Art Vanderlay - And None Of Them Knew They Were Robots

AND NONE OF THEM KNEW THEY WERE ROBOTS

ART VANDERLAY

All rights reserved. Copyright Art Vanderlay 2016©

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NOT FOR RESALE.

CONTENTS

4 – δ³Σx² (Theta Sigma) 6 – Ele-Mental 9 – The Familiarity Principle 15 – Elements Of Choice 19 – Easy Peesy Lemon Squeesy 21 – Prediction Impossible 23 – Yhtap Elet 28 – My Last Effect Ever!

δ³Σx² EFFECT:

A participant is invited to think of a “random” word. Let us assume they are thinking of the word “Laptop.” Once done you attempt to read their mind. After a while you seem to be struggling to do so and say to them: “This isn’t working I’m afraid. I don’t think our minds are compatible. There is a way round this however; it is a kind of paradox to be honest and it might destroy the universe if it goe wrong but it’s worth a shot right? I have this app on my phone that allows me to time travel, well sort of... If I figure out the word you are thinking of at some point in the future, I could then call myself in the past and tell myself what your word is!” As you say the above, your phone starts to ring. The name and picture on your phone screen is of yourself. Nervously you answer your phone putting the loud speaker on so that everyone can hear. All of a sudden they hear your voice coming out of your phone! It says: “Hi Art, it’s me, well you really, actually us in fact! Anyway, I’m calling from about three minutes into the future. I haven’t got much time but I just wanted you to know that the word they are thinking of is “Laptop”, Gotta dash, the frabic of time might explode if we stay on the phone for too long! Be me later!” The call is disconnected. You stand there a little bewildered. “I honestly didn’t expect that to happen! I just thought the app was a cheap gimmick but it worked! Just out of curiosity, what word were you thinking of?” They reply that the word they were thinking of is indeed “Laptop”. “Wow! Ok then! Well I guess I had better call myself in the past and let myself know so that I can then get us into this situation we are in now!” You dial your number into your own phone. “Hi Art, it’s me, well you really, actually us in fact! Anyway, i’m calling from about three minutes into the future. I haven’t got much time but I just wanted you to know that the word they are thinking of is “Laptop”, Gotta dash, the frabic of time might explode if we stay on the phone for too long! Be me later!” You hang up the phone. “I wonder what would have happened if I hadn’t just made that call right now?”

METHOD:

So how is this done? First you need for force a word onto the participant. This can be done via a booktest, word cards, verbal forcing, psychological forcing, force bags etc… the main point is that you need to force it onto a participant. If you had time to perform this effect at a later time, you could give them the option of a totally free choice and gain knowledge of their word via an impression pad, peek wallet, billets etc… if you do give them a free choice then you will need to do some dirty work in private before starting the effect. Let us assume you have forced a word. In this example it is the word, “Laptop”. Next you need to own an android phone. There is this fantastic app called “Fake Call 2” that allows you to record your own message and then have your own phone call you at a predetermined time with any number and picture that you like. I simply record myself saying: “Hi Art, it’s me, well you really, actually us in fact! Anyway, i’m calling from about three minutes into the future. I haven’t got much time but I just wanted you to know that the word they are thinking of is “Laptop”, Gotta dash, the frabic of time might explode if we stay on the phone for too long! Be me later!” All that needs to be done is to ensure they are thinking of “Laptop” and have the app do the work for you! After the effect has finished you then need to pretend to call yourself leaving the same message you received. If you were using an impression pad or peek device to discover a freely thought of word then you would need to record the “phone call from the future” in private somewhere. Ian Rowland suggested that when you record the message, make a tiny mistake such as mis pronouncing a word so that when you end the effect by calling yourself in the past, you mis pronounce the word again giving more validity to the effect.

Ele-Mental

EFFECT:

You remove something from your pocket and hold it in a closed fist. You do not mention anything to your participant regarding this but they notice your actions. “I would like to take you on a journey through your imagination. You can do this with your eyes open or closed, whatever makes you feel most comfortable. I would like you to imagine you are stood in the middle of a forest.describe this to me.” They describe the forest. “As you walk around this forest I would like you to become aware of the fact that you are not wearing any shoes. I want you to feel the ground beneath your feet. Feel the soft grass as you walk amongst the trees, I want you to feel as though you are actually there. Take a big breath of fresh air in. Feel the cool, soothing air as it rushes into your lungs. It feels refreshing. As you walk around this forest you become aware of the sun, the firey heat burning down upon you, it’s almost as if you can feel the flames licking the back of your neck. As you keep walking through this forest you come across a waterfall, a perfect place to cool down in the heat. Describe the waterfall to me.” They describe the waterfall. “As you enter the waterfall I want you to feel the cooling water on your body, refreshing, revitalising, you feel more awake and alive than you have ever felt. As you turn around you see a small opening behind the waterfall. It leads to a small cave just big enough for you to enter. You walk inside and see a small wooden chest at the back. Overcome with temptation you open the chest and peer inside. At the bottom of the chest you can see four jars, one jar is filled with matches, one jar is filled with water, one jar is filled with nothing but air and the final jar is filled with stones. Each jar represents one of the four elements, Fire, Water, Air and Earth. Reach inside the chest and remove one jar. Which one did you remove?” The participant replies they removed the jar of air. “Please remove one more jar for me. Which did you remove this time?” The participant replies that they removed the jar of matches. “This now leaves just the jar of water and the jar of stones left inside the chest. One is going to start to stand out to you, it will feel different somehow, almost like it doesn’t belong with the other one. Which jar is this?” The participant replies that the jar of water stands out.

“This is the one that feels different, wrong, like it shouldn’t be there? Then please remove it. You are now left with one jar. The jar of stones. This represents the element of Earth. Do you believe in fate? No? That’s a shame, for fate certainly believes in you. I have been holding something in my hand this entire time, I’m sure you have noticed. What I find interesting is that fate led you here today, if it wasn’t for fate, you wouldn’t be sat where you are and I wouldn’t be sat where I am holding what I’m holding. You chose the jar of stones, Earth. Look what fate has decided for me to hold in my hand.” You open up your hand to reveal a stone. There is a rune upon its face. “Maybe fate is real after all. This stone is marked with this very special rune. The rune means “Good Luck” therefore this is a good luck stone. I would like to give this to you as a present. Please put this stone somewhere you can see it easily. If you ever notice it changing colour then that is a sign of good luck to come. Thank you for taking part in this journey for me, but remember, your journey doesn’t end here.”

METHOD:

Ah yes another equivoque effect. However, this one is one of my personal favourites. The equivoque outlined above is the worst possible scenario. So let’s see what would have happened in the other outcomes: Let’s imagine they remove the jar of earth first. Well then that’s the cleanest effect possible! No need to use equivoque if they remove the jar of Earth first! However, If they remove a jar of something different and then the jar of Earth, we can then carry on with the “One is going to stand out to you…” spiel. This is beautifully constructed so that no matter which one they say you can always force Earth. In the above example they chose the other jar, if they were to choose the jar of Earth instead we would reply with: “The jar of Earth is the one that stands out to you and feels special? Then please hold onto that for me.” The only thing to address now is the colour changing stone. This can be any stone you like but it’s preferable to choose one that at least looks nice. Something smooth and flat so that the rune can be painted on easily. You then need to purchase this: http://www.indestructible.co.uk/aero/thermochromic-paint/thermochromicpaint.html

Thermochromic Paint is a special type of paint that will change colour when the temperature rises. You should get it in black, when the stone is coated in this and then warms up it will turn white. Once coated in the paint you need to then paint on the rune in Red, this is so that it is visable when the stone is both black and white. The rune for good luck looks like this:

When they get home the stone will change colour on hot days giving the participant a “boost” that day believing they will have good luck. It will also make them remember you and will boost your work with them and their contacts. I used this for many year when working psychic fayres, I was one of the most sought after people during these fayres due to this effect.

