Anate Extended

Anate :: Extended Anate is a linguistic technique that I released to the magic world last year after much testing and development. Since the initial release, I have continued work on the principle and have heard from many magicians over the last so many months regarding new routines, thoughts and outs that they use. I have put together this supplement for the original Anate manuscript to details some of these further developments. This is intended as a supplement to the original ebook, so I won’t go over the original scripting. I will include additions to the original script which can act as strengtheners to the initial force. Without further a due, thank you for purchasing, take the time to read through the manuscript and lets blow some minds. DC

Strengthening Techniques and Outs This first chapter I’ve dedicated to extra scripting to strengthen the force, this is ideal for people having some difficulty as it adds further layers of implication. We’ll also discuss the thought of using a dual reality in the force, this will allow for a 100% hit rate, thought it will be creating a different effect for the participant and the other audience members. Finally, we’ll talk about building lines into the script to allow for particular outs. Script Additions When Anate was first released, the forums erupted with all sorts of comments, both negative and positive. One thing that I noticed was a comment from Devin Knight, he mentioned the addition of an extra line before the script, which for him made it completely foolproof. The noted line is as follows: “I’d like you to complete this sentence for me…” I thought that this was a fantastic idea, the thought of activating the correct mindset before the script. So I looked further into it – I wanted it to sound less like a command, but to have the same effect. “Do you ever get that feeling, when you finish a close friend’s or lover’s sentence – I’d like to try something like that now, an experiment in synchronicity. I have a card here…” The inclusion of this sets a nice frame for the effect, sounds a perfectly logical thing to say and has the effect of the aforementioned line. The counting technique Another psyche leading that I stumbled on to quite recently, but it works beautifully, even without the ANATE force in place. It’s again a very simple technique, but a nice addition to the script or as opposed to using ANATE. “I’m going to have you think of a number between one and ten ok? So in your mind you’ll go one and two and three and four and five and so on and so on – You can do that for me?” Essentially the leading behind that is that we’re finishing their count on 8, but because we’ve replaced the last two numbers with “so on” it’s quite invisible. I also gesture as I count thru, making a point on each number to emphasize gently.

Building up the out I think when there’s the possibility of a miss, it’s always wise to build up to the out – i.e. briefly mention something that makes the change of pace logical when the technique fails to hit. My preferred out is the effect LOKI, which I’ve included here, but first we’ll learn how I transition from an ANATE miss to a powerful presentation of LOKI. “People excite me. Their thought patterns and the concept of making educated guesses at what they’ll do next or how they’ll react to a certain situation is a fascinating pass time. I’d like to try something with you now, an experiment in action predicted. I need you to be open to this and allow your subconscious to make your decisions; we’ll try and create something incredible together. Ok? Great.” Now comes the most important part. Something that is very subtle and will be forgotten completely if not used, but frames the piece perfectly if it needs to move on to become LOKI. Simplicity is key here – Almost as good as the word “an.” “First, I’d like you to hold out your hand.” Place one of the 8s on their hand ready to perform ANATE. Did you catch it? The word “first.” It makes all the difference. It says that this little test is before the actual experiment. This is only called on however if it misses, like the following: “The number 2. Interesting – That tells me a lot about you and I think that from that pre-test you will be IDEAL for this experiment. I have 3 poker chips here…” From there you are perfectly driven into LOKI, which I will now explain in full. This was originally published in my book “Pieces @ 3am” available from www.Mindlapse.net Loki - Poker Chip Location The performer takes out three poker chips of different colours. Out of sight these are mixed and a spectator is asked to place each one in a different pocket while the performer’s head is turned, or he is blindfolded. The performer turns around and reveals where each chip is located through supposedly reading body tells. This is a very simple effect to perform, though looks incredible to all those present – all needed is three different poker chips, I use a black a red and a white. In place of these folded business cards can be used for a completely impromptu presentation. The secret? You just need to keep track of the location of the chips. Told you it was

