Still Going Strong...

Effect;

“The Rorschach inkblot test is a psychological
projective test of personality in which a subject's
interpretations of ten standard abstract designs are
analysed as a measure of emotional and intellectual
functioning and integration. The test is named after
Hermann Rorschach who developed the inkblots..

The test is considered "projective" because the patient
is supposed to project his or her real personality into
the inkblot via the interpretation. The inkblots are
purportedly ambiguous, structure less entities which
are to be given a clear structure by the interpreter.
Those who believe in the efficacy of such tests think
that they are a way of getting into the deepest
recesses of the patient's psyche or subconscious mind.
Those who give such tests believe themselves to be
experts at interpreting their patients' interpretations.

Now I’m not claiming to be an expert in reading your
every thought but I figured that this Ink Blot Test
could prove for an interesting experiment.”

As the above is said the performer casually displays a
set of 10 or so postcard sized pieces of card with
images of the ‘structure less ink blots’ on them. He
now instructs the spectator to select an Ink Blot.

“Please reach foreword and grab the one card that
appeals to you the most. I would then like you to
make that ink blot into an image, as we mentioned
earlier. This may or may not add be a way of

projecting your own personality into the image, we
shall see.”

The spectator does as they are asked they reach
foreword and select an ink blot. They then stare at it
and turn it into an image. They are then asked to
relax, take the performers wrist lightly and sit back
with their eyes closed. With the performer standing
complete with pad and pen and the spectator sitting by
his side gently holding his wrist, the performer slowly
closes his eyes. Suddenly his right hand begins
dancing around the surface of the pad, leaving a line
here and a stroke there. Until the performer finally
open his eyes.

He finally asks the spectator to describe what image
she made from the ink blot She says:

“A house, with a tree beside it, with four leaded
windows.”

The performer shows his sketch to be incredibly a
house, with a tree beside it, with four leaded
windows. The Ink Blot card can be given away at the
finish for the other spectators to gaze into, each will
form a differing image.






Introduction;

This effect makes use of a principle I really enjoy in

many of my effects. It exploits the notion of duel
reality. Two effect run parallel with one another each
appear real to those seeing them. In this case our
spectator whom pictures the image sees basically the
same effect but a slightly less impressive version than
the effect the audience at large will witness. The
spectator is still however fooled by the effect.

This effect also makes use of some heavy
psychological guiding throughout the sequence titled
“Adding Detail” this is something I love
incorporating into my effects. If the notion of
psychological forces or suggestion are new to you I
urge you to read my good friend Steve Banachek’s
groundbreaking work on such things “Psychological
Subtitles” and my favourite wizard Kenton Knepper’s
works such as “Wonder Words” (which this effect
owes a nod and a wink to) and also Kenton’s
“Miracles of Suggestion”. The use of such techniques
within this effect appear to make the effect so much
more real and impressive. It appears to those who see
the effect you correctly ‘divined’ every detail of the
spectators thought. As the method becomes clearer
you will see that this is where the real impact lies for
the spectator who pictures the image. It is for the rest
of the audience simply the icings on the cake forming
an elegant and disarming deception.



Required:

To perform the effect a few props are required. You
need a set of ink blot cards. I have included a sheet of
the needed graphics to easily make up your own set. I

simply photo copy the images glue them to a piece of
thick cardboard with spray mount and finally laminate
them. The lamination of the cards is needed to insure
the method will work.

You also need a “Dry Wipe Marker” that being a pen
that is used on white boards that can be simply wiped
off with no need for the use of water or cleaning fluid.

Something many people are unaware of is that these
pens are useable on many surfaces. Anything plastic,
glass, metal or even highly glossy surfaces such as the
backs of standard Tarot decks. Due to the nature of
this things the pen is still able to be quickly erased.

Set Up;

If you look closely at the first ink blot marked F1 you
will see that it is very easy to using the pen make
further images from within the ink printed on the
page. Let me explain, if I were to be using the
example given in the effect, a house, I would simply
add small amounts of ink to the laminated card using
the dry wipe pen, adding in the roof and making the
walls somewhat more clearer. An example of this is
give in F2.


If you were to hand the Ink Blot show in F2 to
someone and ask them to make it into an image. The
odds are massively in the favour of a house being the
image they picture. This is also made higher by the
scripting I use all of which is covered in “The Script”.
It remains needless to say that all you need to do to
add an extra deception to these Ink Blots is to casually

wipe the card with your thumb removing the extra Ink
you placed onto the laminated card with the dry wipe
pen leaving the original Ink Blot shown in F1.

Place the prepared Ink Blot card on the top of your
stack of Ink Blots. Be careful not to add to much
pressure to the stack or slide the cards around to much
as this can lead to the dry wipe pen becoming either
smudged or removed totally. A light touch is the key
here.

If you plan on using my forceful thinking method
covered later in the text you will need one more of the
prepared Ink Blot card. I use exactly the same Ink
Blot with exactly the same additions shown in F1-2.

Let us now examine the actual deceptions needed to
achieve the effect:

We need to force the needed Ink Blot card on our
spectator. We then need to have the spectator picture
the image which should appear to be random to the
audience but will in fact be a house. Then finally to
top of the deception we need to have the spectator in
her own mind add detail to her image. Something she
did not see in the blot she had chosen. This now adds
an extra layer of deception that the spectator helping
will experience and she will see the effect as being
that one bit stronger. Needless to say this is simply a
final kick in the teeth touch for the rest of the
spectators.

I will deal with each one of our problems outlines
above separately offer a few alternatives.

