THE CORAL FANG

LUKE JERMAY

WWW.LUKEJERMAY.COM

"The Aim of The Game Is To Feel Real Good

The Happy Sideshow.

www.thehappysideshow.com

CONTENTS

INTRODUCTION

FOREWORD

TOUCHING ON HOY

THE PSYCHIC vs. PSYCHOLOGICAL PERFORMANCE

A DANGEROUS OPENER

THE PRE SHOW SCRIPTING

BLOWING BUBBLES

PK LIP STICK

PHONE PREDICTION

BLINDFOLD SEQENCE

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INTRODUCTION

Hello and welcome to ' The Coral Fang'. An unusual title, granted; however, for some of you it already makes perfect sense, for others it will probably remain a mystery forevermore.

'The Coral Fang' is my third collection of material to be published. This manuscript does not concentrate as heavily on the use of suggestion in mentalism as my previous works and featured within these pages are several sure-fire effects as well as a few new twists using suggestion techniques and genuine psychological methodology.

I sincerely hope you enjoy ''The Coral Fang' and that you might even enjoy one or two of the effects enough to actually try them out in performance; I am confident you will be pleased you did.

This manuscript truly was built on the shoulders of giants. I have done my very best to credit those people who have either directly, indirectly, or in any other way, inspired my thinking and shaping of the effects contained within. I sincerely apologise if I have overlooked anyone, if I have, I am deeply sorry in advance.

I thank you for taking the time to listen to what I have to say. I hope you enjoy what 'The Coral Fang' has to offer.

Without further delay, let us allow the fang its first bite...

Luke Jermay.

FOREWORD

Luke Jermay has been at it again. I have said it before, but it's worth repeating. When any of us attempt to inspire performers and advance magic and mentalism to higher forms, if the result is such as Luke Jermay, all the effort and controversy is worth it. In this book, Luke focuses in on effects. But true to his roots, such effects demand a little adventure into principle and underlying psychology. Little doubt some of Luke's new material will blow you away in both method and effect. Just as surely will most performer's focus on one or two items, and miss the subtle nature in others. Luke would not have it any other way.

Luke remains as controversial as those he credits and cites as his inspirations. He is trudging a difficult path. His works make people rethink what they have been doing and why. Few are daring enough to completely reshape their awareness and attitudes about all they know, let alone the tasks in which they consider themselves expert.

In this book Luke gives good reason why performers should consider such an about face. The effect such new thinking has on an audience is not mere theory at all. The theories derive from practical performing. When performers see time and again that those on the cutting edge have a different impact on their audiences than the standard fare, change takes place. Books such as this one find their homes.

My friends and I are thrilled with all Luke has accomplished in such a short time. I am happy I was able to write Luke's first book for him and introduce him to the world of his peers. Now I am elated that he matches, and at times surpasses, my own wit. Frankly, it would be easy to be a tad jealous. He's brilliant. He's young. He's just beginning his reign of Great Influence.

What you will not find here are beginning methods or the basics spelled out for you in simple language so any dope can do Luke's tricks. Luke assumes correctly that people studying his work should have a working knowledge of the basics of our art. If you do not have such a foundation as of yet, forget this book. Trying to build a house without a plan or a slab of concrete to keep it sturdy is useless. Uneducated or seldom performing people are those that complain our works are not practical. The theorist may find ideas of interest, but the performer for laypeople knows for a fact what works and what does not. There is no reason to be on the cutting edge if you are hanging on a limb off a cliff, and sawing away on the wrong side of the branch. Luke knows what a few of us have learned: We take risks and bold action because it plays. Such daring makes for the miraculous. Timid performers seldom create grand memories and legendary impressions.

Luke is already a legend.

This latest work proves that once more.

Kenton Knepper

October 12, 2004

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TOUCHING ON HOY.

EFFECT:

Three spectators are seated on chairs on stage. The performer asks each of them to close their eyes. He then taps the first spectator on the shoulder and asks them to think of a simple shape. He then taps the second spectator on the shoulder and asks them to think of a date that holds some significance to them. Finally he taps the third spectator on the shoulder and asks that they think of a name of importance.

The performer then asks all three spectators to open their eyes and stand up.

Slowly moving along the line of the three spectators, the performer looks intently into each of their eyes.

He excitedly names aloud a shape, date and name.

Asking them to sit down if he was accurate with their thought, all three spectators sit.

BACKGROUND:

Before I move into the psychical methodology of this stunning sequence I will briefly mention how it came to be. It is one of the few genuine gestalt moments in my creative life. The idea formed in my mind whilst, of all things, stuck in traffic. It was basically fully formed by the end of that journey, needless to say I was grinning like a little girl with my new discovery.

I will preface the explanation with a challenge. This effect makes no use of stooges, instant stooges, pre show work or props of any kind. The effect can be performed at any time, formally or in more casual settings. There is nothing to carry around with you, no props of any kind. As long as you have arms, hands and are able to talk you can do this.

METHOD:

It makes use of two simple, but devilish, methods combined to create what I think is a stunning effect. The method to effect ratio is dramatically in your favour; it is simple and all the work is over before it appears you have really begun.

To begin you will need to arrange three chairs on stage. I separate these chairs with some distance, which allows me to walk in-between the chairs, and also around the back. This distance however must not be so far that you can not naturally reach two of the chairs with your arms extended at waist level.

From here on in we will break the effect down into two separate stages for easy reading.

First you appear to ask the three spectators to close their eyes when you snap your fingers. You then lean forward with your body in the gap between the first two chairs leaning forward and checking along the line that everyone has their eyes closed. This

is over in seconds and appears as a simple check on your part that people are following your instructions.

However, in truth this is accomplishing much, much more.

We will secretly touch two of the spectators under the cover of the lean. This can be linked with Banachek's PK Touches, however, it is performed in a very different way and accomplishes totally different ends.

The performer raises his hands in the air while stating:

"I would like all of you to close your eyes, keep them shut tightly...when I ....snap my fingers."

The performer now appears to drop his hands from above the spectator's heads, falling naturally at waist level. The performer now leans forward to check that each of the spectators has their eyes closed. It is under this cover the performer simply touches the spectators on his left and right. This touch is accomplished by moving only the middle fingers of each hand. The finger is all that moves, the arms and hand stay exactly where they would naturally fall.

The performer now leans back again to the position he started in, and begins to move to the spectator furthest from him. As the weight is put back on to the heels, the arms fall completely by the side of the body. They stay there as the performer moves to the furthest spectator.

What have we accomplished so far?

We have invisibly touched two of the three spectators on the back. No one is aware we have done this, and why should they ever be looking for it? You have not yet even informed the audience what is going to happen, this is a case of not running if your not being chased.

Do not rush this procedure, approach it with a casual manner and it will serve you well.

Now comes the final step in the first stage of the method. The performer walks to the furthest spectator and openly touches him on the shoulder furthest away.

