I realised, I do have a power. To a participant that genuinely believes in me, whatever I say is going to have a “white coat syndrome” effect. If they buy into the fact that I have some power (even if I claim I haven‖t), which does occur as their beliefs will always be their beliefs, then my words hold a high relevance. This got my brain ticking and I wondered to myself how I could use this positively in a question-and-answer scenario. I found out through trial and error something that I am sure is not new in thinking (but hopefully my take on it is). I should give the power back to the participant; I should use my words to make them believe in themselves. Often most people just want to hear from someone else that they are strong willed and that they have the power to move mountains should they so wish. In any question-and-answer scenario I found that I could simply just remind them that they had the power to do anything that they wish, or resolve any situation with some clear thinking and willpower. Obviously this doesn‖t read as anything exciting or ground breaking, but when you realise how I make them realise this, I think you will understand the power of this. Now that you know my thought process up until this point, let‖s take a look at the full performance and then break it into sections (I am going to streamline the star sign section for ease of reading). Full performance Performer: “Hello, Jess. Thank you for joining me. I really do appreciate it. How are you?” Jess: “I am great, thank you. How are you?” Performer: “I am great, thanks. I would like to get to know you, Jess. Just so I can get a feel for you as a person, what is it that you do for a living?” Jess: “I am an administrative clerk.” Performer: “Obviously that sort of role requires you to be headstrong and decisive and to be the sort of person that would be trusted with a lot of responsibility.” Jess: “Yeah, that‖s right.” Performer: “I bet it can be overwhelming at times, the amount of pressure others put on you, and I bet it feels like you are almost doing everyone else‖s work.” Jess: “It really does.” Performer: “I want to share with you something interesting, Jess. I very rarely do this, but I feel you are the sort of person that would really understand this and take nothing but positive things from it.” Jess: “Okay.” Performer: “No matter how individualistic we believe we are as people, and no matter how alone we feel from time to time, there is one thing that connects us all. Do you know what that is, Jess?” Jess: “No.” Performer: “The fact is that every single one of us has one stress or situation going on in our lives that we push so far to the back of our minds we pretend it is almost non-existent. That‖s what we do as people: we try to hide it and to pretend it is not there. “I would like to give you a gift, Jess, one that you will take with you and hopefully remember for the rest of your life. Before I can give you this gift, I would like you to do something for me. “I want you to think of a scenario that is going on in your life right now and to think of a question you could ask me surrounding that scenario. An example of that might be: ―Will I meet the man of my dreams?‖ Or, ―I am struggling with xx at the moment. How do I resolve it?‖ “Please don‖t think of anything health-related or anything to do with someone passing, as I really am not able to answer those questions. Take a few seconds to think about it. I am never going to ask you to say this question out loud, but I am going to answer this question. “The answer I give you to this question, you will completely understand. This way it protects your privacy as no one else here will know the question you would like to ask me. “Do you have a question in mind?” Jess: “I do.” Performer: “Now before I even attempt to give you an answer to the question, let me at least prove that I am getting to know you somewhat. “I feel that you are a very intuitive person…” (The performer continues to read the participant.) Performer: “There is really only one star sign that could represent you. You are an Aquarius, right?” Jess: “I am!” Performer: “Now that I feel I know you a little better I think I am ready to answer the question. Have you ever heard the expression: ―a problem shared is a problem halved‖?” Jess: “I have.” Performer: “Well, as you know, my job is to read thoughts, and whilst you have not said anything out loud, I hope you seek some comfort in knowing I am reading you loud and clearly. I understand your problem and I have been in this type of scenario before. “I know you have been doubting yourself recently, almost feeling like you have to paint on a smile. I want to remind you of a few things; these few things will completely answer your question. “I have in the past been in a place where I felt so low, like the weight of the world was on my shoulders, that I didn‖t feel like going outside to face the world in the morning. I have felt that I just couldn‖t get around to solving my problems and most definitely could not see solutions. It was only in hindsight that I realised that most actions stem from a thought. “Negative thoughts create negative and null actions. Let me show you what I mean. “Can I please borrow your hand?” Jess passes the performer her hand. The performer pushes Jess‖ hand onto the table top. Performer: “I want you to