The Force:

Personally I use a psychological force using language
and the positioning of the card. This is a strong
method and one that I recommend. It is fully covered
in this section under the sub titled “Forceful
Thinking”.

There are however for those people not comfortable
with the use of a psychological force other options
open to us. A simple Cross Cut Force or even the
well know P.A.T.I.O force could be used to ensure the
spectator ends with her “free choice”.

Another option and it is bold but I like it, is to simply
after displaying the Ink Blots hand the top card to
your spectator and ask they continued. You pay this
no attention what so ever and act totally natural with
it.

Later in your scripting you can add the idea of the
card being freely chosen by the spectator and they
will rarely question this. Moving the focus along from
the card used to the image created ensures they pay no
attention to which card they are using but rather to
what they are doing. This is bold but if handled
properly very deceptive.

Forceful Thinking;

This force appears as if you, after displaying several
of the cards lay five of them Blot side down onto the
table top and ask the spectator to reach foreword and
grab one. They will have the force card in their hand.

The first issue to be covered here is the inbuilt use of
Voice Forcing within the script. Despite it being
something that normally works best in informal
situations i.e. over the phone or in an office they are
thrown into the script as they are not visible to anyone
but yourself and are just another little influence in
getting the correct selection. The words typed in bold
are either said in a slightly harder tone while
maintaining eye contact or with a slightly softer tone
while maintaining eye contact. You will need to
experiment to find which of the two will work best for
you.

The use of a small body movement is also used within
this force. I find that raising my eyebrows and a
small nod as my left hand moves toward the table is
enough here. The key is to ensure it all appears to be
natural and not forced. If you actions appear laboured
the force will look something of a joke. This will be
further covered in the workings of the force later in
the text.

The second issue we need to look into is the
positioning of the force card. The positioning is of
great importance. This is again another invisible
factor that will add another influence to your force.
By incorporating as many of these small influences
into one sequence as possible, without any of them
being visible on the effects surface you greatly
increase your potential for hitting your force. It is a
well know fact that if you lay five cards or objects for
that matter out on the table those card/objects placed
in position 2 and 4 are the most likely to be selected.
If you were to place a force Ink Blot card ready and
waiting to go complete with its additions on the face

in the positions 2 and 4, your job becomes so much
easier. I place the prepared cards in the positions 2
and 4 in the stack from the top down. I then spread
through the stack face up to show a few of the cards
and talk about them a little. I then replace these cards
onto the face of the packet, and finally square
everything up and turn it all face down. Then I deal
five of the cards fro the top onto the table. These of
course are the five cards you placed your force cards
within, at the positions 2 and 4. I whist doing this use
the following script. This should guide the spectator
directly tot he force card. After the card is forced
simply gather the other ink blot cards up and leave
them out of the way in the corner of the table.

Script;

(We are to imagine we are joining the performance
after the introductory words have been spoken)

With the five cards lying face down on the table the
performer states:

“Now we are going to try something interesting. I
would like you to relax and help me out. Your job is
simple. You just go for what you feel is right. Don't
worry about what other people are saying or what I
am saying you simply follow what you think or feel.
OK?”


I here actively attempt to form some kind of rapport
with my spectator allowing them some time to grow
used to their new found position within the spotlight
and maybe even have a little conversation with them.

“I would like to simply reach foreword and lower
your hand onto one of the cards you feel is right for
you.”

As this is said I actually gesture with my right and left
hands, moving them in a quick gesture toward the
force cards. I also suggest increasing your odds by
sitting your spectator on your right. They are then
likely to go for the card in the second position from
the right. That is all there is to it. Allot of ink for
something that takes seconds in real time but I feel it
was needed to ensure the principles are understood of
the force.

Now we have dealt with force of the card let us move
onto the image projection sequence. In which it
appears as if the spectator turns the Ink Blot into what
ever they wish to.

This is not to difficult. The image is clearly a house.
It is very unlikely they will picture anything other
than a house. The script that follows is making use of
some word play that instructs the spectator to picture
what is on the card but the audience see these
statements differently.

“Ok, I would like you to take a moment to look into
the Ink Blot and make it into the picture you can see
from it. I would then like you to imagine that in its
basic form on a massive blank white screen almost a
cinema screen. Let me know when you have the image
in your mind.”
The spectator will normally take very little time to do
this. I then take the Ink Blot card from them. I then

do one of two things to get rid of our dirty work from
the face of the card. The first idea is something that I
use if a table cloth is available. I simply place the Ink
Blot card face down onto the table, and slide it
foreword to another spectator, pressing firmly
applying a good amount of pressure to the card, this
will actually under the normal action of sliding the
card toward someone totally remove our dry wipe ink.

The second is even simple in method. I simply brush
my thumb across the face of the card as I instruct the
spectator to sit back and close her eyes, and to grip
my left wrist with her hand. This presentation allows
for more than enough time to remove the dry wipe ink
and more than enough cover for it to go unnoticed.

Filling in the Details;

“Ok so you have an image or shape in your mind that
at the moment is nothing more than a massive shape
filled with black ink. Now I would like you to take a
few seconds to start to fill in the details of your image.
Take as long as you need.”

This is now where the psychological by play comes
in. In his lecture notes the mentalist Christopher
Chance points out that if you were to use the
psychological force of a triangle and a square and ask
someone to make an image from it they are likely to
make them into a house. If they are asked to fill in
the details they are likely to included windows, a
chimney, a path and a tree.