This is simple; just touch the remaining spectator on the shoulder. Make this look like a big movement. This subtly conveys the idea that you could not have touched someone without anyone seeing or noticing. However, this is imparted subtly and should not have attention drawn to it, either in attitude or verbal reference.

What have we accomplished? And why am I sneaking around touching people without others seeing!

We have now touched two spectators without anyone seeing. We have touched one spectator openly and now ask "the person who felt me touch them" to think of a simple shape.

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The audience thinks we are asking one spectator to think of a shape, when in truth all three spectators believe they are the person the performer is addressing. This means if we can discover the shape the spectator is thinking of, we can appear to read the mind of all three people on stage using the revelation procedure from David Hoy's 'Tossed Out Deck' principle. This is extremely clever, bold and elegant in method and also looks dramatic, what more could we possibly want?

Now we must deal with the second stage in the method.

We need to discover the shape the audience believes one person is focusing on, when in fact all three people are focusing on a shape.

To retain the elegance of the effect 1 use a psychological force. This would appear to be a risky time to use such a thing, however, due to the wording, the spectators are basically forced into thinking about the shapes I wish them to.

I make use of the classic circle and triangle force.

This has been covered in many books in great detail; I will provide my scripting for the force and break each element down.

"I would like the person I just touched, the person who felt me touch them, to focus on two simple shapes. Bearing in mind that a square or a rectangle is a simple shape, with my artistic talent a heart or a star is incredibly complicated. "

Let us begin logically at the start.

"/ would like the person I just touched, the person who felt me touch them "

We have now, as we spoke about earlier, informed all three spectators they are being addressed. However the audience at large believes we are simply addressing the spectator we openly touched.

"...to focus on a simple shape. Bearing in mind that a square or a rectangle is a simple shape..."

All three spectators now know they are to focus on a shape, a simple shape. We have also ruled out the possibility of them thinking of either a square or rectangle.

".. .with my artistic talent a heart or a star is incredibly complicated. "

We have now ruled out the possibly of the spectators thinking of anything remotely complex and ruled out the chance of them thinking of either a star or a heart.

If we examine the statements we have restricted the spectators to think of either a circle or a triangle, these are the only other simple shapes.

We now have the situation of all three spectators thinking of a circle and a triangle. I added the mention of a star and heart to the script as on occasion people would think of their favourite image/shape. Hearts and stars are popular. I therefore need to eliminate this possibility.

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Now we need to appear to touch the remaining spectators on the shoulder ask them to think of something and finally reveal their thoughts.

This false touching is bold and almost embarrassingly easy.

I simply walk to the second spectator position myself behind them and appear to touch them on their back, roughly in the middle. In actual fact all I do is mime this touch, moving my arm, without ever coming in contact with the spectator.

I now repeat the "touched" scripting as follows:

"/ would like the person I just touched to now think of a name, one that holds some significance to them."

This is said as you begin moving to the spectator and I reach the "I just touched" immediately as I perform the false touch described above. This is the delivery of the false touch and scripting for the final spectator as well.

You will repeat the false touch and scripting this time asking the spectator to focus on a date that holds some significance.

Now comes the revelation. You will ask all three people to stand, and then move along the line apparently "reading minds".

You will then state the following:

"OK. I was a little hazy on one of them. Hopefully I have got them. I got the impression of a triangle and a circle. The date 1985 and the name Liz. "

Turning to the standing onstage spectators, with a pointing first finger, I state:

"Ifyou heard your thought, sit down "

Thanks to David Hoys wonderful principle all three spectators will sit down. This is due to the fact that each person believes they are thinking of the circle and triangle while the others are thinking of the date and name.

FINAL THOUGHTS:

I love this routine. The reason is down to its simple appearance, no props, no pre show, and no odd procedure, simply reading minds. It appears as real as I think possible.

In the scripting we have covered the slim chance of a person remaining standing. You will remember that we said:

"I was a little hazy on one of them... "

It has not yet occurred in my performance that a person has remained standing, however, if they were to I would ask them to say aloud what they thought of. When

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they say the shape. I would continue:

"Wow...I love a challenge. You thought of a shape even though I asked you to think of the name. OK. I love a challenge. "

I would then reveal a "prediction" in my wallet featuring the shape in question.

This has yet to happen and I do not see it happening as the scripting is so tight and works well. I am sure many of you already use the circle and triangle force and can attest to its strength. Those of you who do not, simply try the force by itself a few times, you will soon grow confident in its power.

CREDITS:

The secret touching can be linked to Banachek's brilliant PK Touches, which is available from all major magic dealers and from Banachek in manuscript form. David Hoy's modern classic 'The Tossed Out Deck' can be found in his book, 'The Bold and Subtle Miracles of Doctor Faust'.

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THE PSYCHIC vs. THE PSYCHOLOGICAL PERFORMANCE

The notion of psychic versus psychological has been discussed over countless printed pages and many Internet forums. However, I will briefly, and for the first time, outline my own thinking on this loaded question.

I myself openly announce that I have no special otherworldly powers. Yet my audiences still leave (well a certain percentage) with the notion that I do, due to the way in which I handle the wording and the general performance. I allude to the notion of psychic methodology being used throughout, however, I also openly state that I have no special powers. This is more than it reads on the surface.

In a nutshell, the wording has the inbuilt suggestion that I am openly stating I have no special powers, but it is done in such a way that it actually looks and feels to the spectators as if I do.

Read that again, slowly. Ok.

You're back.

Mentalism is, at its very core, an intrusive art form. If we take a simple effect that we often learn at the very outset of our appreciation for such things; in which a spectator is asked to think of a number, we then proceed to reveal the number that the spectator was thinking of. The method is of no interest to this essay, but if we look at what has happened, we have essentially gone into a spectator's, or more importantly, another human being's mind (funny how we forget that spectators are people too!) and removed that thought to tell the world.

Despite its intrusive, and unnerving, inbuilt nature we rarely see the reaction that one would truly expect from such displays of mental feats; fear. I, for one, would be afraid if someone could simply remove my thoughts and share the innermost thinking of my mind to the world.

Instead it is greeted with applause.

This to me is for one of two reasons: either the performer is very likeable and manages to overcome the sinister nature of what we demonstrate, or the performer is simply delusional. I personally think delusional wins the majority, if what they displayed was really real it would not simply be treated as a neat trick, but as something to be afraid of, something to be held in genuine awe.

If we take a personal hero of mine, Uri Geller, as an example; love him or hate him he was never greeted with fake sincerity, he was greeted with applause and gasps of disbelief and fear.

Was this because he appeared a little too real?

A modern example would be Derren Brown, who often scares spectators with his abilities. Is this because he appears a little too close to the real thing to simply be

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treated as a neat trick? I

think so.