think of the feelings I am talking about right now. I want you to, in your mind; put yourself into a scenario where you felt like this. “You will notice the moment you start to do this that your hand will become heavier. The more negative the thought, the heavier and heavier it becomes. Give me a nod when you feel your hand getting heavier.” Jess nods. Performer: “We can often get so bogged down by negative thought that we end up not being able to do anything at all. Give me a nod when you just know your hand is stuck solid.” Jess nods. Performer: “With these negative thoughts in mind, Jess, try to lift your hand and you will find you cannot. Just try to lift it.” Jess tries to lift her hand from the table and it is stuck solid. Performer: “The harder you try with negative thoughts in mind the harder it is to do anything at all.” Jess tries harder to lift her hand to no avail. Performer: “Relax from trying, Jess, or you will strain yourself; your hand is going to remain locked to the table. I want to show you something. I now want you to think of something positive that you have going on in your life, something that gives you a feeling of happiness. Take a few seconds, close your eyes and really imagine how this makes you feel on the inside. When in Rome “When you can fully feel the warm feeling, open your eyes.” Jess opens her eyes. Performer: “With these positive thoughts you should feel you can do anything. Positive thoughts help us feel on top of the world. They make us want to get out of bed in the morning and make it a pleasure to walk out of the door and to take in a breath of fresh air. With these new thoughts in mind, try lifting your hand and seeing what happens now.” Jess is very easily able to lift her hand from the table! Performer: “That goes to show you just how strong positive thought is. I would like to go a step farther with your permission, Jess.” Jess: “That is fine with me.” Performer: “I would like to share with you the power of words. I have shown you that it is often negative thoughts that can affect the way that we act. “It is more often than not the things that we say that affect the way that others act. You can make or break someone else‖s day just by the exchange of a few words. I am of the belief that if you have nothing positive to say, you shouldn‖t say it all. “I would like you to metaphorically take a look at yourself and to make a judgement. Think of something you don‖t like about yourself. “I would like you to let these words reverberate around your mind. In a moment I am going to have you try to say these words and I am going to use positive will to stop you. You will notice whilst these negative words float around your mind they create negative thoughts. Just like your hand became stuck to the table a few moments ago, your words will get stuck in your mouth, and no matter how hard you try to say these negative words, you won‖t be able to get the words out of your mouth. “You can feel yourself becoming tongue tied the more you think about these words. “Try and say these thoughts.” Jess tries to speak, and no matter how hard she tries the words won‖t come out of her mouth. She tries harder and harder, and the more she tries the more her mouth becomes stuck solid. Performer: “Relax for a second, Jess. Don‖t panic, take a deep breath in and, whilst relaxing, think of one of your strong qualities. Think of one thing you love the most about yourself. “Let this reverberate around your head for a few seconds. You will notice that positive words create positive thoughts. I am going to ask you to say whatever it is you are thinking of out loud for me. I want you to be confident when you say it. “Give me a nod when you are ready Jess.” Jess nods. The performer smiles like he knows something that everyone else does not. Performer: “Jess, when you are ready say what it is you have to say and don‖t worry about anyone else.” Jess: “I am a strong-minded and reliable person.” Performer: “I want you to shout that for me, Jess, at the top of your voice. Don‖t worry about anyone else.” Jess: “I AM A STRONG-MINDED AND RELIABLE PERSON!” Performer: “Perfect! Jess, I know you are about to approach a crossroads in your life where you are about to make a very important decision. If you take into account how strong you are as a person and approach that decision with positive thought and you use your words positively, you have the power to overcome any situation life throws at you. “The answer to your question is simple, Jess. It‖s you.” The performer leans in and hugs Jess. FIN I hope the ending of this routine made the hairs stand up on the back of your neck. I am a massive believer in showing a process, and if you answer a question, answering it verbally is fine, but isn‖t it a little bit more exciting when you use their actions to really hammer home your point? This routine will take a lot of work and is not something that is going to happen every single time, but with the right participant and approaching this with the right frame of mind, you can make this happen a good majority of the time. I will provide an “out” for this routine for the people that are worried about this failing. I never worry about anything failing. I feel that the moment I worry something is going to fail in life, which is the moment things often go to shit. I think the moral of this