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Dale’s Little Red & Silver Book

By

Dale A. Hildebrandt

Warning: Many magicians and mentalists will NOT like this book as it deals with subjective realities brought to light in a very forthcoming manner. My most controversial manuscript yet. Drawing from everything from Alchemy to Zen, you’ll also find a heavy dose of information on techniques and processes involving Energy Work, Neurolinguistic Programming, Hypnosis, Reiki, the Ichazo Mentations, Carlos Castaneda’s Work, and more! This is the real work on Real Work; I truly believe in these concepts and find these processes/rituals/techniques to belong in the category of my toolbox for “Sacred Tricks”. How’d you like to learn not only the outline but how to do a 1 hour 30 minute lecture/seminar on Rapport? “MY RAPPORT LECTURE” alone could earn back the price of this manuscript if presented and marketed correctly. How would you feel about using resistance to hypnotic process as the hypnotic process itself? (In other words, you’re utilizing resistance to create a deep trance!) Taking inspiration from my “Hand Bluffs” and “One Hotter Coin”, combined with some new conceptual frameworks, you can demonstrate how hot your hand can become—as if you were a Reiki Master, heat will emanate from your palm when done correctly! Take a participant on a one-minute mind/body trip that could impact them FOREVER! Learn 5 Kinds of Hypnotic Inductions; giving you flexibility for inducing trance! Find out my coveted technique for getting people to stop smoking in “The Lighter Interrupt 1”! Apparently make the moon shrink! Learn a highly-guarded opening loop / opener that leads into a highly guarded closed loop / closer for a unique night of mentalism! Learn the 7 Relationship Keys as well as the Seven Bodies of a Human Being—and how to use both systems to enhance relationships and use subtle energies amongst other amazing feats! Find out why “The Energy Dart Game” is my favorite social pastime while in a shopping mall or just out and about in general! The Energy Dart will put a smile on many faces! Turn simple coins into an entire MENTALISM/READING ACT with “My Penny Act”!

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“Dale’s Little Red And Silver Book” © 2013 Dale A. Hildebrandt All rights reserved. All marketing rights reserved. No part of this publication can be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. Breach of this copyright means you agree to enter into a contract to pay $2000.00 USD per incident of breach, payable immediately upon request. While every precaution has been taken in the preparation of this material, the publisher and/or author assumes no responsibilities for errors or omissions, or for damages resulting from the use of information contained herein. First Edition 2013 Website: http://www.mirrorname.com/ Blog: http://devilstilldeals.blogspot.com/ Lincoln, NE

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WARNING!!!

PLEASE NOTE: The author, publisher, editor, and/or seller of this

book and anyone else connected to this book in any way, shape, or

manner, shall not be responsible for your use or misuse of the

information in this manuscript.. This leaves YOU as the sole person

responsible for your use or misuse of this information.

TABLE OF CONTENTS

FOREWORD BY BRAD GORDON PAGE 9

A FEW WORDS FROM OLIVER

MEECH

PAGE 11

PROLOGUE BY LUCA VOLPE PAGE 12

PREFACE BY BRUCE BALLON PAGE 13

RED & SILVER INTRO BY JEROME

FINLEY

PAGE 15

TRIANGULAR GAZING

The Power of Eye Contact

PAGE 17

WHITE AND GOLDEN BUBBLE

EXERCISE

Advanced Covert Rapport

PAGE 19

4

RAPPORT EQUATION

Trust Plus Comfort

PAGE 19

IMMOBILIZED PARTICIPANT (HANDS

IMPOSSIBLE)

Utilizing Resistance

PAGE 21

ARM LEVITATION AND OTHER

“SUNDRY” STUNTS

Arm Levitation, Finger Signaling + More

PAGE 22

ONE MINUTE MIND TRIP

A Mind Reeling Experience

PAGE 27

FIVE KINDS OF INDUCTIONS

Useful Inductions for Many Different

Occasions

PAGE 32

THE LIGHTER INTERRUPT 1

The Power of a Pattern Interrupt

PAGE 38

ENERGY HAND

Energize and Heat Up Your Hand

PAGE 44

DIMINISHING MOON

Shrink the Moon

PAGE 47

A MATTER OF TRUST

An Open Loop

PAGE 48

RELATIONSHIP KEYS

Explorations on Relationships

PAGE 52

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THE SEVEN BODIES OF HUMANS

How the Different Bodies React

PAGE 56

THE ENERGY DART GAME

A Covert Method of Giving Smiles

PAGE 59

THE MINOR CHAKRAS

The Lesser Explored Minor Chakras and

How to Utilize Them

PAGE 60

DISENGAGING RAPPORT

An Energetic Technique Using A Method

from Huna In Order to Disengage Rapport

PAGE 61

FOUR CORNERS MOON THIEF

Eclipses and Eclipse Thieves

PAGE 64

RAPPORT INCREASING STRATEGIES

Ramp Up That Rapport

PAGE 65

THE ICHAZO / LILLY / HILDEBRANDT

SYSTEM

A Look at the Ichazo Mentations Through

Certain Filters

PAGE 69

INDUCING THE ALPHA STATE*

How to Use the MP3 That Comes With

This Manuscript For Meditation,

Relaxation, and Trance Purposes

PAGE 72

A DIFFERENT KIND PAGE 73

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Notebook Switching Device For Billets and