John Riggs once said there is no market for a fake mind reader. In part, I think, this is a valid standpoint. I made a conscious decision not to claim psychic powers for several reasons: I did not want to open myself to a barrage of questions from non-believers, nor be approached after a performance asking to contact a dead relative. These are things that I cannot morally claim to be able to do and still find a good nights sleep when I return home that evening. However, there is no market for a fake mind reader.

Banachek was the first to openly state he was not using psychic powers, but a developed set of psychological techniques and intuition, in print. Chan Canasta held a similar position and played the role to utter perfection. For me there are certain things that simply cannot be explained using psychology as a presentation. For example, how do we know that a spectator has a brother named John simply from reading their body language? This is really a much more complex issue than it first appears; it would be much easier to forget morals and claim all out psychic power - however, I for one could not do that. If I could somehow introduce the notion that I use a mixture of the two without stating flat out that I did, I could then cross over into both markets, so to speak. I could appeal to those ready to believe in psychic power, and also those who think of such things as ludicrous, all the while not appearing to be a fake mind reader. Here is my personal approach that I use in my shows at present, give it a go next time you perform and see if it fits you as well as me.

"How ?" I hear you asking. Well the closing lines of my final effect are as follows:

"Whether it be psychological or psychic, I think you would have to agree that was pretty impressive. In fact it is not often I get such a person with such natural psychic ability, you really did send over those messages to me. I do this kind of thing every night - performing for all sorts of people. But sometimes something so amazing happens, something I can't even understand that I just sit back and have to wonder exactly how it happened. You were great, "

The performer continues addressing spectator used in the final effect:

"/ really normally have to work much harder to hear what people are saying in their heads. Normally it takes a lot longer to tune into their thoughts and block out all the other distractions around me. But you really did manage to send those thoughts right into my head perfectly, give her a big round of applause.

The spectator is helped off stage and the performer makes his way back to centre stage, sitting on a stall he continues:

"You know -you will probably leave here and ask yourself if you can actually develop some kind of internal intuition, and then you will think of all the evil things you can do with it! I am asked a million times, why if I can hear people's thoughts am I not rich? The answer to that is simple. It just does not work that way ! I mean I can't hear what you 're thinking now. I'm not sitting here hearing everything that's going through your minds. It is a state that I have to put myself into slowly. You

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probably noticed that we began to build up steam throughout this evening. That's because I have to really work myself into a position where I think I am able to clearly hear what it is people are thinking and when you hit that position, let me tell you, you amaze yourself. I will actually try something that I would not normally do, but tonight feels right. I have no idea how what just happened occurred, but I know that we can make something even more impossible happen if we try, now I am really in the right frame of mind. I do however need everyone to really take this seriously. I need you all to be quite and concentrate on this, after all a room full of mind readers instead of one is surely better!"

The performer attempts his final staged encore effect.

Re-read the closing script. You will notice much effort has gone into it to actually leave them with the notion that what just happened was something more than a clever little mind game. Some will go away crediting you with otherworldly power, others will go away crediting you with increased insight into the human mind. This is hitting both the target audiences that a mind reader wants to. Often the psychological performers alienate the true believers and often the psychic styled performers alienate the psychological buffs in the audience. However, without causing any offence to either parties, we have actually embraced them both, we have admitted that not ALL we do is psychic, and sometimes we do use some modern psychological theory; however, that implies that some of the time what we do is real.

Kenton Knepper uses a wonderfully powerful line in many of his readings: "/

like to check my impressions against modern psychology. "

This implies that what he is actually doing is something other than psychology, but as we are the general all round nice guy, we are also checking it against something that is psychological. This approach has helped me a great deal in overcoming the obvious short falling of the psychological approach. Let me outline exactly what I mean. To simply explain the effect of a design duplication down to psychological techniques or the revelation of a name on a piece of paper, to me is not really going to hit home that loud or true.

However if we use the scripting we have covered in combination with several of our effects, using the example above as an outline, then we begin to suggest that we are something more than psychological.

Let's apply this rule to say a design duplication:

"Ok, these are not really the best conditions for someone's intuition to really work well but we can give it ago. I know that we have all heard about certain shapes being more psychologically appealing, certain numbers being more psychologically appealing. Even colours and foods are said to have specifically psychologically appealing answers. Now what we are going to do is to break for a moment away from psychology and try something a little more esoteric. I want you to really take your time. I want you to come up with a picture that I could not possibly know and in fact that is almost out of character to yourself I don't want you to fall into the psychologically appealing answers that some might.

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/ don't even want you to give anything away with your face -lam going to turn my back on you. This is ok as I don't actually want to hear with my ears or my eyes but with my mind instead. "

You can see that this rule can be applied to almost all your effects. If you mix in the different rules with effects and change the wording slightly throughout your entire performance you will be openly stating you have no special powers and yet at the same time suggesting you do.

This gets you out of the big question: "If your psychic why are you not rich / avoiding world disasters?" etc. However, it does subtly suggest that you are something more than a mere psychologist. To paraphrase Dunninger: "for those that believe, you have suggested; to those that do not, you have answered".

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•&

A DANGEROUS OPENER

EFFECT:

The performer enters the stage flipping a coin; reaching centre stage he suddenly stops.

On the right side of the stage is a small table upon which rests a red tube. On the left hand side of the stage, on another small table, rests a blue tube.

"/ am in a moment going to present each of you with what seems to be a simple fifty-fifty decision. Much like flipping a coin. Heads or tails? "

The performer asks as he flips the coin one final time.

A spectator answers:

"Heads"

The performer checks and answers.

"Nope, tails. Sorry. That was a decision made with no real conscious thought, a nonchalant choice. I would like you to treat the decision you 're about to make in the opposite fashion. Settle on your final answer and do not change your mind. I will give you five seconds to decide which of these tubes you would like to choose. The red, or the blue. Now.

1, 2, 3, 4, 5.

Perfect keep the colour in your mind. "

The performer now appears to study the room for a silent moment. He then walks into the crowd and takes someone by the hand asking:

"Your name is?" The

spectator answers:

"Jackie." He

continues:

"/ think Jackie deserves a nice round of applause. "

As spectator and performer reach centre stage, once more the performer states:

"/ want to make something very clear. Whichever colour you are thinking about Jackie, will be the tube that I will crush. There will be no going back, your answer will be final. For the first time tell everyone what colour your are thinking of? "

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The spectator responds:

"Blue"

The performer continues:

"Blue it is...."

Taking a deep breath the performer crushes the blue tube flat in one hit.

"The reason I ask you take this in the opposite manner was simple. There was a lot more riding on this than heads or tails. "

The performer lifts the blue tube proudly displaying a razor sharp upturned knife.