routine really does apply within mentalism as well: “Positive thoughts create positive actions, and the words we say really do affect the way that someone else acts.” Let‖s break this down into sections to make the process of learning this easier. I will start by going through the performance almost like a director and pointing out the bits of relevance. Also, when I get to the star sign section I will point out the system that I use (there are three main divinations that I use). Performer: “Hello, Jess. Thank you for joining me. I really do appreciate it. How are you?” Jess: “I am fine, thank you. And yourself?” The notes you will see in bold are the bits in the performance where I see a particular relevance. You will notice that I open by thanking Jess for her time and asking her how she is. I find this is something that is ultimately missing from a good chunk of performance: social niceties. Going out of your way to become acquainted properly with your participant takes only a second but makes a massive difference in building rapport. That is something that is needed massively in this routine. Performer: “I am great, thanks for asking. Jess, just so I can get a feel for you as a person, what is it that you do for a living?” Jess: “I am an administrative clerk.” Performer: “Obviously that sort of role requires you to be headstrong and decisive and be the sort of person that would be trusted with a lot of responsibility.” Jess: “Yeah, that‖s right.” Performer: “I bet it can be overwhelming at times, the amount of pressure others put on you, and I bet it feels like you are almost doing everyone else‖s work.” Jess: “It really does.” You will notice that I ask the participant what they do for a living and then, based on their answer, make a judgement. I would call this a trademark in my work. There is a reason why I do this. A few years ago I was filming a pilot with a television company in Leeds and we went out for a day on the streets. Back then I didn‖t have an iota of the knowledge I have now, and it really showed when I was working on camera. There was a director/producer that worked with me called Paul Stead. He was a man that didn‖t mince his words; if he didn‖t like something, you were the first person to know about it. He kept saying to me time and time again, talk to the person and ask them why they are in town. Try to find something out about them before just moving straight into a routine. At the time I couldn‖t understand what relevance this had to anything until I started to watch videos of me performing. I realised that all I cared about was showcasing the effect and didn‖t seem to have a care for my participants. The pilot was a flop and the material on there was terrible. I was young, I was naïve and I hadn‖t learnt some of the life lessons I have learnt now. You may wonder why I am telling you this. I always try to share a small part of me in each book so that the reader (you) gets to know a small part about me. The first thing about me that people get to learn is that I am constantly refining myself; when something is bad I take it on board and actively try to better myself. I know I am not perfect and I have a hell of a lot to learn. This was one lesson that took me nearly a year to learn, and I didn‖t learn it till I started working as a consultant. I understood when I started watching other people perform as Paul suggested. The participant was more willing to do whatever it is you wanted them to do and to take it seriously if you treated them like human beings. I think now I may overcompensate sometimes (who knows?). But it really is a valid point. Ask them how they are; ask them what they do for a living. This leads me to throw out a small line about their job (which is really tailor-made) that suggests I know things about them and implies that whatever they tell me will lead me to know a little more about them. Performer: “I want to share with you something interesting, Jess. I very rarely do this but I feel you are the sort of person that would really understand this and take nothing but positive things from it.” I have employed a very simple yet very smart line here: “I rarely do this, but I feel you are the sort of person that will really understand this.” It suggests that this is something that very few people will ever get to experience and it also implies that the participant is perfect for this. It is essential you make them believe that they are essential for this sort of routine as it really helps later on. You also let them know it will be positive. I will explain why this line is important later on. Jess: “Okay.” Performer: “No matter how individualistic we believe we are as people and no matter how alone we feel from time to time, there is one thing that connects us all. Do you know what that is, Jess?” Jess: “No.” Performer: “The fact is that every single one of us has one stress or situation going on in our lives that we push so far to the back of our minds we pretend it is almost non-existent. That‖s what we do as people: we try to hide it and to pretend it is not there. “I would like to give you a gift, Jess, one that you will take with you and hopefully remember for the rest of your life. Before I can give you this gift, I would like you to do something for me. “I want you to think of a scenario that is going on in your life right now and to think of a question you could ask me surrounding that scenario. An example of that might be: ―Will I meet the man of my dreams?