This reads as a pure common sense. however think
about the situation as it appears to the spectator. They

think the spectator could have selected any image.
You have no idea which image they are thinking of.
So adding details tot he image should be as much of a
mystery to you as the actual basic image is. This adds
another layer of deception. These details appear to
make the effect ever stronger. When in actual fact
they are very easy to work out.

Allow the spectator as long as they need to fill in the
details.

All that remains is for you to present your knowledge.
I will cover my own presentational long with the
script that now follows. I will also at times explain
my reasoning for certain presentational ploys.




Presentation/Script:

“The Rorschach inkblot test is a psychological
projective test of personality in which a subject's
interpretations of ten standard abstract designs are
analysed as a measure of emotional and intellectual
functioning and integration. The test is named after
Hermann Rorschach (1884-1922) who developed the
inkblots, although he did not use them for personality
analysis.

The test is considered "projective" because the patient
is supposed to project his or her real personality into
the inkblot via the interpretation. The inkblots are
purportedly ambiguous, structure less entities which
are to be given a clear structure by the interpreter.

Those who believe in the efficacy of such tests think
that they are a way of getting into the deepest
recesses of the patient's psyche or subconscious mind.
Those who give such tests believe themselves to be
experts at interpreting their patients' interpretations.

Now I’m not claiming to be an expert in reading your
every thought but I figured that this Ink Blot Test
could prove for an interesting experiment.

This is simply an introduction to both the effect and
the props. Despite the popularity of the Ink Blot Test
there is a high chance that some of your spectators
will not have any knowledge of them or what they do.
It is worth taking a moment or two to fill them in on
what they do and do not do.

“Now we are going to try something interesting. I
would like you to relax and help me out. Your job is
simple. You just go for what you feel is right. Don't
worry about what other people are saying or what I
am saying you simply follow what you think or feel.
OK?”

This is a small but important sequence. It is loaded
with hidden commands that despite not being
essential to the method are always worth including.
They could just be the factor that helps pull the effect
off successfully. I included such statements in close
to all my effects regardless of the method. I feel they
are always worth the effort. As covered already the
words in bold are said with either a harder or lighter
tone depending on which is more successful for your
own performances.

“I would like to simply reach foreword and lower
your hand onto one of the cards you feel is right for
you.”

The only important thing to remember here is to not
over stress the gestures or the wording. there are so
many factors working for you here that the force is
almost a sure thing.

“Ok so you have an image or shape in your mind that
at the moment is nothing more than a massive shape
filled with black ink. Now I would like you to take a
few seconds to start to fill in the details of your image.
Take as long as you need.”

Here you are presenting one thing to the audience
when something else is being presented to the
spectator.

“Ok your done. I would like you to relax, in fact sit
back in your chair and slowly allow your eyes to
close.”

Here if you already perform any apparently instant
hypnotic trance states this could be a good use of
them here. It would appear as if you had hypnotised
the spectator in order to read her mind. Personally I
simply ask them to relax and lean back in their chair.

“Now I would like you to grip my left wrist gently.
Please don’t make any movement, just hold it gently
and really imagine your image in the clearest and
boldest way you can”

Obviously the spectator holding your wrist adds
nothing tot he method. It does however in my mind
add so much tot he over all impact. It serves several
purposes. Those spectators whom do not wish to
believe in the power of Psychics can imagine you are
sing some form of muscle reading or another
psychological approach. Allowing the spectator to
come to their own decision that you were in fact
employing psychology is in my mind much more
impressive than ramming the idea down there throat.
If they feel they have “discovered your secret” they
will feel good about themselves, then actually start to
think how by simply holding your hand, you were
able to be so accurate. This is where the impact lies
for those people. They come to realise that what your
doing is impossible and they have no idea how it is
being done. They have now totally bought into your
performance, in the same way as those who willingly
believe in the power of mind reading do.

It also provides a visual element to the mind reading.
I close my eyes and start dashing my hand around still
being gripped by the spectator, on the pad, forming
my image on the paper. I remain silent whilst doing
this. It does however provide a process in which the
mind reading appears to have taken place. To my
mind this is where the entertainment level lies within
Mentalism.

People are interested to see what it would look like
for someone to read someone's mind. If no process is
given within your presentation you are running the
danger of simply missing out what they cam to see.

“I would like you to begin to describe what you had

in mind for me. Please do this with your eyes still
closed.”

I have chosen to have the spectator describe the image
for a few reasons. I feel it adds an element of
suspense to the revelation. I hold my drawing in full
view. The spectator then begins to describe their
image and piece by piece it matches your drawing. It
also appears as if there is no way the spectator could
be in any kind of stooged situation as they can not see
what you have drawn. I also like having the
spectators reaction when she opens her eyes. It brings
effect have to a rounded finish. The spectator will
open her eyes and a pleasantly surprised look will
appear. I then offer the drawing tot he spectator
which they more often than not take.

“Thank you very much for your help, you were great”

This finishes everything. Here I often go on to offer
and few simple cold reading lines apparently
interpreting what the drawing says about her
personality. This, however I will leave to the reader.

Alternative Presentations: There of course is nothing
set ins tone with the presentation of the effect. I will
offer a few ideas that may get you thinking;

You could present something on a larger scale for
stage work in which you can line three or four
spectators up and have them each imagine and image.
They then mix there Ink Blot cards up. You can then
go on to describe the image and return the correct Ink
Blot Cards to each person. This is clearly a mixture
of the effect within this manuscript and the classic

Psdeo Pschometery.