The Familiarity Principle

Welcome to a new(ish) principle in the world of mentalism. With this principle you will be able to make the mind reading process as easy as the cross cut force. There is no dual reality, no forcing (ish…), no peeks, no writing anything down, no stooges or instant stooges, no confederates, no swami, no impression pad, no secret penguin feeding you information, no playing cards, no gimmicks, no special wallets, absolutely nothing except you, the principle and the participant. This is not a “think of anything” style principle, however with some clever thinking and word play (which will be provided), the participant will be under the impression that they could have thought of anything. This principle has been used before in the past by the great Bob Cassidy, however since then no one has seemed to pick up on how fooling and diverse it can be. No one has attemted to see how far this principle can go in the word of mentalism. This manuscript attempts to rectify that. So what is The Familiarity Principle? In essence you will be requesting for the spectator to think of any word amongst a list of an “unlimited” amount (or just think of a certain subject), once done you instantly read their mind and reveal the thought. Let us look at this in its most basic form; if I were to ask you to think of either a VESICA PISCIS or a CIRCLE but under the condition that you think of the one you are most familiar with, 99.999% of you will be thinking of the circle. To anyone looking at this example it is extremely obvious as to what is going on. However, with a better presentation and a larger list of words the method becomes highly deceptive. Now let’s imagine you have a list of 50 countries in front of you, 47 of these countries you have either never heard of or are quite unfamiliar with, the other three are Paris, London and New York. I then ask you to think of one but insist that you chose one that has a famous landmark you can visualise. This will obviously lead you to think of one of the familiar cities and its most famous landmark (In this example it will be either London, Paris or New York). We have also got round the issue of asking someone to think of the most “familiar” one too. This hides the method to the point that it is almost impossible to backtrack. From here we can now use a very simple fishing sequence or branching anagram to find out the exact thought. By using this principle, we can narrow down an unlimited amount of words that a participant can think of to as little words as you want. My preferred amount of words to work with is between three and five, this seems to be the best amount in my opinion through performance testing to allow the spectator to feel like they have a totally free choice. Now that you know the basics of the principle, let’s have a look at how we can use it in an effect.

Creepy Cryptids

EFFECT:

Whilst discussing all things weird and strange, you bring up the subject of cryptozoology. You explain that cryptozoologists search for animals that mainstream science refuse to believe exist such as dragons, unicorns, cyclops’ etc… Addressing someone in the group you show them a postcard with a map of the world printed upon it. In each country there is an “X” and the name of that countries’ most famous cryptid. You request for the participant to look at each cryptid and to think of any one, however since you will be attempting to read their mind, you request that they think of one which they are most familiar with (Or if you are feeling brave you can bypass the postcard and simply ask them to think of the one that they are most familiar with know or if you are feeling even braver, to think of the one that they know what it looks like). Once this has been done you proceed to read their mind with impossible accuracy.

METHOD:

Now you know the principle involved, let’s look at the postcard I use:

As you can see, there are only a few cryptids on the postcard that the majority of people will have heard of. Whenever I perform this I find the person who has the least amount of knowledge of cryptozoology to give me that extra edge and ensures the principle works. Naturally if I performed this effect for someone who does know a lot about cryptozoology, they will obviously have a wider range of cryptids to think of and my fishing sequence would not work. The actual cryptids that participants will think of will alter from country to country based on what is famous in that area, but in the UK the only ones that are thought of are:

LOCH NESS MONSTER YETI BIGFOOT

The fishing sequence I use is as follows:

FUR – LOCH NESS MONSTER | WHITE – BIGFOOT | YETI

Later on we will look at how to use the above fishing sequence without having to ask any questions but for now I will explain how to do it by using questions. You start off by stating, “I am seeing a lot of hair, almost like this creature you are thinking of is very hairy, does that make sense to you?” If they say NO to this then you know they are thinking of the Loch Ness Monster, if they say YES however, you move down to the next question: “I am getting a strong sense of the colour white, does this make sense to you?” If they say NO then you know they are thinking of the Bigfoot, if they say YES however, you move down again and land of Yeti which must be what they are thinking of. As I mentioned above, depending on where you live you will most likely think of different animals, the first time I performed this for Pablo Amira he thought of the Chupacabra! A

bit of trial and error amongst your friends and family will give you a solid enough grasp of which animals to use. So why does this work? Well for a start we show them a list of the world and we use the phrase “most famous cryptids” when talking about it. This will subtly cause the participant to believe that they should know more about this obscure subject than they actually do, they will want to come across as though they are more knowledgeable than they are and will therefore want to perform well. This will cause them to “accept” the principle more openly and therefore not notice the limiting nature of it. We also ask them to focus on one that they are most familiar with or know what it looks like, the latter is basically asking them to think of one they are familiar with without directly stating it. The only ones they can visualise are the ones they are obviously the most familiar with. Michael Murray has suggested to create a map of the world where you create fake names of the rest of the cryptids so that there is no room for error. This is a fantastic idea and can be used with so many other lists of words. You could use cities of the world, animals of Madagascar, names of cars, football teams, the list is endless. Now let’s look at how to use the above fishing sequence without actually asking any questions. Assuming that they are now thinking of either LOCH NESS MONSTER, YETI or BIGFOOT, we can now use eye accessing cues and other psychological subtleties to discover the correct thought. We start off by saying, “I want you to concentrate on the cryptid you have in your mind, see it clearly, reach out and touch it. If you are feeling fur I want you to imagine stroking its fur for me now. (Pause) If it hasn’t got fur on its body imagine reaching out and stroking its skin for me now.” After your first request you pause, waiting for them to respond, if they are thinking of either the Bigfoot or the Yeti they will do something to give it away, they might say “OK”, they might mime stroking the animal or they might look away to visualise doing so. As soon as they respond you carry on with the rest of the sentence to give the impression that you don’t know what they are thinking of. If they are thinking of skin however, they will not respond to your initial request and you then instantly continue with the rest of the sentence. So to recap, if they respond to your first request regarding the fur then you know it must be either the Yeti or Bigfoot. If they do not respond to your first request regarding the fur then they must be thinking of the Loch Ness Monster and you can reveal it however you like. Assuming they responded to the request regarding fur, we now say, “Can you spell this cryptids name out for me in your mind?” The longer they take to respond will let you know