BACKGROUND:

I am a real believer in proving your credentials quickly and effectively at the top of a show. This effect was created to fulfill that purpose; it draws gasps and instantly establishes you as unusual, whilst showcasing an amazing effect. I also use it as a call back later in my show, however, that will be spoken of later in the description. This effect makes no use of pre show, forcing, traditional magicians forcing, and is 100% safe.

You will need to collect a few things. It is highly possible that you already own something that will work perfectly, many marketed versions of "The Dangerous Monte" are currently available and if you so desired any of these could be used in place of the props I use.

However, for those wishing to know how I created the set for my version here, here is what 1 use;

I simple had two small squares of wood cut which I then painted black. I then had a screw fixed running through the bottom of one of the squares of wood. Finally I had a hole drilled into the plastic handle of the knife, which fits over the screw. When I place the knife over the screw it stands proudly on the small wooden square.

The method takes inspiration directly from a personal hero of mine, Joseph Dunninger. Taking something I feel Dunninger used as a throw away and turning it on its head to create a strong stand alone piece, as well as introducing the notion of a reverse magicians choice.

METHOD:

I have described the effect as I use it in the capacity of an opening effect; however, there is no reason it could not be used at any other time in your show.

I will however talk about the way I use it as an opener.

I have the tables set with the two tubes resting on them on either side of the stage. The knife is always set under the red paper tube.

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The reason I set the knife under red is it acts as a simple memory aid. In my mind I know the red tube is the one covering the knife as I think of red for blood. I also use a knife with a red handle as one final reminder as to where I should be placing the knife while preparing.

As a further safety check, I have taken one final step to ensure I know where the kinfe is. The wooden stand that holds the knife has a X marked in red pen away from the audience. This is one final way of checking without having to remove the tube, I use this for my own piece of mind, it also ensures that no one has moved the tubes or knife. If they have I will instantly be aware with one simple glance at the stands. These safety checks were vitally important to me when I began using the effect and really help relieve the natural nerves that come with the possibility of slamming your hand down on an upturned knife.

If you follow these safety checks you should come to no harm in the performance of this effect. I know you will respect and honour your audiences by eliminating any possibility of danger during this dangerous stunt.

I can in no way accept responsibility for any harm that may come to you or others while performing this effect.

YOU HAVE BEEN WARNED.

Like your teachers told you, be smart, be safe.

With the paper tubes set in position with the knife under the red tube, and the empty blue tube on their respective tables, you are ready to go. One final preparation I make is to fix the empty tube to the wooden stand with a small strip of tape on the inside of the tube. This ensures the tube will not at an inconvenient moment fall over exposing it as being empty.

The performer enters flipping a coin. Reaching centre stage he stops and pauses for a few beats, holding total silence as this happens.

I have chosen to present this as a serious down the line effect for a few reasons. If I were about to do what I am claiming I will do, I would be scared at this point, at the very least apprehensive, I therefore resist the urge to play this for laughs. It also allows me to, after the tube has been selected, visibly show relief and lighten my mood.

I use the coin to highlight the difficulty of an apparently simple fifty-fifty decision. I also chose to perform this effect with only two tubes for a good reason.

I can recall a discussion with Derren Brown in which we talked about the strength of a simple right and wrong answer. I have one chance of getting the right answer; luck cannot be on my side, I cannot risk even one "unlucky break". I personally find it much more believable that someone could influence me into thinking of one of two items, than one item from five, ten or more.

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I also want the opening effect of my show to be both amazing and believable.

I ask a spectator to call whether the coin I am flipping is heads or tails. Regardless of their answer I look at the coin and say they are wrong, calling it the opposite to their selection. This is a simple theatrical device to once more highlight the difficulty of a fifty-fifty choice.

I then place the coin into my empty left jacket pocket, to avoid the coin clinking during the rest of the sequence and my show.

I now deliver the follow script in a serious manner:

"That was a decision made with no real conscious thought, a nonchalant choice. I would like you to treat the decision you 're about to make in the opposite fashion. Settle on your final answer and do not change your mind. I will give you five seconds to decide which of these bags you would like to chose. The red, or the blue. Now.

1, 2, 3, 4, 5.

Perfect, keep the colour in your mind. "

By placing importance on the decision I also have another safety check in place. I inform the audience they are not to change their minds at any point but remain fixed on the colour they are thinking of. This eliminates the potentially dangerous situation of a spectator changing their mind after they are onstage.

I now appear to look around the room as if looking for someone that is thinking of the correct colour, this is of course nothing but theatrics.

I look for a person sitting roughly in the middle of the audience sitting on the aisle. I walk toward them, grip them by hand and ask their name. When they respond I ask them to join me and tell the audience they deserve a warm round of applause.

It is now we will use a bold Dunninger idea.

It was been said that Dunninger would have someone join him onstage and despite never having met him before, reveal his name. Dunninger would then appear to humbly shrug this off cutting the applause.

In fact what Dunninger had actually done was simple, as he asked the spectator to join him, under a requested round of applause for the spectators help, he would ask the spectator their name. No one knew about this and Dunninger could then create a miracle onstage.

This is exactly what happens when we ask for a round of applause for our willing volunteer.

I ask the audience to applaud. The whole while I keep my hand gripped with the spectators, this is to ensure they will be responsive in a moment, which is vital to the

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effect.

I simply ask the spectator

"what did you go for? "

They respond telling me the colour they thought of and I say:

"great I was right... "

This is not a "stage whisper" but simply a casual exchange. This happens in a short space of time as the spectator is joining me onstage. I act as if 1 already knew to the spectator I ask, this is all about attitude. I already knew and I am pleased about it. I believe this. I have to believe this. If I believe this, the spectator is more likely to. I do not release my grip of the spectator's hand until we both reach the stage. I then place them to the left of the stage standing behind, and away, from the tables ensuring the audience will see the bags clearly and not have their view blocked in any way, to do so would be to lessen the impact of the effect.

Now we have both reached centre stage I say one of the two the following things:

"/ want to make something very clear. Whichever colour you are thinking about Jackie, will be the tube that I will crush. There will be no going back, your answer will be final. For the first time tell everyone what colour your are thinking of? "

Or:

"/ want to make something very clear. Whichever colour you are thinking about Jackie, will be the tube that I will keep. I will crush the other tube. There will be no going back your answer will be final. For the first time tell everyone what colour your are thinking of? "

Obviously I can now make my statement in what I like to think of as a reversed magicians choice. It however appears extremely fair. I simply change the statement to fit which of the tubes the spectator selects, avoiding crushing the tube with the knife under it. I also ask the spectator to:

"For the first time tell everyone what colour you thought of

As this is said I gesture to the audience at large. The spectator assumes I mean tell everyone else, those people who do not know.

I am now in the position to crush or keep the bag selected and finally reveal the upturned knife under the remaining bag.

FINAL THOUGHTS:

I have, upon occasion after revealing the knife, dropped it into what appears to be a block of wood. It sticks there proving its sharpness and looks dramatic. This block is in fact very soft wood such as balsa allowing the knife; no matter how sharp it may

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be, to appear rather vicious.