simple! I use an alphabetical stack – The chips go in order, Black, Red and White. What makes this convincing is that the chips are apparently mixed out of sight. In reality, the order is just reversed. I’ll have the chips in my left pants pocket and take them out as I begin my script. I’ll casually re-order the chips in my right palm so that they are stacked (from bottom) White, Red and Black. I explain that I’ll mix up the chips and cup my hands around them and shake, apparently tossing them around and mixing the order. In reality, when I cup my hands around the chips, I flip them over so that they are in my memorized order and then just shake so that the chips rattle as they impact one another, but the order doesn’t change. I also turn my head away at this point so that I cannot see my hands – I feel that this is an important convincer and psychologically impacts on the destruction of thoughts of a pre-determined order. This is also the reason that the chips are flipped, people aren’t going to remember the order the chips were in, as you haven’t told them what you are doing yet, but they may remember if it’s the same image they are seeing. A simple flip of the chips prevents this uncertainty! After I feel that the chips are suitably ‘mixed’ I keep my head turned away and open my hands so that the chips lie spread slightly. I adjust these casually so that the black sits on the heel of my hand, the red on the palm and the white on my fingers. I use the order and these 3 zones of my hand to identify which chip has been taken. Outstretching the left hand with the chips lain in position, in order, with the head still turned away, I will ask the spectator to pick up one of the chips. I make sure to pause so that they complete this task before moving on – if you are dealing with a trickier spectator and you immediately say take one of the chips and place it in your left pants pocket, they may try and catch you out! So, you will ask them to pick up one of the chips, say the pick up the black, you then say: “Now please place this in your left pants pocket and let me know when you are done” Now you know that the black chip is in the left pants pocket. You need to simply repeat this process for the right pants pocket and then ask them to hold the final chip in their outstretched right fist. At this point I’ll make sure that they are finished and then turn around.

I use a script based around body tells, so I’ll go into the concept and then grip their fist in mine and place my hand on their shoulder. This creates a really nice frame for the rest of the audience and also breaks the contact barrier between this spectator and yourself, so it’s a perfect effect to open on. I’ll say the word ‘black’ as I look them in the eye. I pretend to read their reaction to the word and announce in a slightly unsure way: “Left pocket – Please show everyone!” I go from there to reveal the chip that’s in their hand: “Ok, lets try for the chip in your hand” I stare at them for a moment and announce the relevant colour. “Which of course leaves the white chip in your right pant pocket! – Thank you very much!” This is such a simple and direct performance in effect and method. As mentioned, I use a body tell style presentation, which I find works very well for me as an introduction to that false explanation. If you are more of a psychic entertainer, or a bizarrist – you may find that an energy field reading or with a thumb writer, maybe a precognition routine will suit. Other outs and out advice The inclusion of LOKI brings us right to our next subject – Further outs. Essentially my theory on outs is that unless I can cover every outcome, I will want to cancel the experiment altogether, erase it’s existence from the audiences minds by either posing it as something else or making it insignificant. I think the scripting I’ve used for LOKI is quite comprehensive, even if you’re not using LOKI – any effect of a psyche nature would suffice! Other outs can of course be used, and that’s what I’d like to talk about here. A few people mentioned to me the use of a brainwave or invisible/ultra-mental deck for practicing the script. Using either of these means that you can practice to your heart’s content and not worry about missing. When you’re confident enough you can move onto using just a single card if you wish to equivoque the suits, or a packet of four eights. Any name a card style effects or indexes could be used as an out or practice tool for ANATE, some of the best I’ve used are Kollosal Killer, Bang-On and Daniel Madison’s Advocate. Applications and Effects

I only really described the flagship effect “Simplex Killer” in the original manuscript, so I’m dedicating a lot of this supplement to the inclusion of ideas for applications and routines. I’ve been kindly granted access to a number of people’s personal ANATE routines and for that I am grateful to all the guys who have submitted effects below! A(nate)CR – Chris Lafferty Chris has a knack of putting together awesomely simple routines with a real magical twist. Being a magician as opposed to a mentalist, this is Chris’ personal take on ANATE and the routine he’s been using for some time now. The first phase is simple; you will ask the spectator to think of any card from the shuffled deck. Use the anate method to give the illusion that the thought of card has risen to the top of the shuffled deck. Obviously, the anate card just starts on top of the deck. You can false shuffle or cut to your hearts content, so long as the cards on top, you're already a step ahead of the game. At this point, you can have the card signed and proceed with your preferred ACR. I don’t know what else I can write, as everybody’s ACR is different, and from that point, it would go back into 'regular' territory. I suppose, we could forego having the card signed at all, and as we show the card is on top, angle the deck away so that the cards identity is seemingly still a mystery to us. Then, for a final phase, we could reveal a prediction on the card box, proving that not only did the THOUGHT OF card travel to the top of the deck; we also impossibly knew the identity of the card ahead of time. I like this idea for a more involved finaleAfter the card has risen to the top of the deck a few times, set the deck down, and name the card. At this point, the spectator should think that this is the first time you have known the identity. Now, remove three other decks from your pockets, open the case, and ribbon spread all three, revealing the three mates of the anate card reversed in the middles of those decks. Perhaps a line like this would suit"It would appear that the relative movement of your selection has somehow caused its mates to move relatively themselves..."