which one they are thinking of, a short pause would mean they are thinking of the Yeti, a longer pause would mean they are thinking of the Bigfoot. This is a simplified version of Michael Murrays fantastic C.U.P.S which if you do not know I strongly urge you to go purchase it now! Let’s have a look at another example of how we can use this principle.

The Familiar Book Test

Handing someone a book, you ask them to hold the book in their hand, pages facing upwards, and to allow the book to fall open at any page. The page that the book falls open to is used. Looking at said page, the participant is instructed to read the first sentence to themselves and to think of any word that they know the meaning of. You proceed to read their mind with impossible accuracy.

METHOD:

This effect relies on two principles in order for it to work; the first being how to control the book to open at a predetermined page whilst in the participant’s hands, the other is obviously the Familiarity Principle. Let’s look at how to control the book to open at the desired page. This is an updated version on a book test force that Al Mann used to use. Anyone who knows me is aware of my love for Al Mann and this force is something I am highly proud of and think Al would have loved. Al’s idea was to break the spine of a book so it opens at a certain page every time. The way he accomplished this was to ask the participant to hold the book at waist level and to then drop the book onto the floor, which ever page the book opened to was used. Obviously since the book had its spine broken it would always land with his force page opened at. My thinking was to get away from dropping the book. I never liked the idea of dropping books onto the floor so I allow the participant to hold the book in their hand with the spine of the book flat against their palm and the pages facing the ceiling. By simply opening their hand and catching the books front and back with their fingers as it falls open, the force page is always opened to. This force is beautiful as it seems so random and fair. The best way to set up the force is to get any hardback book, not too big and not too small, about the size of an A5 piece of paper. Allow the book to open at any point and then break the spine of the book by bending the front and back cover all the way back at that point.

You will now find that it will always open to that page when you perform the required actions. You can use any page you like too, not just the one it opens to the first time. In fact, for this effect you require a very particular type of page. The above example is merely to show you how to create the force in any book. Now that we know how to force a page, we need to decide on what type of page to use before we actually apply the break in the spine to the book. You need to find a book that is non-fiction, preferably scientific or historical. I prefer to use Neuroscience books since they are filled with words that the majority of people will not be familiar with and its contents fit into the relm of mind reading. Look through the pages of your book, read the first sentence of each page and try to find one where the majority of the words are extremely scientific or ones that most people will not be familiar with. The best amount of “normal” words should be between three and five. Once this page has been found, set up the book for forcing by breaking the spine at that point. Ensure that it opens to that page every time without effort. Now create a branching anagram using the three to five normal words. You now have an “any” page, “any” word book test.