I mention I use this effect as a call back. The way I do this is simple, while explaining what it is I do. (I take the psychological angle; we will talk about that later in this manuscript) I say the following:

"Now if you could somehow see the show again, you would notice a million psychological pointers making you think of the tube I wanted you to from the moment you even walked into this room. Just out of interest how many of you got the right one? "

This fits into my "premise" and also adds an extra element of mystery to the effect. People will fairly evenly think of the colours. This also allows me to get an extra small effect for them when they realise they also thought of the "correct" tube.

CREDITS:

The theme of Dangerous Monte seems to come from unclear origins. Gary Kurtz certainly popularised the premise with his original version, as is often sold and performed the world over with several tubes and one knife and apparently a vastly inferior method to his original.

Banachek has performed his version using two knifes and several envelopes for many years. To my knowledge my presentation and method are new to this plot. I first learned of the Dunninger name dodge from Banachek's Psychological Subtleties.

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PRE SHOW SCRIPTING

What follows is the script I have used for some time in order to bring about the desired response from a member who has been subjected to 'pre show' work.

For those unfamiliar with pre show work, it is as simple as the title suggests, it is work that is done before the show. The result of this work is then presented on stage with the audience led to believe that the actions they are witnessing taking place are happening for the very first time.

With such work, miracles can happen.

However there are several tricky problems that need to be addressed in order for your pre-show work to be successful. The most basic is ensuring that the people you 'work' before your show are actually staying for it. The last thing you want is to go to the effort of working a person before the show only for them to have left by the time your performance begins!

Another concern is that often the ambiguous language used in order to achieve the desired response is almost too ambiguous. The assisting pre-showed spectator is not clear that they are to respond according to the work done before the show.

Each of these problems are overcome in the following scripting:

Before the show begins:

Let's imagine you are (rather mundanely for the sake of explanation) wishing to discover a secret word to be fed back to the spectators as a revelation during your show. We won't go into the details of how you find out the word as many are possible: a peek wallet, an impression, a centre tear, a billet peek or even a force. There are methods aplenty, however, let's assume the spectator is to write down their word on a billet.

Here is how I frame it:

"Now I want you to imagine a blackboard in front of you. In fact imagine you are back at school. You are standing with your two best friends. What are their names? "

Await the answer and make a mental note of it, as it will become very useful later in your show. But lets not get ahead of ourselves.

"OK, so you 're at school in front of a black board with your two best friends, Ford and Chan "

In my explanation, we will assume that your spectator was at school with possibly the two most important mentalists of all time, in which case it might be best just to go home, but anyway, you continue:

"I want you to imagine you are writing a word on that blackboard: see it? Make it as large as possible. It can be 90 feet wide and 60 feet high or anything, just make it as

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large as you can in your mind. Now I want you to see yourself writing that word on the black board."

You remove a blank business card.

" Now we all think in many ways, so I want you to actually write down the word on this card, keep it well away from me. But stare intently at it, kind of locking it into your mind.

Then actually say the word to yourself in your head, say it over and over again. Now that word should really be locked in there. I would like you to keep that card for later. We will get back to the word later in the show, you are sticking around right? You are going to get some of the spotlight and have a great time. "

We will assume you have somehow peeked what is written. Personally I would use either Acidus or, at the moment, I am rather fond of Richard Busch's 'Enlightened Peek' as I seem to be finding myself in the perfect locations for it very regularly.

Regardless of how, you know the written word and the spectator has kept the card with it on.

Now comes the fun part.

During the Show:

You have asked the 'pre showed' spectator to join you on stage. You begin:

"OK now we are going to try something that I think you will be very good at. It's all a game of imagination. I want you to imagine that you are at school. In fact imagine you are in a class room standing with your best friends. Look at them, look them up and down."

You are about to make use of the names you learnt earlier very much in the way that Dunninger would use a spectators name as a revelation as mentioned in A Dangerous Opener earlier in this manuscript.

"OK so there's no way I have met these people right. There's no way I know Ford and Chan? "

At this point the audience will be impressed. Noticing this reaction you respond:

"Oh no, that was nothing. " Shrugging your shoulders as you say this.

This makes the spectator helping think you were not claiming any credit for it. However, they now fully understand this is the time you were referring to before the show, this is due to the memory hook of the blackboard and their friends.

You continue:

"Ok, I want you to imagine yourself writing a word on that blackboard see it. Make it as large as possible it can be 90 feet wide and 60 feet high or anything, just make it

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as large as you can in your mind. Now I want you to see yourself writing that word on the black board.

See it?

Ok hopefully we locked into your mind enough. I will see if I can see the first letter of it..."

And follow with your amazing revelation.

The scripting gives you two amazing hits, then the final revelation. It also ensures that the spectator understands what they are to think of due to the wording being repeated and the memory hooks of the blackboard etc.

This is a small point, however it is these small points that make for a big impression.

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BLOWING BUBBLES

EFFECT:

A spectator is focusing on something. The performer explains that the moment the thought jumps from their mind into his it will feel almost like a bubble bursting. After a few seconds of silence the spectator visibly "jumps" instantly the performer names the thought focused on.

The spectator feels their thought leave their mind and enter yours. The audience sees the spectator's reaction when they feel this happen.

BACKGROUND:

This is an outgrowth of something I published in Building Blocks.

I loved the idea of having the moment of mind reading pin-pointed for the spectator by them actually feeling the thought leave their mind. I achieved this using a mixture of both suggestion and non-specific language.

However, there was no visual reaction to the moment they felt their thought leave. I wanted to add something that would cause the spectator to react visibly to the moment of mind reading.

I searched around for a long while and experimented with several hi-tech and several low-tech methods. I eventually settled for a low tech, easy, and 'do anywhere' style method. It is bold, it is cheeky and it works like a charm.

It is based in the non-specific language as well as something very cheeky.

METHOD:

I will not go into the detail of how one would discover the information the spectator is focusing on. Personally, and without wishing to offend anyone, if this is something you are unsure of, you should not be reading this book. Put it down, run out, do not walk, run and buy the 13 Steps to Mentalism, your search will be over.

Anyway, regardless of how one gets to the position of secretly discovering the spectator's information without appearing to know, you still need to reveal that information in an entertaining manner. It is here that real mind reading is born, not in centre tears, peek wallets or billet switches.

You will need to position yourself with your eye line directly in line with your spectators. Move to find this position. It is critical, you will also half turn your back to the audience. It is vital that you block one side of vision from the audience, without turning your back totally on them. It is also vital to the effect that the audience can see the spectators face; if they cannot then all is lost.

Using this technique as a presentation tool within a relatively minor revelation during a longer sequence. It can however be worked into most effects providing you

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position both yourself and the spectator correctly.