You could have another spectator read the mind of the
spectator imagining the image. A dry marker and a
pad with the image pre drawn in a scribble like
fashion could be used. Jay Sankey has a design
duplication method within Sankey Pankey that could
be used in conjunction with this effect to produce that
very effect.
Final Comments:

Despite the method reading very long the effect its
self moves along at a good pace. There is of course
no reason why you could not make up the ink blot
cards from your business cards and leave a business
card with the people you perform for. The script is
written to included much of the “wonder Wording”
we all know and love from Kenton's fabulous Wonder
Words Volumes.

Don’t be afraid of the simple method. With a good
strong performance it appears utterly compelling.

Doll Face

Effect;

The performer removes a slightly battered look box
from it’s wrapping he dumps the contents onto the
table and explains:

“These are an unusual South American children's toy.
Rumour has it that these are still used today, by the
children of the Maya Indians of Guatemala. The
story goes, if you have a problem, you tell it to your
worry doll. You can only tell one worry to each doll,
per night. Then, after you have told your worry doll
the problem, you ask them to help you, and hold the
worry doll tightly in your closed fist. As if by magic ,
the worry dolls go to work, to help find solutions to
your troubles. Finally disappearing taking your
problem with them. You do this each night to help find
solutions to problems and get better nights sleep.”

The performer passes around the three tiny dolls for
the curious among his guests to examine. They are
passed back and the performer explains he intendeds
to try an experiment with these Worry Dolls.

“Madame would you be so kind to think of a problem

that is troubling you. Something that has been
playing on your mind. I would then like you to take
these dolls into your hand and close your fist tightly
around them. Thank You”

The performer dumps the dolls from the box onto the
spectators palm. She closes her fist and thinks
intently about a problem she faces in her life. He
stares deeply into her wonderfully coy blues eyes and
states:

“I sense the problem you face is some that that you
have the power to overcome very easily. However
there are many barriers you perceive blocking you
from moving past this problem that you find so
troublesome. The thing is, if you have the focus
within your own mind to look at your problem
objectively it could just as easily vanish as it did
appear”

The performer gently blows toward the spectators fist
and she is instructed to open her hand. She finds only
three dolls. The performer smiles a knowing nod. He
looks toward the box sitting on the table from the
outset. He opens the box to find the doll staring the
audience directly in the face.

The performer suggests continuing and extends his
palm toward another women in the front row. He
asks her to extend her palm and he pores the
remaining dolls onto her palm. Again she is asked to
close her hand around the dolls. She is also asked to
think intently upon a problem she faces. She does
this.

The performer states that:

“In the original myth it was said that the harder you
thought about your problem the doll would actually
become warmer and just before vanishing totally it
would almost be too hot to hold onto. Can you feel
that heat yet?”

The spectator answers:

“Yes it is becoming warmer.”

Again the performer gently blows toward the
spectators hand and she finds one of the dolls to have
vanished. The performer explains;

“You see as the doll becomes hot it is said to be
taking on the energy from your problems, eventually
the problem is solved by the doll and it finally makes
its journey back to where it came from”

The performer opens the box once again and pores out
the contents. Now it is seen to contain two perfectly
content worry dolls.

The final doll is placed lying flat on the palm of a
spectators hand. The performer asks the spectator to
intently concentrate upon a problem she is faced with.
The performer raises his own hand a few inches above
the doll and holds gently the spectators wrist. With a
moments concentration he suddenly offers a detailed
solution for the problem the spectator has in mind.
Finally he gently blows at the doll, passing his hand
briefly above the doll where upon it visibly vanishes.
He opens the box pores the contents from within and
reveals the three worry dolls.

He finishes:

“Wouldn’t it be great if we could all send our
problems away to a little box”

The dolls are given tot he assisting spectators as a
present and as a way of remembering how the solved
their problems.

Introduction;

This is a sweet little effect that despite seemingly only
being suited to magician it can really play big in a
mental performance. It is a performance piece that
will only appeal to small groups - however it really
does carry the power to effect your spectators
emotionally.

Required;

You need a box of what are referred to in New Age
Shops as Worry Dolls or Trouble Dolls. These are
tiny hand made “people” they come in a small
wooden box. These are very cheaply to obtain and
make great give away material. You will need four of
the dolls supplied in the box. Place the others aside.

As well as this you will need a magnet which I tape to
the inside of my left forearm just above the wrist.

You will need to place some form of magnetic
material within one of the dolls. Each doll has a
slightly different colour face so remember which doll
you placed the magnetic material within. To actually
place the magnetic material within the doll isn’t to
hard. Simply make a small slit into the doll with a
sharp craft knife and push the magnetic material

inside the doll through this. It may be necessary to
remove some of the filling from the doll.

You need to fix one of the four dolls into the box. I
simply used Blue Tac to hold my doll within the box.
Any kind of adhesive will do the job perfectly.

Place all three dolls along with the fixed doll inside
the box. Pop the lid closed on the box and your ready
to perform.

First we will deal with the actual vanishes and
appearances of the dolls from the spectators hand into
the box. This is a bold method that will work
perfectly if you treat it with the confidence it needs.

The actual mechanics of the effect are disarmingly
simple, but when combined with the script and the
psychological wording become some that I feel is
more than the sum of its parts.

Method;

1. Remove the box from where you had kept it.
Remove the lid and turn the box upside down. This
will allow the three loose dolls to fall to the table and
retain the fixed doll within the box. Close the box
placing the lid on, loosely.

2. Display the dolls on the palm of your hand. Allow
one doll to fall directly into a finger palm position,
one to fall on the palm of your hand and the third in
roughly the middle of the two Insure the doll in the
finger palm position is not the magnetic doll.