Elements Of Choice Ian Rowland & Art Vanderlay

Start with four business cards or double blank cards or any identical bits of something you can write on. On the four cards, write Earth, Air, Fire & Water. One word on each card. I’ll refer to these sides, on which you’ve written the four elements, as the FACES of the cards. Turn them face down, so you have a little packet of four blank faces. Put the FIRE card on top, but still blank side up. You’ll need to be able to locate this Fire card, so mark it in some way that you like: pencil dot, mild crimp, nail nick, whatever. You have a packet of four cards, all blank side up, the top one has FIRE on the back. Addressing a participant you say to them: “So much of the weave and tapestry of life revolves around four options, four choices. Our lives pass through four main stages: infant, teenager, adult, old age. Each year of your life, you pass through four seasons. East and West plus the north and south hemisphere divides every place you have ever been, or stood, falls into one of those four sectors, and of course there are four points of the compass. Your mind can only perceive four dimensions – the three physical dimensions plus time. We all know there is nothing more important than LOVE, a four letter word. And there are four stages to every relationship: stranger, friend, first kiss and finally, lover. Please write the name of the person you love on this card.” You offer the stack of four cards to the participant so she can write the name, e.g. “John”, on the top blank face. She is writing on the card that says ‘Fire’ on the back, but she doesn’t know this. You openly mix the four cards, keeping the blank faces uppermost, in any way so that when they are squared up, ‘John’ can no longer be seen i.e. the John card is at any position other than top. “There’s one more way in which we can think of life as consisting of four main divisions. It’s the four elements, discussed since ancient times.” Turn the packet of four cards face up, and hand them to the participant to openly mix them. The point is, the participant doesn’t know which one John is on the back of. Lay the cards out in any order. “Earth, Air, Fire and Water. The four elements from which the ancients said everything was made. You, me, the people we love, everything.” Ask the participant to separate the cards into two pairs, using the following:

“Four elements. Can pair two of them up together for me, whichever way seems to make sense to you. Some people put Earth with water together for the obvious reasons, others may put fire and water together as they seem like natural opposite, but it’s up to you.”

There are now two ways this can go, they will either pair Earth and Water together or they will pair Fire and Water together. Let’s look at what happens in each scenario. Remember that we want to force Fire.

Earth & Water are chosen: “That just leaves the odd ones out, Fire & Air. Out of the two remaining, one will start to stand out somewhat. It will feel different somehow, almost like it doesn’t belong with the other. Which one? Fire or Air?

Fire & Water are chosen: As you concentrate on Fire & Water, one will start to stand out somewhat. It will feel different somehow, almost like it doesn’t belong with the other. Which one? Fire or Water?

We are now left with Fire and either Water or Air. We need to force Fire onto them. Depending on how they answer the above question our answer will be slightly different.

Fire is chosen: Fire is the one that stands out to you and feels special? Please pick it up carefully laying it into the palm of your hand.

Fire isn’t chosen: Air/Water feels different, wrong, like it shouldn’t be there? Place it with the others. Please carefully pick up Fire and lay it in the palm of your hand.

“Although it’s said all things are made from these four elements, I kind of disagree in a way. You see, I’m very old-fashioned and romantic. I am. I freely admit it. I think there’s a fifth and more fundamental force. It’s called love. And it alone is imperishable. Air can run out. (Tear up the card that has Air written on it) “Earth can corrode and crumble. (Tear up the Earth card) “Water can dry up.

(Tear up the Water card) “But fires however, fires can burn forever, and what else burns harder and longer but love? For you see, love cannot be destroyed. You may be under the impression that you have been acting under free will here, you mixed up the cards, you eliminated three and selected one for yourself, but you have only been give the illusion of choice. For you see, love will always, and forever, choose you. Please turn the card in your hand over.” The participant turns their card over to reveal the name “John”.

Easy Peasy Lemon Squeesy

This is probably one of the easiest card forces I can think of. With just two steps you can force any playing card. The card I force is the 9 of Clubs. This force employs the classic “Stop Force”. This is how it plays out: “There are four playing card suits, Spades, Hearts, Clubs and Diamonds. Please imagine them spread out in front of you like so.” As you say this your right hand makes a spreading motion as if you are spreading out invisible cards in front of the particpants eyes from left to right. You now use the Stop Force by again spreading your hand from left to right asking the participant to say stop: “Just say stop.” By the time you have finished asking them to say stop, your hand will be towards the last two suits. Once they have said stop you will have your hand over the imaginary Clubs. You then say to the participant: “Just there on Clubs? Ok, nowlets find the value.Imagine that the values of the cards are spread out in front of you from Ace to King like so.” As you say this, your right hands spreads the imaginary deck in the air from left to right in front of their eyes. Again just say stop for me please.” Again you time it so when they say “Stop” your hand is towards the end of the sequence. “You stopped me quite high up again, around an 8 or a 9, shall we say 9?” The participant will always agree with you. I have never had someone question this or want to change numbers. “So you have freely chosen Clubs and the number 9, the 9 of Clubs yes?” The participant will confirm this. And there you have the cleanest force that feels extremely fair to the participant. When I first started using this I was worried that using the Stop Force twice might either give the method away or seem a bit too restrictive so I started using Equivoque for the suits, however this didn’t go down as well with the participants and switching back to the Stop Force for both the suit and value vastly increased the reactions.