Now I go into the script from Building Blocks about the feeling the spectator will experience that will feel almost like a bubble bursting on their skin. I have included the script and broken it down at the end of the explanation.

I build to the point of the script where I am about to touch the spectator's finger. Just before I do, I actually blow into the spectators face. Please make sure you have fresh breath!

This causes the spectator to actually move, almost flinch. It looks great.

I then immediately follow this up with the question:

"Did you feel that?"

The spectator will, of course, agree they did.

There it is, a simple, low tech, but highly effective method.

Please try it before dismissing it, once you have I think you will fall in love with the reaction.

THE ORIGINAL BURST BUBBLE SUGGESTION:

Now comes the part of the routine that is really fun to perform. You will actually through the suggestion script make the spectator feel the thought "pop out of their head". This will use almost all the techniques outlined in my book Building Blocks. It will however take some work to become fluid for you. However as I have already stated you cannot fail in this kind of routine as you still have the revelation of the word to fall back upon.

Script:

Here's the scripting I use:

"Now in a moment I am going to ask you to really focus your attention on what you are experiencing, because we are actually going to attempt to move one thought from your head to mine. I know that sounds strange and it will actually feel a little odd as well. Most people actually feel it go, you probably will too - but if you don't it is ok, don't worry about it... trust me it will happen."

For those who are familiar with Building Blocks you will recognize the 'Don't Lie To Make Me Look Good' technique here.

"Now please hold your hand out. We are going to make that thought travel from your mind into mine, but we need to make some kind of physical contact to do this so just point your finger at me."

Here I use the 'Old Witch Doctor' method taught in Building Blocks, slowly moving my hand to theirs. As I touch their hand I state the following:

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"Ok now, you feel it, yes? How strange is that? It's hard to explain isn't it? It just kind of pops right out of your head right?"

It is at this point that I blow. This action is hidden by the positioning of the spectator in relation to the performer

You felt that?

You did feel that right?"

That's all there is to it. To the audience it appears as if the spectator actually felt the word go - this will more often than not be true - the spectator will feel something, however, if they do not - you still have the revelation of the word.

Finish by dramatically revealing the word and you're good to go.

FINAL THOUGHTS:

I have used this in conjunction with many effects. From a simple word reveal to 'Touching on Hoy' from this manuscript, it is flexible. I eventually adopted this low-tech method for the simple reason that it cannot break and is always with me, much like 'Touching on Hoy' which when combined with Blowing Bubbles can reach a new level for the audience.

CREDITS:

The original Burst Bubble suggestion and the techniques mentioned in the scripting can be found in Building Blocks. The new addition of positioning the spectator and the secret action of blowing has been added and really makes this look amazing. Please try it, I am sure you will be glad you did.

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PK LIPSTICK

EFFECT:

An attractive woman is asked if she has a tube of Lipstick that the performer may borrow for a moment. She agrees and hands the performer her lipstick.

The performer places this on the table. The spectator is then asked to hold her hand out at waist height. She is then asked to close her eyes.

The performer is seen to "apply" a small amount of the lipstick onto his first finger. He then reaches forward into the air and mimes two "taps", gesturing with the other hand the number two by extending two fingers. He then asks the spectator to open her eyes. She is asked if she felt anything.

She replies;

"I felt you touch me twice. "

The audience is stunned. The performer clearly came nowhere near the spectator's hand.

He continues:

"Now if I really had touched you, there would be evidence. I put some lipstick on my finger. If I had touched you twice, there would be two spots of lipstick on your palm. Please turn over your hand"

Sure enough on the spectator's palm, staring them in the face is two proud red lipstick marks.

BACKGROUND:

On the 26th of January 2004,1 filmed this effect along with four other performance pieces for the BBC to appear in a landmark documentary series called "The History of Magic" it was broadcast under the title "Mind Magic" part one of six.

The final program is titled "The worlds Best Mind-Readers" and features myself, Marc Paul, Max Maven, Derren Brown and some unseen footage of some of the great masters of the past from our rich art. So here is an effect as seen on TV...

METHOD

This is a wonderful effect to perform. I really enjoy it. We are going to combine classic ideas within magic/mentalism to create a different outcome. You will notice that the idea of "adding" the evidence marks in the form of the lipstick is something I think is very new in this type of effect. For some it will be too "Magic-y" but for me it is perfect. The lipstick is a borrowed item. Many women carry lipstick with them at all times, allowing me a "prop less" effect, pool chalk is another alternative that is often around in certain less formal settings that works equally as well, as does cigarette ash.

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For the effect, we need to use invisible thread. I have this attached to an elastic armband around my right arm, which hold the thread reels in place: this is an idea of Michael Close's. I then attach the blob of wax from the reel to my suit sleeve just inside the opening of my sleeve. I actually replace the wax with blue tack.

Let us first deal with the touches. We will attach the thread to the bottom of the lipstick using the blue tack. This is done after it is borrowed - this is not a massively difficult thing to do and any one whom has performed the floating bill or a haunted deck with a thread reel will find this very easy. We will then attach this thread/lipstick to the tabletop. It will actually be stuck to the table.

We now have the spectator hold their hand out at waist level. As long as they hold out their hand with the lipstick at a 45-degree angle to the lipstick. When the thread is extended coming from the sleeve, looping around the thumb, when we move our hands upward the thread will actually touch the spectator's hand. To make the first touch will simply mime touching in the air, raising our hand, causing the thread to touch the spectators hand - to apply the second touch we simply drop our hand, then raise the hand once again. We have now applied two separate touches.

In order to attach the "proof in form of the lipstick marks, we simply apply a liberal amount of lipstick to our fingers before performing the effect. I apply lipstick to my first and second fingers, from a lipstick in my pocket before the effect begins. Now we can load the mark by simply moving their hand, much as in the old cigarette ashes on the palm effect.

Very simple, prop less and utterly perplexing. I think this is the only effect, which actually provides "proof of the spectator being touched.

CREDITS:

The effect is clearly a variation of Banachek's PK Touches which can be found in his manuscript upon the subject. Lior Manor published his version using Thread in the book accompanying the Loops gimmicks. The idea of Ash/substance appearing on the palm of a spectator is very old indeed. It shames me to say that I can not find a distinctive starting point for this effect. As I said in the introduction we "standing on the shoulders of giants."

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PHONE PREDICTION

EFFECT:

The performer has three people think of a playing card. Each person locks the image of a playing card in his or her mind. The performer then indicates to someone in the audience who is asked to stand, he then stares intently into their eyes and with a snap of his fingers asks them to think of a two-digit number. The spectator responds aloud with a number. The performer hands a pad to the spectator on the front row and asks that they record the numbers thought of writing them on the pad.