3. Ask the spectator to hold her hand out, in way of
example you do the same. You appear to throw the

three dolls into your fist. In actual fact you simply
hold back the magnetic doll in the finger palm
position. You then close your fist around the two
dolls that were allowed to fall from one hand to the
other.

4. This is a bold move. It however works like a
charm. Simply allow your palm to open, however
you remain a slight curled to the way in which the
fingers open. This partly obscures the dolls onto the
palm. I then state:

“Three”

I nod directly at the spectator, pauses for one beat and
no more then in an inquisitive manner ask;

“Yes?”

The spectator will actually agree with you. This is a
wonderful moment. The spectator has effectively
fooled themselves.

5. I then allow the two dolls to fall directly onto the
spectators palm, and close her fist around them. This
is much like the actions commonly used in a sponge
ball routine. I then move away slightly and ask the
spectator to think deeply about a problem she faces. I
then offer some standard cold reading lines that
appear to relate to her question. I then gently blow
toward her palm and gesture with my empty hand for
her to open her own hand. She will find two and not
three dolls on her palm. This will be a wonderful
moment for her. She has never held such dolls before
and is not sure how they would feel. She has no idea
how many are in her hand. Given the correct staging

it appears as if the doll vanished as she held it.

6. In order to reproduce the doll within the box it is a
simple matter of opening the box while keeping the
finger palmed doll concealed. Display the doll within
the box and then appear to tip it onto the palm of your
hand. In actual fact you do what is more or less a
shuttle pass, turning the box and the hand with the
doll finger palmed in opposite directions at an equal
speed. It appears as thought the box is turned upside-
down and the doll falls onto your palm up hand. This
is a standard coin magic move that I am sure you will
be more than familiar with already.

7. Keeping the contents of the box from being
flashed, simply drop the doll on your finger tips into
the box. Close the lid and set the box down. I then
repeat stages 3 through 5 allowing only one doll to
fall into the awaiting spectators palm. I then appear to
make the spectator feel heat from the doll. This is
covered in the script section which follows this text
under the heading “Hot Ring”.

8. I then simply repeat the shuttle pass sequence
allowing the loose doll to mask the deception further.
I allow the loose doll to fall directly onto the palm of
my hand along with the previously finger palmed
doll. I then place the two dolls along with the fixed
hidden doll back into the box. Which is closed and
set aside.

9. For the final vanish sequence you will use the
magnet and the magnetic doll which will be lying flat
on the palm of the second spectators hand. I then
place the doll on the flat palm of another spectator. I
ask her to think of her problem. I then appear to offer

a detail solution to her problem. I spend a good
amount of time on this a simple cold reading (see end)
sequence. Finally you wave your left hand above the
doll, due to the magnetic properties of the doll and the
magnet you fixed to your left arm, the doll will stick
to the inside of your left arm. I then under the cover
of continuing on in my reading sequence casually
appear to adjust my sleeve. In fact I casually contact
the doll and gently pull my jacket sleeve away from
the magnet. This will free the doll from the magnet
and fall into your awaiting finger palm. In order to
reproduce the final doll you repeat the shuttle pass
sequence allowing the two loose dolls to fall onto the
finger palmed doll.

Script:

“These are an unusual South American children's toy.
Rumour has it that these are still used today, by the
children of the Maya Indians of Guatemala. The
story goes, if you have a problem, you tell it to your
worry doll. You can only tell one worry to each doll,
per night. Then, after you have told your worry doll
the problem, you ask them to help you, and hold the
worry doll tightly in your closed fist. As if by magic ,
the worry dolls go to work, to help find solutions to
your troubles. Finally disappearing taking your
problem with them. You do this each night to help find
solutions to problems and get better nights sleep.”

This acts as a tongue in cheek introduction to the
effect. It sets the stage for what is to happen and also
has some built in interest as well as educational
benefits.

Answering the problems:

This is something that would take a book 1000 times
larger than this manuscript to explain. I basically
apply some well aimed cold reading statements in to
the audience. Here is an opportunity to practice your
cold reading skills. None is aware exactly what the
problem is, you will know if you offered a good
reading or not from the spectators reaction. However
no one else will. This is due tot he fact that they can
to check the details of your reading. No matter the
outcome in the eyes of the audience at large you
appear to have succeeded.

Here are some titles I refer the reader to that focus
upon cold reading and will arm the performer with
more material than he will ever need:

y Quick and Effective Cold Reading by Richard

Webster

y Full Facts Book of Cold Reading by Ian Rowland
y Readings for Magicians by Kenton Knepper
y Wonder Readings by Kenton Knepper and Rex

Sikes

y The Classic Reading by Lee Earle


Hot Ring:

This is a suggestive scripting that can be applied to
any object you care to use. I often use this with the
spectators own ring in their palm. The words said
with a bold text are said in either a harder of softer
tone of voice depending on which will work better for
you. Only experimentation will show which is best;

Inside a Nightmare...

Effect;

At an intimate performance the conversation turns to
that of dreams. A devilish look shines in the eye of
our performer super hero, who suggests trying
something he has been think about recently.

He invites a spectator to share a dream he or she has
been bothered by in the past. He instructs her to
gently allow her self to become relaxed and then to
relive the dream she once had.

“Please close your eyes. Step inside of your dream.
Take a look around. Try as hard as you can to
remember as much as possible. Take as long as you
need to do this. The I would like you to open your
eyes and tell everyone what you were reliving”

The spectator shares what happened in her dream and

mentions some of the objects she saw in the dream.
The performer shows his hands clearly empty and
cups then together and gently blows toward his
cupped hands. he opens his hands to reveal one of the
very objects she had in mind.