Pseudo Logic – Steven Dylan Palmer

This is how I present my version of Dee Christopher’s “Anate” force. I use it as my “Card to pocket” routine. I have a high success percentage of getting the card named to the 8 of diamonds, with my following method. If the force hits then great, if not I still have an amazing and direct effect, using the old ruse of being “One ahead” on a playing card. Method: 1) Run through a deck and cull the ace of spades to the top of the deck. Do this under the cover of toying with the deck. These actions are covered under the following patter “Let’s try something...have you heard of telepathy? Essentially it’s when two people connect over a single thought. I’d like to keep this simple and use something I’d imagine you are familiar with, playing cards.” 2) At this point I run through the deck and remove the eight of diamonds, and place it into my pocket, it’s an important point to make here that as I make eye contact and remove the card a bit at a time from the deck as if I’m considering which card to go for. I place the card in my pocket and proceed with the following patter, “Right now, I want you to think of a card from in the deck, please don’t just think of your favourite card, and also it’s not an ace or a picture card. I could second guess those and want this to be more interesting, I want you keep an open mind. Let’s do the number first, it could be a two or a three, but now I’ve mentioned those and you might not want to go for them...In the fact, the card I have in my pocket its an..(I raise my vocal tone here and almost begin to say eight; this is of course Dee’s clever idea in action. I do this as I gesture for them with my hand out to prompt them to finish the sentence for me). If the spectator says an eight, then your first job is done. Notes: I’d like to explain the patter I use for the above sequence, you have aimed the spectators mind away from an ace or picture card by deeming these easy to guess and making the point that a number card would be more interesting, which many people have said to me after me performing the effect on them. A wise lay person will be aware that a guy is probably more likely to pick an ace over another card, similarly females are prone to choosing a queen. The patter aims the spectators mind at the mid number range, especially when you name the two and the three also. Through many performances I’ve found that this has increased the hit rate a lot when I’ve performed this. Method continued: 3) If the number force hits, then I’ll try and force the diamonds also by using the following patter “Great, let’s go for the suit, imagine the number and the suit in bold and vivid colours in your mind (as I say those lines ill place my hands together with my fingers and thumbs outstretched, with the thumb and index finger touching to mimic a crude diamond shape). “Now put those two things together and tell me the card you have in mind”.

4) Ill snap my fingers at this point, as I ask them to name out loud the card. This stops them from thinking too much about their choice or changing their mind. I find this increases the chances of “diamonds” being the suit named. A high percentage of the time they will name “8 of diamonds” when I snap my fingers. If so have them remove the card from your pocket, or very cleanly after showing your hand empty remove the card from your pocket. You have a miracle, try and keep as straight a face as possible. 5) If of course they don’t name your force card, I proceed in the following manner. Let’s say they name “6 of clubs”. In reply in the following manner “really? That’s interesting,” I start to spread through the deck and remove whatever card they have named, I openly remove the card and drop into the top of the deck, being cautious not to flash the face. “Is that the first card that came to mind?” I watch their response, and regardless of it, I say “...It’s an interesting choice because so many people try and double bluff me when I say don’t think of an ace, they choose the ace of spades.” At this point I do a necktie second deal and show the ace of spades, which has been on top of the deck since the beginning of the routine, posing as the card you just removed from the deck AFTER they named their selection. I place it into the middle of the deck as I flash the face of the ace one last time. As I push it into the deck, I make eye contact again as I top palm the six of clubs of the top of the deck. “It’s the weirdest thing, remember the card I put into my pocket?”. Often ill charlier cut the deck in my left hand to take the heat off the my hand with the card palmed. Say the above line this whilst making eye contact and then place your hand with the card palmed into your pocket and allow it drop in front of the card (eight of diamonds in this case). And grab it by its extreme top edge and remove it slowly and at fingertips. A nice point I find helps me sell this, is if in my internal dialogue I’m telling myself is that this is the card I placed into my pocket at the start, it dispels any guilt that the spectators may subconsciously pick up on. I raise it face height and turn it around and enjoy the reactions. This is a strong effect. Credits: I first read the idea of using a “dummy” card to get one ahead in a John Brannon routine. I believe it has its roots in Francis Carlyes “Homing card” routine. Ben Earle has some fantastic work on this principle.