‖ Or, ―I am struggling with xx at the moment. How do I resolve it?‖ “Please don‖t think of anything health-related or anything to do with someone passing, as I really am not able to answer those questions. Take a few seconds to think about it. I am never going to ask you to say this question out loud, but I am going to answer this question. “The answer I give you to this question, you will completely understand. This way it protects your privacy as no one else here will know the question you would like to ask me. “Do you have a question in mind?” Jess: “I do.” Performer: “Now before I even attempt to give you an answer to the question, let me at least prove that I am getting to know you somewhat. “I feel that you are a very intuitive person…” (The performer continues to read the participant.) Performer: “There is really only one star sign that could represent you. You are an Aquarius, right?” Jess: “I am!” ***Note to reader For a multitude of different ways to deduce the star sign refer to the ―zodiac mentalism‖ volume in this series. End of note*** Performer: “Now that I feel I know you a little better I think I am ready to answer the question. Have you ever heard the expression: ―a problem shared is a problem halved‖?” Jess: “I have.” Performer: “Well, as you know, my job is to read thoughts, and whilst you have not said anything out loud, I hope you seek some comfort in knowing I am reading you loud and clearly. I understand your problem and I have been in this type of scenario before.” This is, I feel, a beautiful piece of scripting because if the participant genuinely believes you are reading their thoughts, then it will comfort them to know you have read the question from them and that you empathise. I also suggest in my scripting here that I have been in this scenario before. I do this for two reasons: one, it suggests I can actually see the scenario they are in; if not, why would I mention it; and two, it suggests that I have been in a similar situation and therefore I have a right to be able to answer the question and talk about it without them feeling uncomfortable. Again, this is rapport building. Performer: “I know you have been doubting yourself recently, almost feeling like you have to paint on a smile. I want to remind you of a few things; these few things will completely answer your question.” Try to get some sort of reaction here. I don‖t mean a reaction like a wow or a reaction to the effect; I mean a confirmation, some sign, that they agree with what you are saying. Performer: “I have in the past been in a place where I felt so low, like the weight of the world was on my shoulders, that I didn‖t feel like going outside to face the world in the morning. I have felt that I just couldn‖t get around to solving my problems and most definitely could not see solutions. It was only in hindsight that I realised that most actions stem from a thought. “Negative thoughts create negative and null actions. Let me show you what I mean.” This is a slight linguistic dual reality as the audience/witnesses will understand that as you are reading the participant and that is what they are experiencing (and it might well be). To the participant if it is, they will accept it as so; if not they will take it as a statement of how you have felt in the past and nothing more. It helps them to sympathise with you and makes them more suggestible to what is about to come. Performer: “Can I please borrow your hand?” Jess passes the performer her hand. The performer pushes Jess‖ hand onto the table top. Performer: “I want you to think of the feelings I have just been talking about. I want you in your mind to put yourself into a scenario where you felt like this. “You will notice the moment you start to do this that your hand will become heavier. The more negative the thought, the heavier and heavier it becomes. Give me a nod when you feel your hand getting heavier.” Jess nods. This is a classic “hand stick,” but it has a premise and a purpose. The idea of sticking someone‖s hand to the table seems like a daunting thing to someone who has never done it. If there is any time you are going to trust me it has to be here. It is self-working (well, to a degree); all it requires is trust in yourself and getting the participant to confirm that they feel it getting heavier. This is not set up as a challenge, so there is no reason for the participant to try and go against you at this point. Just follow the scripts I have provided and you will find this will work. If it doesn‖t the first time, don‖t be disheartened. Keep trying it; it will I promise! Performer: “We can often get so bogged down by negative thought that we end up not being able to do anything at all. Give me a nod when you just know your hand is stuck solid.” Jess nods. You are practically asking the participant to give you confirmation that they cannot move their hand, that it really is stuck solidly. When they do this proceed. Performer: “With these negative thoughts in mind, Jess, try to lift your hand and you will find you cannot. Just try to lift it.” This is the bold moment, if the participant has given you the nod to let you know they are not going to move their hand. They should not move