Please note that these objects are used to
represent several things, without seeming
ambiguous. For instance, a small plastic
Monopoly house can match a dream about
houses, or hotels, landlords, estate agents, and so
on. A fig leaf can match trees, forests, and even
nudity dreams. Below, you will find a list of
suggested objects:
CAR BOAT PLANE TRAIN HOUSE LEAF
FLOWER HANDCUFFS TICKET EXAM
TEETH HAIR FLOWER GUN KNIFE WINGS
STAIRCASE CROWN RING SHOE DOG CAT
HORSE COW SNAKE INSECT SPIDER LION
ELEPHANT DOOR LABYRINTH (DESIGN
ON JEWELLERY) LIGHTER/MATCH BAG
BOTTLE PHONE WHEEL
PILL/STETHOSCOPE DOOR KEY STAR
BALL STONE SHELL EGG SPADE
RAINBOW CAMERA CASTLE CUP/TROPHY
FEATHER MIRROR

Skin Deep

I will make a confession. I am as I write this a total
tattoo addict, I have slowly managed to cover my
skin in beautiful inked patterns and pictures. I fully
understand this is something that the majority of the
population doesn't understand and most of you will
find little of use in this effect exactly as it reads.
However with some work you may well be able to
turn it into something that you will in time become as
happy with as I am with Skin Deep which I consider
to be the ultimate prediction effect. It is a sequence I
have used in countless informal performances - I use
this only as an informal piece for a simple reason.
Tattoos are more than acceptable within the circles of
socialise, so an effect with a tattoo is in no way going
to push away work, however as I am sure you can
imagine an effect such as Skin Deep would clearly not
be appropriate at a highly formal performance.

Effect;

The performer in an informal situation meets a
stranger they begin talking, the stranger notices the
performer has several tattoos they spark up a
conversation regarding them.

Suddenly the performer grasps the spectators hand
firmly ask her to look into his eyes and name the first
word that comes to her mind.

The performer raises his left forearm and tattooed on
the underside of his arm is “Luke” the performer
states;

“I had this one tattooed so I would remember my
name! and so other people would”

The performer then raises his other arm and in the
same place is the very word the spectator named only
moments before. The performer states:

“I had that one done so I see the look on your face
when I showed it to you ”

The performer leaves a slightly dazed spectator to
think over what she has just seen.

Method

Let us look at all the available methods of creating
this effect. We as the performer need to either some
how force a word on a spectator, or mark our arm
with a word a spectator has named without the
spectator having any knowledge that such
skulduggery is at hand.

I will present a few alternative methods all of which I
have at some time in my performing life used. Each
method suits different situations. My very first
method was a very simple and yet elegant solution
that I still at times use.

Method One;

This is the simplest and in some ways the most
effective use of the tattoo prediction. The
methodology is utterly straight foreword. It is
intended to be used in an informal performance only.
Let us deal with the first and most imposing problem.
Somehow finding which word the spectator is
thinking of. This could be accomplished in many
ways. Here I offer my first method for this effect
which I used for roughly a year before developing the
other methods which will also be outlined.

Essentially the method is straighforeward. You will
via a centre tear disover the word the spectator has
settled for. I leave this paper in the centre of the
table. I now looking back would chose to use
something more along the lines of Ricjard Buschs
Special Delivery Peek or possibly Acidus any peek in
which the information remains undamaged.

I would then allow this information in its hidden state
for example within the envolope of folding in four in
full view throughout sveral effects. I would then
excuse myself and applie the stiker letters which we
will deal with latter and then reveal the word and
show the prediction.

Obviously this somewhat simplistic approach has
many problems inherent within the method. Firstly it
is only practice for highly informal performances and
even at best I would consider it lacking in the aking
of a great effect.

These problems lead me to come up with the
following two methods. Eah tak a seperate approach
the first takes the problem from one agle. In which
you will apllie the correct word onto your arm in the
full view. The second is more ambitious and is a
verbal word force. This is something I am always
improving on and I am sure you wil do the very same.
Only through hard work will this force work. It really
does need to be worked and worked again to gain any
kind of results. It is howveer the kind of thing you
can practice without having to appear as though you
failed. You can practice the force section in any other
effect which invlolves the writting down of a word
that you will divine. If you fail you can fall back on
the standard method. If you succeed you have
cracked the force and are ready to use it in so many
powerful ways. This was the way I developed the
word force it took some time to really become
comfortable witht he force and even to this very day i
am still imporvoing upon it. The first of the methods
howver is much easier but does need some fairly time
consuiming preperation.

Skin Deep 2;

Required:

You will need to take a trip to your local stationary
shop. You need some sticky letter sets. These are

easy to find an dare cheap to buy. I have included a
set that matches the lettering on my right arms tattoo.
This lends some wonderful disguise to the tattoo. If
your a person with several tattoos already there is no
need to prove the “realness” of the prediction as
people instantly assume that all your tattoos are real.
This really adds to the impact of the effect.

You will also need an A4 pad of paper with a black
front cover and black back cover. You will
essentially turn this pad into an index of words. The
words will be made from the sticky lettering which
will be left sticky side up and ready to be applied to
your arm. This application will be covered by some
seemingly normal actions dealt with in the
performance section of this work.

Preparation:

Due to the scripting of the effect there are very few
words named. I have mad an index of 15 words.
These normally are more than enough to cover the
scope of selections.