This lead me to the following routine that uses nothing but the stop force:

Using The Stop Force For An Any Card At Any Number Effect By The Extremely Handsome Yet Ever So Modest Art Vanderlay (Or: U.T.S.F.F.A.A.C.A.A.N.E.B.T.E.H.Y.E.S.M.A.V)

EFFECT:

A participant is asked to decide on a number from one to 52. They are then asked to decide on a playing card. A sealed deck of cards that has been on the table the entire time is opend by the participant, they remove the cards and deal down to their chosen number. The card they selected is at that position.

METHOD:

This requires a little bit of thinking on your feet. Depending on what number they select you will have a bank of 9 cards to work with. The number is arrived at by using the stop force outlined above. This time you give them a slightly more free choice as when they call out “Stop”, you time it so that you are around the 30 card mark. You then say to them: “You stopped around the 30 cards or so mark, so 30 something, you tell me, 30 what?” Let’s say they said 36. Unknown to the participant, cards 30 to 39 are known to you. Use the first 9 cards in the stack that you prefer such as Si Stebbins, 8 Kings etc... Once you have figured out the card you need to force it on the participant. If we were using Si Stebbins we would need to force the Three of Clubs. You already know how to force a high card so in this case instead of moving your hand from left to right, you would move it from right to left going down the values. You might say something along the lines of: “This time i’m going to go down in value from King to Ace, just say stop for me.” You have now got the number 36 “forced” and the card value of 3 forced. Finally you force the suit of Clubs again using the stop force.

Once all three have been forced you recap that they chose the numbr 36 and they chose the 3 of Clubs. I sometimes say the following: “You could have changed your mind at any point but you didnt, you stuck to your guns.” A lot of people think that you need to offer them the choice to change their mind in order to use the above statement however, you do not. Just say it. The particiapant will remember the effect in a more exaggerated way anyway so you might as well plant some false memories in their whilst you’re at it! All there is to do now is to ask the participant to remove the cards from the case and count down to their “freely” chosen card.

Prediction Impossible

EFFECT:

A prediction is made on Facebook. It predicts the outcome of a sporting event/election/talent show winner/what your nan had for breakfast/newspaper headline/important world event etc... the list is endless. The prediction is 100% accurate and can even have comments from various people underneath regarding the prediction.

METHOD:

There are two ways to achieve this. In one version you can even have other people commenting on your prediction! I prefer to use the second variation as there is less work to do and you do not need to write anything in advance.

Version 1

In this version let’s imagine there is the “Britian’s Got Talent” show being broadcasted. It has got to the live shows and 10 acts have gotten through, all willing to show the world how desparate they are to be famous. What we need to do now is to make 10 spearate posts on facebook with the privacy settings set to “Private”, each one predicting a diffrent winner of the show. Once these 10 posts have been made, ensuring they are all private, you wait until the winner is announced. As soon as you know who has won the show you go onto Facebook and make the correct post public. It will appear in your timeline on the same day and time as you posted it with any posts you made afterwards still above it on your feed. If you created a separate Facebook page just for use of this effect, you could add some close friends who are also magicians. Once the 10 predictions have been posted on your timeline, you set the privacy to “Just Friends”. Your friends can now post on each of the predictions with comments such as: “I hope you get this right, I have bet a lot of money on them!” Or: “They will never win!”

Or whatever they want to post. Once the winner is announced, you make the correct post pubic and it will have comments from various people underneath giving more validity to the prediction.

Version 2

This version is much easier to do as you create the prediction the same day as the result, the downside is you cannot have comments on the post until you have posted it. When you make a post on Facebook on your own page, you will see either a clock symbol or a calandar symbol just below where you type your message. By pressing this you can decide the year, month and day that your status gets posted. Let’s imagine again that “Wannabes Got Talent” is on and its the grand final. Another dancing dog act has won much to the dismay of the entire planet. As soon as the canine pole dancer has been announced as the winner, you pop onto Facebook, create your “prediction” and then set the date for one week in the past. Your timeline will now have a post uploaded that looks like it was posted a week ago accurately predicting the winner of the “talent” show! Use this wisely!