Anate Epic – Dee Christopher

Mental epic is a great routine, tends to use gimmicked boards however, which I’m not really into usually, however, I think the best mental epic board is Marc Oberon’s “Epic Pad” which should be checked out by all as it’s a fantastic and very organic looking prop! This routine could be very easily applied to any other epic routine, ANATE is of course instead of the forcing of a card or similar for your last phase. Of course “eight” is written in the final square under the moving piece of the board to act as our force. The routine I use goes as follows: “I’d like to try something right now, I need three people for this, we’ll choose as we go along.” I take out my epic pad and I’ll write the force number “eight” as a WORD on the first square, beside the moving part. I write it as a word because what I’m about to ask them, what I’ve pretended to predict is a word. I then place the cover over the square and turn the board around. “I’ve just written a city on my pad here, under this square. I’d like you to name your favourite city, pull from a memory for me – a special time you had there. Paris? Great choice – What was you memory? Amazing. Let’s move on, to the present perhaps. Let me just write down something here in the 2nd square.” I’ll then of course write Paris in the 2nd square, (which is the 1st square on the moving part of the pad) as if it was a prediction of what I’m about to ask. It’s then covered as usual. “I’ve just written down here the name of a popular bank. Sir, would you be so kind as to select any of the cards in your wallet and let the audience know which bank you use for that account? Barclays? Perfect” I now have a prediction of a past event, a prediction of a current event. This is where ANATE works so beautifully, you’re predicting something that genuinely hasn’t happened yet. “So, I’ve predicted a past event, a current piece of information, let’s move onto something that hasn’t even happened yet.” I’ll then write Barclays onto the final square before shifting the moving part to the finished position, revealing the “Eight” that we’d already written below as a force prior to the performance. I’ll then simply go into the ANATE script to force the number. There is no out for this, not that I’ve discovered yet, however, I do have a nice line for if it ever does miss: “Paris, and Barclays, both of these I managed to predict accurately. I had the

number 8, you were the number 6 right? Two outta three isn’t bad – It really goes to show, as a mind reader, I can pull your thoughts from your head, but your future, well, that’s really is up to you to do with, as you will! Thank you very much!” I think as a mentalist, to miss every now and again gives much more realism and validity to what you’re doing – it makes it look much more REAL than if you hit absolutely everything. Broken Watch – Titanas and Dee Christopher Titanas is a close friend and a great thinker in magic. He took the ANATE force and applied it to a Russian roulette routine using 10 paper cups and a watch. We worked on the methodology together to create the simplest and most effective handling. You will place 10 cups out on the table; the watch goes under number 8. Using the ANATE force, you can have the correct cup forced and you don’t have to touch anything. So what happens if they name the wrong number? You need to have prepped and in your left fingers a slip of paper palmed. On the paper it says: “I KNEW you’d choose this cup – Evidently I was right in thinking that you’d miss the watch under number 8, I get the feeling that you didn’t go with your first instinct though!” This is a cleverly worded prediction, you imply that you know where they are going to choose, but also you provide reason not to put the watch there. It’s a simple dual reality in the line “I get the feeling that you didn’t go with your first instinct though!” When you read this out and show the paper, it implies to the audience that number 8 was the cup they were going to go to first, but changed their mind. To the participant, it simply means they changed their mind from one number to another, which is likely to have happened if they didn’t fall for the force! So, assuming they name an incorrect cup, you go to lift up the cup they name with your left hand and simply drop the paper under the cup as you lift it, similarly to how a cup and ball magician might load a cup. You will then step away from the table and have someone pick it up. It’s read out and then all the other cups can be checked, as you are perfectly clean!

Thought of card under watch – Lloyd Barnes

Lloyd is a good friend of mine and we’ve worked together in the past on various releases. Lloyd’s ANATE routine is a very simple but extremely effective one. He’ll have the 8 he wants to force folded into quarters and finger palmed in his right hand. His script is as follows: “Sir, can I ask you to hold your hand out palm up please, a bit lower in fact, there is perfect. Now, I’d like you to stare at your palm and we’re going to try something special…” You’ll note in the scripting above the “a bit lower in fact” line. This is where Lloyd secretly slides the folded up card underneath the participants watch as he moves their hand down with both of his hands. You will then proceed with the ANATE force and equivoque the suits to whichever 8 you have loaded under the watch. I make a note to step back as I begin the ANATE script, as I’m nowhere near the participant when I ask him to look under his watch. I’ve only performed this a handful of times, but Lloyd does this ALL the time and KILLS with it – I’d urge you to try it out!! Bank Night (Anate Practice) – Titanas This routine is very simple, a perfect practice for anate that Titanas came to me with. You will have ten numbered opaque envelopes, each with a slip of paper the size of a bank note/dollar bill inside. You will also have a thumb tip on your thumb with a folded up bank note. The idea is that you will try and force the 8th envelope, you tell the spectator that they can select 9 of the envelopes, one of them contains a £50 note, the others contain simply slips of paper. The ANATE force has ZERO impact on the routine, though when you’re confident with the force, you can base a real bank night routine on the ANATE force alone! So, you will run the ANATE script and if it hits you can be confident in knowing that you’re building the skill, this will be the first envelope they get to keep. If you miss, don’t worry! Try again later! Nine of the envelopes will be eliminated in the same way. The spectator gets to open all of his, each one containing a slip of paper! You can then triumphantly open the envelope you are left with, ditch the thumb tip inside and pull out the bank note you had hidden within! This is another very effective way to practice, as there is no risk involved. I suggest