Here is a list of the words used:

1. Dog

2. Cat

3. Ball

4. Sweets

Mother

5. Farther

6. Brother

7. Sister

8. Football

9. School

10. Moon

11. Sun

12. Day

13. Night

14. Cold

15. Teacher

These words cover the majority of the words that are
selected due to your verbal guidance covered in the
script section of this work. Now comes the time
consuming work of making the index. However once
this is done you never need do it again.

Take the pad and on the front and back covers of the
book (which match the colour of the letterings back ie
black) spray a small amount of spray mount advise to
these. This will now allow the letters to be arranged
in vertical rows forcing the words from the list. I
place five of the words o te front cover and five on the
back cover. I then place another set of dividers within
the pad. The type commonly used for school work to
keep separate sections for each subject. I only place
one of these into the centre of the pad. I then also
spray a small amount of spray mount to this. The
hollow out the pages directly above and below the
middle divider forming a block of roughly 20 pages.

You will now arrange the remaining five words on the
page they will remain unharmed due to the hollowed
section of the pad.

The 13th Guest

Effect;

“It was common superstition in the 16th century for
people to write the name of a loved one on a piece of
paper and wind a length of ribbon around the paper
35 times, they believed this would protect their loved
one using a spell that was thought to ward off evil”

The performer hands a slip of paper bound with
ribbon to a spectator in the front row for safe keeping.
Five spectators are asked to join the performer on
stage. They are each handed a lit candle.

“We are going to attempt a game of life and death.
Four of you are going to die. Only one will live. Do
not be worried it is only a game.”

The performer slowly walks over to a member of the
audience and places his hand on his shoulder.

“You sir are to chose whom is to die from our
imaginary village.”

The magician points to two people from the five
standing on stage. Who he informs the audience have

become ill. The spectator is to nominate one of the
spectators who is to no longer live within the
imaginary village. The performer slowly walks
toward the spectators chosen person and blows the
candle light out.

“It is said that a flame burs for all our souls, the day
our flame goes out is the day our soul no longer lives,
today I am afraid is that day for you sir. Please make
your way back to your seat”

The spectator leaves the stage and finds his seat
leaving only four spectators on stage. This procedure
is continued until only one spectator remains on stage.

“Obviously it was not your time to go in our village.
In fact your flame still burns bright long after all the
others have been stubbed out.”

The performer walks toward the final spectator and
blows the flame out. Seconds later in full view and
away form the performer the candle relights itself.
The performer nods a knowing look and states:

“Maybe you were the protected one”

He gestures toward the paper wrapped in ribbon. The
ribbon is slowly untangled from the paper and seen
written in bold strokes is the very spectators name.
The final survivor.

“Maybe there was something in that 16th century
superstition after all?”

Method;

This is simply a very dressed up PATIO force
sequence.

You will use the Patio force to ensure the spectator
whom you wrote on the paper bound in ribbon is the
final spectator left on stage.

In order to relight the candle you simply require a
"everlast" candle available at all joke shops. These
candles are the type that will relight automatically
after being blow out. Commonly used as a birthday
joke on cakes. I bore a hole in a larger white candle
then place the relight candle into the hole and finish it
off by allowing some melting wax to fall into the hole
and overflow onto the top of the candle. This hides
your pre work.

After handing out your prediction and forcing the
spectator you simply need to blow the candle out,
move away from the spectator and wait for a moment.
It is a wonderful visual moment as the flame relights.

The show your prediction made at the beginning
matches the final "survivor"

And If I fall?

Effect:

A spectator is handed a coin. They are asked to close
their hand around the coin an focus on the feelings
and sensations of the coin in their palm. After a few
moments the coin is seen to be removed from their
hand. The performer comments on how strange it is
that the spectator can still feel the coin in their closed
fist, much like when a ring is removed from a finger,
a watch or necklace, the weight and the shape seem to

remain despite the object no longer being worn.

The performer then suggests using these feelings to
cause something very strange to happen. The
performer takes the coin, causes it to disappear. The
performer passes a knowing look toward to the
spectators hand, who opens their closed fist to find the
coin within once again.

Method:

As far as the technical side of the effect goes nothing
more than a shell and a false transfer are needed. This
effect does however make use of some linguistic ideas
that convince the spectator of an untrue situation.

Begin by placing the coin, nested with the shell, shell
side uppermost onto the spectators upturned palm.
This is a scary moment the first time you perform it,
leaving a gimmick such as a shell in a spectators palm
is a gamble, but in my experience when you allow the
audience to look at something suddenly they no
longer want to. I use this handing of gimmicked
items out in several effects and have enjoy a very god
level of success with such thinking.

Ask the spectator to close their fist firmly and tightly
over the coin they hold. Depending on the shell you
use, it may stick to the palm of the spectator and
move away from the coin when the spectator opens
their palm, I use a very deep Old English Penny shell.
Trial and error will see which shell works and those
which do not.

Introduce the idea of retaining the sensation of

holding the coin:

“As humans the sensation of touch is something we
all experience everyday of our lives. We touch and
are touched on daily basis. Be it by another human
or an object, touch is something we all require.
Something I find a little unusual is the way a feeling
can linger long after the contact has passed. For
example even after removing your watch it is very
strange the way it still feels as if it is around your
wrist or a necklace or finger ring. I am sure you
know what I mean yes?”

Here I ask the spectator and actively try to encourage
them to engage in some kind of conversation and
recall a memory of when they experienced such a
sensation. It all adds to the overall deception.