The performer then in quick succession repeats this, sometimes asking people to write a three-digit number, other times a two-digit number. The performer then asks if a member of the audience has a cellular phone. The pad is passed across to that person who is asked to join the performer on stage, as he does so he is handed a larger envelope.

The performer explains:

"We as a room are about to make someone's day very surreal indeed. We are going to ring a total stranger, whoever happens to be at the other end of the numbers that came to your minds. I would like the room to be very quiet as we will, when they answer, all say hello together. "

The performer asks the spectator with the pad to dial in the numbers written on it. He

adds:

"Be sure to add a 0 before you dial them or we won't get anywhere " The

spectator rings the randomly chosen numbers.

Suddenly in the silent room a mobile phone is heard ringing. It is coming from within the envelope marked "prediction" handed out at the very beginning.

Reaching in the performer removes his mobile phone which he answers:

"Hello....sorry I can't really talk right now, I'm at a show. In fact there should be something else in the envelope your holding. Would everyone thinking of a card please stand up for me. "

Three people stand.

"Would you read aloud what is written on the paper inside the envelope. "

The spectator reads aloud a prediction that details three playing cards. The

performer looks to the audience and comments:

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"If the prediction about the card your thinking of was correct.... please sit down. "

All three spectators sit down.

BACKGROUND:

This is a really fun effect to perform. Something I really like about it is the surprise nature of the prediction, it is unusual in such effects to find an unexpected twist. The main thrust of a prediction trick becomes the conditions in which the decisions predicted were made. This problem is overcome with this presentation, as it is fun and surprising; this is not going to have your audiences signing up to your cult but it will make them smile and amaze them at the same time.

METHOD:

You are probably all way ahead of me here as this is more a presentation than anything else. However, it is a good presentation that looks very different from the normal effects seen with the familiar methods employed.

Put very simply I have a combined the 'Tossed Out Deck', which I love so much, with an 'Add A Number Pad'. For those who do not know, this is a pad that allows you to secretly switch a set of written numbers for another.

The presentation allows you perfect logic to move the pad from one person to another as the pad is needed for the person who has their mobile phone in hand to dial the numbers.

Another direction that this method could be used is very interesting, and one that could be put to reputation making success by the wise performer. The numbers switched in to be dialed could be the performers friends' mobile phone who is awaiting to reveal the three playing cards used in your Tossed Out Deck.

I think you will agree that the idea of someone separated by some distance from the performer successfully reading the minds of people in the audience is quite an effect. Many things could be done with this idea.... I will let your imagination run with it.

CREDITS:

I first published this effect in a set of lecture notes in 1998 called Walls and Bridges. It has since seen publication in "The Theta Portfolio" by Allen Zingg as my guest contribution. It was brought to my attention that a very similar effect was published by another well know performer in a periodical this year. As the performer in question has had no real contact with my work or me I assume it is a case of independent invention. He however does not use the kicker reveal of the playing cards, or the set up I use.

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BLINDFOLD SEQUENCE

EFFECT:

The performer has one spectator write a number on a sheet of paper, which they fold in quarters and place into their pocket.

Another spectator who is blindfolded amazingly names the number written.

An excellent example of minds in unison.

BACKGROUND:

Another bold effect that makes use of the Dual Reality concept that is achieving extremely high popularity of late. It has undergone a massive surge in creative ideas allowing the performer to achieve near miracles.

I am a big fan of "The spectator as Mind-Reader" style effects. I feel they provide a nice contrast between the performer essentially showcasing his abilities, things the audience can not do. It is a nice interlude for the audience as ONE of their own manages to do something amazing.

The method is straightforward in appearance. Someone writes a number down which they don't show to anyone, another spectator names a number; they match. Under the surface we are combining some classic tools with an interesting Dual Reality to create the effect.

METHOD:

For this effect you will need a blindfold and a clear clipboard made from Perspex. The one I actually use has a greenish blue tint to it although this will not affect anything. You also need a trusty nail writer. I personally make use of a thumb tip style writer, I am sure the reader has their own preference. It is important that the nail writer be bold, I recommend a china marker or grease pencil writer as they allow for bold writing.

You will also need a black marker pen, one with a thick nib.

On the side of the blindfold that would contact the face when worn, stick a small square of paper. Saying:

'Please focus on the number ___. Attempt to transmit it to our helper. You will be the sender"

There is a space left after the word "number", this is there to allow you to later thumb write in the number written by a spectator.

I begin with the blindfold with the written message side facing downward on my

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clipboard, upon which also rests the pen. I begin by picking up the blindfold and draping it over the chair. I then hand the pen and board to a member of the audience sitting in the front row.

The first thing we must do is have one spectator join us on stage. This spectator is then apparently put into a trance like state, in reality I use a rapid induction from the world of the stage hypnotist.

The current onstage situation is: we have one spectator apparently in a trance slumped in a chair facing the audience. We also have a member of the front row standing, with his back to the audience.

I now leave the spectator "in their trance-like state" sitting on a chair. I now need to position a spectator with their back to the audience, holding the clipboard with one single sheet of paper upon it. This will allow me at a moment covered in the presentation to glance to the spectator after he has written his number and catch a glimpse of the writing through the back of the clipboard. This is accomplished by the simple fact that the pen will "leak" through the page, allowing you to see a reverse image of the number written in.

While the spectator is writing the number on the board you pay no attention to the writing. You instead appear to be talking to the "tranced" spectator, I have included the scripting for this at the end of the explanation.

The moment of the glimpse comes as you ask the spectator if they have finished. In doing so you naturally hold eye contact with him, when he replies in the affirmative, you immediately turn your head away saying:

"Ok...please take that page, fold it into four and place it in a pocket. I do not want anyone to be able to see it. "

The glimpse is covered perfectly under the natural action of asking the spectator if they have finished their writing.

It is now at this moment, that you move back to the trance-induced spectator, and apparently awaken them.

You will now move into your pocket to pick up your blindfold at the same time securing your thumb writer. As you move back to the tranced spectator you will actually write in the glimpsed number in the gap you left earlier.

Now you will show this to the spectator and openly point to the paper with the number written on it.

The spectator reads the paper.

You then ask him to place the blindfold on. In reality you place the blindfold on him, however, you act as if the spectator was experiencing trouble, placing it on the spectator yourself.

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You now ask the spectator to name the number he was focusing on, the one he transmitted.

He will of course name the thumb written number.

I then have the second spectator unfold his paper to display the number.

Please read through the script to see how we cover the method in words.

Script:

"We will attempt to change things around. In a moment I would like one of you to transmit a number and another person to attempt to pick up on that number. Instead of me reading minds, one you will!

Sir could you come up here and help me.

Perfect. My name is Luke Jermay you are...

(the performer appears to put the spectator in a trance)

Sir, I would like you to become a transmitter. You will transmit a number. I would like you in your mind to see yourself writing a number. In a moment you will do this. When I say you will do this.

Now.