Yhtap Elet EFFECT: 10 index cards and 10 pencils are distributed amongst the audience. Upon receiving the items, the lucky spectators are requested to draw a simple picture upon the index card and then fold it into quarters. These index cards are collected by another member of the audience who places them into an envelope which is then sealed and kept by that same audience member. The performer then attempts to locate the most “psychic” psychic person in the room. He jots down a two digit number onto a index card and asks various people from the audience to call out two digit numbers. The person who “psychically” received the two digit number correctly is requested to join the performer on stage along with the audience member holding the envelope. The audience member holding the envelope tips the contents into a glass bowl and selects one at random. The same audience member opens the index card and focuses on the drawing that they can see inside. The performer gives one or two hints and tips to the most “psychic” member of the audience on how to read the other audience members mind. The most “psychic” member of the audience starts to read the other audience members mind and is eventually handed a pad and pen by the performer. The most “psychic” member of the audience draws something on the pad and holds it against their chest. On the count of three, the audience member concentrating on the drawing which they saw on the index card states loud and clear into their microphone the image they are thinking of, at the same time the most “psychic” member of the audience turns their pad around to show the audience. Both match. ~ An impromptu version is also given at the end of the ebook METHOD: This effect was born out of the Al Mann publication The TKares Set. In this effect, five members of the audience draw something onto cards and seal them into an envelope which is then handed to another spectator. The same spectator then removes a card and you duplicate its drawing. This repeated a second time and for a finale, the mentalists reveals all the spectators drawings including ones thought of by audience members who never even drew anything! This effect is still brilliant and anyone who wants to do a multiple drawing duplication whilst also revealing images that were merely thought of then I highly recommend his work.

However, after using The TKares Set for many years I decided that I wanted a drawing duplication whereby another audience member read somebody else’s mind and revealed the drawing. It occurred to me that if I already knew what drawing the spectator would think of, it would be an easy matter of me then coding the drawing to the second spectator in a way that they still felt like there was some sort of “magic” going on for them. To a very small extent we will be employing the use of Dual Reality, however as I mentioned above, the way in which it is done still leaves the spectator with a mystery for them and neither spectator experience a different effect. Technically it isn’t Dual Reality at all, however there is obviously a method behind the effect which we will come to soon. There are three parts to this routine; Finding the most “psychic” spectator in the audience, forcing the drawing on the other spectator and then coding the most “psychic” spectator the drawing. We shall deal with each of these separately. Finding The Most “Psychic” Spectator This is accomplished by using the mentalists best friend - The Swami Gimmick. Simply pretend two write a two digit number onto a small pad of paper behind your back. Bring it out and “check” your writing, chuckle at the state of your handwriting and then request the audience to think of a number between 1 & 100.This little chuckle you do is a vital part of convincing the audience that you have written the number behind your back and not after the fact. Naturally your handwriting will be a little off when using a swami gimmick, unless you are some kind of prodigy, therefore your chuckle ensures that the audience know that you realise your handwriting is dreadful due to it being done “behind your back”. It also adds as another convincer since why would you chuckle at a blank piece of paper? Only a mentalist would… Point to several different people in the audience asking them to call out their two digit number and whenever you think someone would be a good participant, swami a number that is two digits off their number onto the pad and proceed to carry on asking a few more people.Eventually you can point back to that person you mentally selected and ask them to stand. You reveal they were only two digits off your number so by “Official Psychic Research” standards, you have found the most psychic member of the audience! Another way of bringing someone onto the stage is to ask the spectator already onstage to point to someone who they feel some sort of “connection” with. This could be a spiritual, psychic or even an unknown feeling of connection but once they have someone in mind, they are to point that person out and bring them onstage.