it. That is the real secret here: trust in yourself and your participant management skills. Jess tries to lift her hand from the table and it is stuck solidly to the table. Performer: “The harder you try with negative thoughts in mind, the harder it is to do anything at all.” Jess tries harder to lift her hand to no avail. It is essentially your words that are ensuring the participant‖s hand is stuck to the table. This sentence reinforces the suggestion, and if in the scenario where the participant is playing along (I have had this happen), they know not to lift it. Performer: “Relax from trying, Jess, or you will strain yourself; your hand is going to remain locked to the table. I want to show you something. I now want you to think of something positive that you have going on in your life, something that gives you a feeling of happiness. Take a few seconds, close your eyes and really imagine how this makes you feel on the inside. “When you can fully feel the warm feeling, open your eyes.” Jess opens her eyes. This is the bit where you need to be clever linguistically. You need to suggest to everyone else that they could damage themselves should they persist in trying to lift their arm and at the same time ensure that the participant keeps their hand on the table after they have relaxed it. We don‖t want them prematurely lifting up their arm and ruining the next bit of the effect. You will notice I apply the “Confirmation Principle” when I ask the participant to open their eyes when they imagine how a positive thought makes them feel. This is very clever because once you ask the participant to close their eyes, they have to open them at some point. Even if the participant doesn‖t get a feeling, when there are people watching them they will feel inclined to open them at some point, confirming to everyone else that they must have felt something. Performer: “With these positive thoughts you should feel you can do anything. Positive thoughts help us feel on top of the world. They make us want to get out of bed in the morning and make it a pleasure to walk out of the door and to take in a breath of fresh air. With these new thoughts in mind, try lifting your hand and seeing what happens now.” Jess is very easily able to lift her hand from the table! There are a few clever bits of scripting here, some for the benefit of the participant and some for the benefit of the audience/witnesses. The most important word in the scripting above is the word “now.” The reason the word “now” is so important is that is suggests that there is a difference from a moment ago (even though there is not). Performer: “That goes to show you just how strong positive thought is. I would like to go a step farther with your permission, Jess.” Jess: “That is fine with me.” Again, here I am applying a “Matrix moment,” where the participant gets the choice to continue. I have never had a participant say they would not like to continue. The choice is purely theatrical and if you do get a No, then just move straight into the ending of the routine, skipping the “Preventing the participant from speaking” phase. I find it also helps in making the participant more suggestive, as you have told them you are going to be “upping” what happens, and when they agree to it, it is almost like them accepting that something bigger is going to happen before it happens. Performer: “I would like to share with you the power of words. I have shown you that it is often negative thoughts that can affect the way that we act. “It is more often than not the things that we say that affect the way that others act. You can make or break someone else‖s day just by the exchange of a few words. I am of the belief that if you have nothing positive to say, you shouldn‖t say it all.” I am going to cut in here because this is essential to the method. With this last line, “If you have nothing positive to say then you shouldn‖t say it at all,” you are practically suggesting to them what is about to happen. You are telling them it goes against your beliefs and the last thing they are going to want to do in a moment is to go against what it is that you believe in. This should stop them from speaking as it is easier to say nothing at all. Performer: “I would like you to metaphorically take a look at yourself and to make a judgement. Think of something you don‖t like about yourself. “I would like you to let these words reverberate around your mind. In a moment I am going to have you try to say these words and I am going to use positive will to stop you. You will notice whilst these negative words float around your mind they create negative thoughts. Just like your hand became stuck to the table a few moments ago, your words will get stuck in your mouth, and no matter how hard you try to say these negative words, you won‖t be able to get the words out of your mouth. “You can feel yourself becoming tongue tied the more you think about these words. “Try and say these thoughts.” Essentially you are reminding them about the hand, reminding them that the hand got stuck and letting them know that this is no different—it is just occurring in a different place. Jess tries to speak and no matter how hard she tries the words won‖t come out of her mouth. She tries harder and harder, and the more she tries the more her mouth becomes stuck solid. Performer: “Relax