(This is said while the tranced spectator has their eyes closed, they will believe they are the sender. However, you are now handing the board to another person. They will write the number when you say, Now!. Read this through a few times and you will see how the wording allows this to be taken with meaning by both people)

Perfect. Now we need a receiver for the transmitter to send to. I think I have someone in mind.

(The performer now looks to the tranced spectator.)

You guessed it.... It is you Sir. You will pick up on the number.

Ok. Sir, can you come back to me?

(The performer is now standing with his hand on the spectators shoulder waking him from the trance state)

/ have a blindfold to make sure you see with something more than your eyes. I would like you to look at it, its ok?

(The performer is actually at this point tapping the written message, which has the thumb written number upon it, with his first finger. Again read it and you will see that the wording can be taken in two ways. The spectator understands they are to do what the message says, they also believe they are the sender while the rest of the

36

audience believe they are the receiver.)

Ok. I would like both the sender and receiver to focus now, focus on the number. Send it across. Send it across.

Sender; send it now.

(As this is said the performer is standing gesturing to the spectator who wrote the number)

Receiver. Pick up on it.

(As this is said the performer now gestures to the blindfolded spectator)

OK. I think we are done.

Sir I will take the blindfold from you. And sir could you take out the number that came to your mind.

Sir we have the sender and receiver both thinking of a number. Sir what number did you focus on?

(The performer gestures to the previously blindfolded spectator. He answers)

And you Sir?

(The spectator then answers, which matches the previously mentioned number, to everyone's amazement)

FINAL THOUGHTS:

Read over the scripting once again and see you will understand how the wording can be taken in differing ways. Here is the real power of the wording.

I

I POSTSCRIPT

So there you have it. The Coral Fang has taken it's final bite. I sincerely hope you have enjoyed at least one of the effects enough to try it out in your own performances.

My previous works have concentrated mainly on the use of suggestion within the performance of modern mind reading. I have stated before that in order to be able to use successfully the suggestion based material one must first establish that you can perform amazing displays of unusual skill. I hope that this book has provided you with a new display of unusual skill.

I would like to offer sincere thanks to those people whom have helped me along the way, my Mother, Liz Cartwright, Noel Quaker, Jerry Sadowitz, Derren Brown, Andy Nyman, Banachek, Marc Salem, Marc Paul, Ian Rowland, Chuck Hickok, Kenton Knepper, Peter Nardi, Mark Elsdon and to everyone that has been so good to me in support my efforts in the past.

Until next time,

Luke Jermay.

EXTENEDED CREDITING AND INSPIRATION

I left the crediting to a bare minimum during the main body of the text allowing those people that wish to trace the inspiration for a certain piece to do so without it affecting the flow of the explanations. So here are some extended credits for effects in the book which need them.

TOUCHING ON HOY:

As mentioned in the text Touching On Hoy was one of the few genuine gestalt moments in my creative process. The effect basically fell into my lap when I began to think about using the basic idea behind Banachek's PK Touches as something other than the effect of PK Touches. When I began to think about using it as a secret method used to achieve a different result to the normal PK touches effect, the rest feel into place. However it has been brought to my attention that a few other sources need be mentioned.

I cite in the text David Hoys Tossed Out Deck as an example of the duel reality that exist in the revelation sequence of the effect. It is an old story telling technique first used by the late and great Rashomon and is referred to as The Rashomon Principle.

The Rashomon principle states: The truth within a story is relative and subject to different points of view. It is however generally recognised that Hoy was the first person to apply the principle to mental effects. (See Mind Myth & Magick by T. A". Waters for a further developed explanation)

Ted Kamalovich's "Bold & Beautiful Prophecy" which graced the pages of Lee EarleV Syzygy Magazine can also be linked with Touching On Hoy. This effect shows some elegant thinking that has become almost trade marked to Mr. Kamalovich, one of mentalist truly great innovators. He also touches on the idea which I have expanded upon in Psychological Subtitles by Banachek where they together explain the Hoy/Banachek test. A full break down of the psychological forces used in this effect and many other gems of information that will improve your real world performance can also be found in the classic book.

THE DANGEROUS OPENER:

As mentioned in the text this is an effect that comes from unclear origin. It would appear Banachek was the first to perform this plot. In his knife test making use of several envelopes and two knifes. Gary Kurtz later developed his version after seeing Banachek perform his own signature piece.

PK LIPSTICK;

Lior Manor published his version of this effect in the "Animated Miracles" booklet which accompanies Loops gimmicks. He has since applied Banachek's time principle to alter the effect slightly. Banachek's PK Touches seems to be the first practical example of a touch being felt by another spectator in print. It can be found in his manuscript PK Touches.

PRE SHOW SCRIPTING:

For a good overview of what can be accomplished using pre show work one should track down a copy of Lee Earle's work on the subject titled "Melange a Trois" as well as Mark Strivings "Before The Curtain Rises", I would also add that anyone seriously thinking about employing pre show work in their shows should also track down a copy of Marc Paul's lecture notes which deal with the down sides of using pre show work. I no longer make use of pre show work for the very reasons Marc points out in his essay on the subject -1 am publishing this treasured script simply because I do not use it anymore, and even then it was hard to let go of it. The reader will have to decide whether the pro's outweigh the con's of using such methods. However this script for the special occasion can be a killer.

PHONE PREDICTION;

This effect grew out of a want to break the normal thought pattern of an audience when the performer presents a prediction effect. The emphasis shifts from being about surprise and entertainment to the conditions surrounding the decisions made and their fairness. By adding the mobile phone ringing I have provided a surprise element that is very seldom seen in prediction effects. This thinking was spurred on by John Bannon's "Tour De Force" card effect.

Many Add A Number pads are on the market I currently use a model manufactured and sold by Korvai Magic in the UK. However Banachek, Riggs and others have published good models that can be made almost on the spur of the moment, worth finding for that dreaded occasion when your bags do not turn up!

BLINDFOLD SEQUENCE:

The blindfold sequence can trace inspiration from Kenton Kneppers Wonder Words. In which he introduces the notion of duel reality, examples had been in print before hand however Kenton was in my mind the first person to seriously explore the idea and develop workable effects from it. Max Mavens Four Sided Triangle is a great example of such thinking, which might be very well the first in print which can be found in his colour books of mentalism in the Red Volume. The earliest example of this duel reality could be argue med to exist in the classic Korans Medallion effect, however since this effect publication the notion has been expanded upon to become almost something unrecognisable. Bruce Berstein has published some ground breaking work on the duel reality concept in his lecture notes "Perception is Everything". The use of a Perspex clipboard as an impression device seems to be something that has made its presence to the mental community from unclear origins.

Crediting work is a painstaking process that I labour over. I am deeply sorry if I have overlooked anyone. I will finish this book by repeating a statement made in the introduction. This work truly is built on the shoulders of giants.