Forcing The Drawing This is achieved using any form of two way switch envelope. (I you are unaware of two way switch envelopes, they are envelopes that allow one item, or many, to be switched for different ones without the audience knowing. These can be veyr handy for predictions or forcing thoughts onto participants) I prefer to keep things simple so I always use two envelopes glued back to back. The billets containing the real drawings are placed into one side of the envelope. I then seal it and then go into some patter about how random the drawings could be, at this point I turn the envelope over so that the side which has the real drawings in are facing away from me. The side that faces me is filled with ten billets each with a CAT drawn onto it. After my patter I sign the envelope and hand it to the participant. This ensures they will open the envelope at the desired side. Inside the force side of the envelope you have ten folded up index cards. Each one has the drawing of a CAT inside them. When the envelope is opened and the contents dumped into a glass bowl, ask the spectator to throw the envelope onto the floor. This will ensure that they do not hold onto it for too long and discover that there are other index cards hidden inside. They select any index card and upon opening it they will obviously find a drawing of a Cat. This they concentrate on as you move on into the next phase of the routine. Coding The Audience Member Once the first spectator has opened the index card and had a look at the drawing, we know for a fact that they will be thinking of a Cat. The next thing we should do is look at the spectator who is thinking of the drawing for a few beats, study them and attempt to look like you are trying to delve into their mind. This gives the impression that we are “reading” the spectator or at least figuring something out about their drawing. This is VERY important due to what you will be saying to the most “psychic” spectator soon. Eventually you smile and then turn to the most “psychic” member of the audience. First, you inform the rest of the audience that you need to speak with them privately for a few moments. As you lean towards the most “psychic” spectator to whisper in their ear, disconnect your microphone so that the audience cannot hear you and then say something along the lines of the following to them: “Right now, judging from her body language, involuntary muscle movements and the type of person I believe her to be, I am pretty confident that she is thinking of either a Cat or Flower. I’m not too sure which one at the moment so we need to read her mind a little bit more first. This, my friend, is where you come in! I want you to look at her and really try to read her mind. At some point I want you to ask her if she can count how many letters there are in her drawing. If she doesn’t hesitate then it is obviously the Cat since no one has to think about 3 letters. However if there is some hesitation when you ask her the then its going to be the Flower since there are six or seven letters in that word. Does that make sense?”

The spectator will confirm that she understands you. This above script is VERY important, you want the spectator to still be amazed by the routine. How did you know that they were thinking of either a Cat or a Flower? They will also be impressed that they got the right choice too! You then turn to your audience and say something along the lines of the following: “Just to confirm to everyone here, I didn’t say to you, “Wow! You’re extremely gorgeous and fantastic! Please play along and say, you know, “whatever” word and be a good sport for me! There‘s a fiver in it for you!” I merely gave you some hints and tips on how to genuinly read her mind correct?” Again the spectator will reply in your favour. Once this has been done you allow the most “psychic” spectator read the other spectators mind. You may need to help them along if they are nervous but as soon as you know that they have correctly discovered the drawing you hand them a large pad of paper and a pen. You instruct the most “psychic” spectator to draw what they think the other person is thinking about. This gives you the opportunity to check to see if they have drawn a Cat or not. 99% of the time they will have drawn a cat due to the method employed. If they have drawn a flower then it does not matter as we ask the most “psychic” spectator to write the word “Cat” below the drawing of a flower just in case! “I think so too, but just in case, write the other word below. Just to be on the safe side!” On the count of three the spectator concentrating on the drawing names what they are thinking of and the most psychic spectator turns their pad around to show both thoughts match! Additional Ideas 1 - Some people would prefer to use a switching box instead of an envelope, the best one I have come across in my opinion is The Open Billet Box by Steve Pellegrino. This can be purchased from www.lybrary.com and for only $9.95 you will get the instructions on how to build the easiest and most practical billet switching box for the professional worker & hobbyist on the market. (The only reason I use an envelope for this effect is because I prefer the spectator to hold onto the envelope for as long as possible, this helps dissolve anyone thinking I somehow switched the drawings. Also, I use The Open Billet Box for a Q&A act later on in my show and using it twice would be stupid.) 2 - If you own Banacheks Pro-Folio or the Kozar Pad then you will be able to figure out how to achieve the same effect using those items. 3 - Instead of having the billets folded up you instruct your spectators to insert their cards into the envelope drawing side down, then when it comes to forcing the drawing your spectator can reach inside the envelope and take one at random.

4 - Ian Rowland gave a fantastic demonstration of his “30 Second Pre Show” during his Penguin Live Lecture. By asking the first spectator before your show to think of either Cat or Flower you could have a very clean looking stage effect. For full details on the 30 Second Preshow please refer to Ian Rowland’s fantastic lecture. 5 - Another idea is to use the standard Dunninger Ploy. Ask everyone in the audience to think of a word that they could easily visualize. When you bring the first person onto the stage you ask them out of curiosity what the word was and then proceed from there. 6 - If you own a Cerebro unit then you could cue the spectator onstage as to whatever word you want them to think of. This falls into the category of Instant Stooging which some of you, including myself, are not to fond of. 7 - By using Pre-Show, you could either force a design or discover a freely thought of one and then use the same spectator during your show. For more information on how to correctly use Pre-Show, please refer to the works of Ian Rowland, Marc Spelmann & Peter Turner.

My Last Efffect Ever!

EFFECT:

Predict the future!

METHOD:

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