for a second, Jess. Don‖t panic, take a deep breath in and, whilst relaxing, think of one of your strong qualities. Think of one thing you love the most about yourself. “Let this reverberate around your head for a few seconds. You will notice that positive words create positive thoughts. I am going to ask you to say whatever it is you are thinking of out loud for me. I want you to be confident when you say it. “Give me a nod when you are ready, Jess.” Jess nods. This is important. You do not want the participant to say they are ready out loud! This would totally destroy this bit of the routine. I ask them to make an action (a nod) when they are ready to talk. This prevents them from having to say anything out loud. The performer smiles like he knows something that everyone else does not. Performer: “Jess, when you are ready, say what it is you have to say and don‖t worry about anyone else.” Jess: “I am a strong-minded and reliable person.” The first time the participant says this out loud they are likely to just say it. Smile at them when they say it out loud, almost like you are proud of them for saying this out loud. Performer: “I want you to shout that for me, Jess, at the top of your voice. Don‖t worry about anyone else.” Jess: “I AM A STRONG-MINDED AND RELIABLE PERSON!” This is the hardest bit of the routine in my opinion, getting them to shout this out loud for the world to hear. When they get this off of their chest, trust me, they will feel amazing! Performer: “Perfect! Jess, I know you are about to approach a crossroads in your life where you are about to make a very important decision. “I want to let you know that if you take into account how strong you are as a person, and approach that decision with positive thought, and you use your words positively in whatever situation you find yourself in, you have the power to overcome any situation life throws at you and to achieve anything that you set your mind to. “The answer to your question is simple, Jess. It‖s you.” The performer leans in and hugs Jess. I have found (as many performers have witnessed) that whenever I give an emotional reading or perform a piece that evokes a feeling afterward, a female will be the one that leans in and hugs me, not me hugging her. I feel that is a sure sign that they really have appreciated your time. SPEECHLESS – Brandon Queen OBSERVATIONS This effect has several different applications and performance presentations. While the effect is very simple and basic, it takes a skilled and confident performer to properly execute it and to make it play big. This effect and the routines that accompany it are best suited for a close up, impromptu situation, but could be adapted for stage. I have kept this routine under my belt for a very long time, during which I have only shared it with a select number of friends and peers. This is actually something I had wanted to keep to myself, but a few years ago, my friend Jay Noblezada coincidentally released a very similar effect he calls the “Sith Choke” and shared it with the hypnosis community. Although our methods and routinesare quite different, there are definite similarities between them that have compelled me to release my routine and method to the mentalism community, and if this kind of material interests you, I highly suggest looking into Jay‖s ideas on this. Speechless is just one of the many presentational ideas that can be used in conjunction with the underlying method. This effect was originally published in my book titled PHATHOM under the name, “PSYCHO DYSPHAGIA”. Dysphagia is the medical term for the symptom of having difficulty swallowing and Psycho meaning Mental also coming from the portmanteau “Psychokinesis.” Speechless is one of the strongest, hard-hitting effects I‖ve come up with. It‖s simple in methodology, quick to perform and leaves a lasting impression. It does take a very bold and confident performer to execute flawlessly and consistently, so please don‖t be discouraged if you‖re not getting the results you are after immediately. It has taken me years of performance, trial and error to find the right pace, wording and even identifying the ideal participants for this routine. You do not need to know hypnosis to perform this effect, but I will tell you that confidence is key. It‖s not just the words you say, but it‖s all in the timing and pacing, and the entire delivery that yields the best results. As you read along, you will learn in detail how and why this works, and you will also learn several presentational ideas that this method can be applied to. Again, many of you will get this down your first try and many of you may have to try this several times until you can make it work for you. Like anything great, you must work hard to have the results you desire, so don‖t let negative thoughts and failures discourage you from performing at your full potential. The origin of this idea was a childhood prank / body magic trick that my friends and I used to use on each other in the playground, along with the invisible thread through hand trick and rising arms trick. It wasn‖t until about 7 years ago, when an old friend of mine reminded me of the gag at a bar, that I (immediately) started thinking of ways to apply it to mentalism. By adding what I have learned through my experience and education in hypnosis and performance ar