dropping ANATE into effects like this, not to have impact, but just to test it out until you find your feet. Plagued (Anate Stigmatism) – Dee Christopher It’s no secret that I LOVE body revelations. This one came to me when I was thinking of something COMPLETELY different that we wouldn’t go into here. I’ve drawn influence from Houchin and Banachek’s routine “Stigmata” which is a favourite of mine and incredibly strong! Go buy it quick! The effect is as follows: A spectator is asked to place their hand onto the magician’s chest. They are asked to name a number out loud and to imagine in saying that word that they are branding the magician’s chest – They may even feel a burst of warmth at the time. The number 8 is named and when the magician’s shirt is lifted, a handprint has been visually burnt onto his skin, but there is an 8 shape missing in the middle! It’s a crazy effect, but you must set up a few minutes before, making it more suited to casual performance where you can nip to the bathroom to set up. The burn is a cheeky one, I won’t detail the “Stigmata” secret here, as it’s different, but works for a similar reason. Have you ever spanked someone? Yes. I did read that back to myself and cringe at the words I’m penning. If you slap skin hard enough with an open palm and fingers, you will leave a hand print which will stay for upto 10-15 minutes after the impact. My idea was to use this as a reveal. All you need to do is cut out a number 8 from card and glue it with repositional glue to your chest, or where ever you wish to do the reveal (arms, legs, anywhere will work!) prior to the slapping. I chose the chest as it’s easy to slap your chest and it creates a nice frame as their hand is over your heart. When you slap, because the card covers an amount of skin, it won’t get the impact and won’t inflame like the surrounding handprint. It’s a simple method, but a devastating effect. I must note that this would also work with any kind of red spray paint if you wanted it to stay longer and hurt less! You can spray your hand with the paint and LIGHTLY press it over, so the 8 acts like a stencil. Make sure it’s only a bit red though, we want it to look burnt, not painted!!

Revelations

Sometimes you don’t want a full routine; you want to keep it short, sharp and to the point. This section, this LIST is simply supposed to spark your imagination further, so have a look through and open your mind to the possibilities! • • • • • • • • • • • • •

Reverse an 8 in a deck of cards Get a ‘number 8’ ink stamp from a craft store and stamp their hand with the number. Use Cronos or something similar to secretly set their watch to 8 o’clock. Alternatively, have your watch set to 8, miss call the correct time and pretend to move the hands of the watch while they hold it face down. Get a number 8 tattooed or drawn on your skin and have them hold their hand over it (through your clothes, so they can’t see!) then reveal. Hold up 8 fingers behind your back and have them name the amount of fingers. Have them guess the distance between to objects. (That you’ve placed 8 inches apart!) Have them guess what track you’re listening to from a CD. (The 8th track of course!) Have them guess a particular digit of your phone number. Have them guess a map reference of a particular landmark. (When combined with a letter force) Have them guess how much money is in your wallet that is sat on the table. (£8/$8!) Have them guess which house number you live at. (If you don’t live at number 8, lie!) Have them guess the number of people that are on a folded up photo that you hand them. Simply write the number 8 on a business card, put it in their hands and use the force.

So there you have it, I’m sure you can think of many more ways to reveal! Before I finish the manuscript, I’d like to note something else about the force. The word “An” is a very powerful one. It doesn’t only limit the choice of numbers between one and ten. Look at its usage in normal wording and grammar – An orange and An Apple are the only two common fruits preceded by our special word, An Elephant is one of the only common animals. This little note was something that quite a few people emailed me about after release and it takes the force to a whole other level. Perhaps we can visit that further next time. Thank you to all who contributed or inspired any thoughts here, I hope you the reader have enjoyed and I look forward to speaking with you soon! DC.