Continue:

“I would like to use that strange sensation of an
object remaining o try something very strange. Would
you just open your hand for a moment?”
Now move to the coin, covering the exposed side of
the spectators hand with your arm, lift the shell from
the coin, and instantly close the spectators hand.
(Much as if a sponge
ball sequence) I then further develop the examples to
reinforce the idea of the coin still feeling like it is
held, but is not;

“It’s weird isn’t it? I mean you can still, if you really
think about it feel the sensation of the coin in your
hand...is that not strange? You know its not there, but
you could swear it is”

As this is said I display the shell at my fingertips. Try
to focus your spectators attention on he coin held at
your fingertips. The spectator has had their mind and
their eyes fooled into thinking the coin has been
removed.

“Lets try something strange, I want you to really
focus your attention on the way that coin felt when
you held it”

Notice the use of the past tense. I as the above is said
make a false transfer of the coin as I appear to pass it
from one hand to the other.

“You see the more you focus on how it felt a moment
ago, and the more I forget how it feels right
now....well something really weird happens....see
what I mean?”

Here I open my hand to show the coin has gone, and
gesture toward the spectators hand. They will open
their hand and find (if done correctly) to their surprise
the coin once again.

Notes:

This effect is all down to your ability to sell the effect
well. An intelligent choice of spectator is required to
ensure maximum effect. One last thing before
performing ensure both the shell and the coin are
warm to touch, temperature changes between surfaces
of the coins can effect the sensation of the coin in the
hand.

False Hypnotism Effect.

Effect;

A spectator is placed into an apparent “altered state”
and asked to make a “loose fist” and close their eyes.

The performer proceeds to place a light cigarette into
the spectators fist. When asked if the spectator feels
anything. They reply ;

“I can feel a little heat but nothing more”

The performer leaves the light cigarette in the
spectators fist for a good while whilst pattering about
the nature of alter states of mind. He then removes
the light cigarette from the spectators palm. Who is
then asked to open their eyes and reach out and touch
your extended fore finger. They then open their
hands and find nothing wrong with their palm. When
asked by other spectators the assisting spectator will
always reply she felt a little heat but nothing out of
the ordinary.

Method;

This is a very bold deception. I feel it’s boldness
creates a wonderful deception. You will need a
thumb tip able to take a light cigarette.

The basic method is when put simply, using the same
method as a cigarette vanish but not in your hand, but
the hand of a spectator. Who through your actions
and double talk believe they are holding your thumb.
In performance this works - trust me!

Let us first deal with the psychical action and then the
scripting used. You begin by having a spectator join
you on stage. They are then “placed into an altered
state” in any way you wish. This only has to appear
as if you have caused some change in their behaviour.
You then ask the spectator to turn their hand palm up
and extend it in front of them. You will now place
your thumb (with tip on it) directly on the spectators
palm. You will only rest your thumb on their palm
and make sure you do not contact the rest of their
hand with your other fingers etc.

“You can feel that yes?”

Is asked of the spectator they will obviously
understand that you are talking about your thumb. As
I ask this I also apply a slight pressure downward with
my thumb and the tip it wears.

The audience will be lead to believe something
different though. As you ask the question I wave my
other free hand at the spectators eye level, and when
they reply

“yes I feel it”

I continue;

“Good - close your eyes and make a loose fist and
concentrate on what you feel”

The audience will be unclear as to what the spectator
feels. Hopefully through your performance they will
assume it is some sort of mystical hypnotic feeling.
As the spectator makes a fist around your thumb, you
will slowly move away from the spectator who has
their eyes closed. Leaving the tip in their closed
palm.

Try not to feel guilty. I know it’s hard!

So the situation is very simple - the spec believes they
should concentrate on your thumb and how it feels
and the audience believes the spec is to concentrate on
their hypnotic feeling. Now the fun starts.

Light a cigarette and slide it slowly into their “loose
fist” the spec will at first feel nothing. After a short
while the spec will begin to feel heat from the
cigarette which will begin to heat the thumb tip. In a
moment you will ask how they feel. They will
mention a slight heat. This should be a strong
moment to your audience. The spectator just believes
that they fee your thumb becoming warmer. To clean
up you remove the cigarette drop it to the floor and
stub it out, then you will move back to the spectator
and place your thumb into the tip and instruct the spec
to open their eyes and open their fist.

The audience have seen a spectator resist the pain of a
light cigarette and the spec believes they have felt
your thumb warm. I them go on to use this spec in
other effects which this was apparently a “warm up
for” as the amazing warm thumb is not a very strong
piece for the spectator. However when combined
with other strong effects it becomes logical in their
minds.

Basic Script;

Assuming you have already described the notion of
altered states of mind and already relaxed your
spectator.

“I would like you to make a loose fist and concentrate
on that feeling - on what you feel in your fist.”

Spec makes fist leaving tip inside

“This is the idea, kind of a warm up. I would like you
to describe to me how and what you feel in your fist
are you feeling me?”

This should be delivered tongue in cheek but with
enough seriousness to confuse the situation.

Light cig and place into their hand. Allow them to
tell you they feel heat and warmth allow as long as is
needed for the spec to talk about heat.

“You feel that heat? is it painful?”

They reply;

“No”

“If it does become painful let go ok?”

This line reinforces the idea they are holding
something in the eyes of the audience. Remove cig
and drop to floor. Place your thumb in the fist and
finish;

“Open you hand and eyes and tell me what you felt, I
mean did you feel any pain?”

Finish by allowing your spectator to describe exactly
the feelings they had.