Card Stacks

MY RAPPORT LECTURE

The Outline and Explanation of my Lecture

on Basic Rapport…This Section Could Pay

for This Entire Manuscript if Marketed and

Presented Correctly

PAGE 74

MY PENNY ACT

Coins, Coins, and More Coins Become the

Basis of a Multi-Phase Act

PAGE 93

THE NAME GAME

An Interesting Use of a Certain Deck In

Order to Utilize a Dual Reality of Sorts

PAGE 101

THE SÉANCE INVITE

How to Move From Standard Magician to

Bizarrist by Using the Power of Framing

PAGE 103

WORRY STICK

A Great BOR Item and Also Handy For

Other Uses

PAGE 105

THE KEYCHAIN READINGS

The Entire System of Keychain Readings

Explained Here for the Very First Time

PAGE 105

THE DEAD PET PLOY PAGE 107

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A Sly Way to Get a “Hit” During a

Reading

A LINE

A Way to Create a Tranderivational Search

(TDS)

PAGE 107

TDS

A Few More Ways to Create a TDS

PAGE 110

THE ALL-KNOWING CRYSTAL BALL

Framing a TDS Into a Q & A Act or One-

on-One Performance

PAGE 111

CREATING POSITIVE ENERGY

How to Pump Up Positive Energy

PAGE 111

CONFIDENCE BOOSTER #1

A Way to Take an Individual or Group on

an Exercise and Mental Journey so that

Their Confidence is Boosted

PAGE 112

STAR WHISPERING

A Manifestation Technique

Before you even start this chapter, I want

you to visit and enjoy the sky at night time,

then come back to STAR WHISPERING

for further guidance.

PAGE 113

AN ESP COUPLE PAGE 114

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A set of readings for two people in a

relationship

D & C: DIVIDE & CONQUER

An unusual premise for a Question and

Answer Act Wherein the Audience Answers

Each Others’ Questions

PAGE 128

FRIXION SNOWMEN

Snowmen, OTL, and Frixion Pens

PAGE 130

TORN SUBTLETY

A subtlety for the torn and restored napkin

PAGE 130

THE SIX DOLLAR MIRACLE

A bottle mysteriously melts

PAGE 131

THE CHARLATAN’S BOX

A Box Ready for the Discriminating Sacred

Trick Performer

PAGE 136

CAMP DRAGON

Campers beware!

PAGE 139

FALSE FAITH SERVED MEDIUM

RARE

A full-blown Faith Healer/Medium

Performance Piecet

PAGE 147

THE $387.00 GHOST FROM eBAY

A Ghost From A Popular Auction Site

PAGE 183

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FOREWORD Each and every time I delve into a contribution to our community by Dale Hildebrandt, not only do I get excited, but my interest seems to intensify as I find myself completely transfixed. Dales work is very magical, however when I “must” say magical I am speaking of the term in it’s broadest sense. This word has so many connotations, all being positive in my opinion, and Dale continues to capture and connect all things magical. Dale is among my most favorite magical thinkers, and the reason is quite simple: Dale is a “magical” individual. As you’ll discover, his style, ideas and offerings fit inside of the entire concept of BEING magical. No further explanation necessary, trust me this stuff IS MAGIC. Personally Dale’s previous work “Lunacy” is among my top favorite books of all time and quite honestly changed the way I approach magic, “how”? You might inquire, by broadening my mind expanding the limits, taking steps upward to a point where I have to ask myself “What limits”? Dale has an amazing focus and positive intention placed upon the small things- these “details” are what amount and build into the profound routines, effects, presentations and possibilities generously given upon these pages of pure delight. .. Dale is clearly magical on purpose; let us take the energy dart game as a perfect example- with no expectation of anything in return you simply practice walking through life giving gifts of positive energy to the beautiful people you find yourself surrounded by. What I absolutely love and appreciate about this book is the fact that you do not need to be versed in any kind of practice, whether it be mentalism, psychic readings, traditional healing/energy work, hypnosis/NLP , close-up magic or just gifts of kindness to others. Dale not only shares his techniques for using these modules to your advantage he also provides a little history and or background behind much of the content useful for the scholar or novice alike. SWSWSWSW is a favorite acronym of mine which stands for “Some Will, Some Won’t, So What, Someone is Waiting” and I am among those who WILL be using and applying the many muses found HERE. I guarantee there are MANY who are waiting to read and absorb Dale’s Little Red & Silver Book. The Scope of this publication which you now hold or have been given the privilege of reading in electronic form, is very challenging to put forward in any other way except to say the heart behind “it” is pure gold. I’d like to share a quote of which I found in “The Magic” by Rhonda Byrne:

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“At times our own light goes out and is rekindled by a spark from another person. Each one of us has cause to think with great gratitude of those who have lighted the flame within us.” ~Albert Schweitzer (1875 – 1965) Nobel Peace Prize – Winning Medical Missionary and Philosopher. Please allow yourself to enjoy this book as I have, with confidence, positive energy, some fun, and most certainly a little healing. Be sure to express thanks to Dale and his little gift of Red and Silver. Until Next Time Brad “Scarnecky” Gordon �������������������������

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A FEW WORDS FROM OLIVER MEECH

Think of your standard run-of-the-mill magic book. This ebook is the exact opposite!

Where the pages would normally be filled with minor variations of classic tricks, with a heavy emphasis on cards, Dale has packed these pages with the deeply original products of his unbridled originality.

How can you not be intrigued by an ebook which features a trick where you appear to make the moon shrink, a detailed plan to make people believe in dragons, and an epic routine with requirements that include 12 wheelchairs and a gospel choir?!

Dale exudes unbound creativity, and this book displays that amply – the book runs the gamut of subjects. If you’re interested in things like hypnosis, NLP and suggestion then you’ll find lots to suit you. If your magical background is more traditional, it offers a fascinating glimpse into other worlds.

Don’t see this book as the usual set of prescriptive routines, see it as a flood of ideas to spark your creativity! Get ready, the dam’s about to burst…

All the best, Oliver ����������������

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��������������� ����� 14 March 2013 I have known Dale for a long time now and his works always fascinate me, but with this book he has reached a new level of "experience" that has caught my attention. First let me say something to you, dear reader, if you are not "open minded" and ready to feel the power of the material included in this book, I highly suggest that you stop reading now, but if you are ready to give your audience experiences, emotions and to create a rapport, well this is the book for you! This is not a book of "tricks", these are pure "experiences" that you will be able to give your audience, from Hypnosis to NLP, from Occult/new age techniques to energy work sessions plus reading systems, reiki and much more! It is possible that you may find some of the contents of this book a little controversial, however, I am sure that you will be curious to try and test. Once you discover that it really works, you will be ready to enter the world of the "real thing"! Sit back, relax and enjoy the mind of Dale A. Hildebrandt. Luca Volpe www.theitalianmentalist.com������������

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RED & SILVER BOOK INTRO ***

It’s always an honor and a pleasure catching up with the creative mind and inner workings of Dale Hildebrandt. Dale and I have corresponded and shared bits of our material and thinking over a handful of years now and hold a similar, well-founded interest in both the subject matter filling these pages and each of the diverse methods expertly presented here in his “Red & Silver” book. We often hear people saying “If you purchase a book and get even ONE GOOD workable piece from it, it was well worth the money spent.” When speaking to this matter recently with another close friend and trusted peer, he offered up an alternative perspective: “If you’re going to produce a book that will only provide the majority of your buyers and students with a single gold nugget, why even write it?” I couldn’t have agreed with him more, which brings me to my next point. By the time I was 1/3rd of the way through Dale’s latest offering, I had already adopted 4 or 5 new pieces of business, subtleties and insights that were worth their weight in gold. This book was written for those with an already advanced level of study, practice and education with regards to mentalism, suggestion, hypnosis and energy work. It isn’t for the faint of heart, however, I can’t imagine anyone not growing, expanding and becoming even better at what they do as a result of reading this book and practicing what they find here. Reap the rewards, Jerome Finley, 2013

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1) TRIANGULAR GAZING

Eye contact is an important part of any performance. Sadly, many people are lacking in

how to apply eye contact in a direct manner without spooking out the other person. This

is why I teach the concept known as “Triangular Gazing”. This is a simple idea taken

from the NLP and Seduction worlds. Look first in the left eye of the person you are

communicating with, then look at the center of their forehead (the third eye chakra in

energy circles), and finally look at their right eye. Then go back to their left eye and start

the process over again. The idea behind “Triangular Gazing” is that it avoids the “creep-

factor” of staring someone directly in the eyes for periods of over one minute. The

“Triangular Gazing” technique creates comfort and comfort is part of the equation for

developing Rapport. “Triangular Gazing” can also help improve peripheral vision, which

allows you to notice other body movements and gestures that you can mirror or match to

create further rapport. “Triangular Gazing” is usually a covert process; the person you

are interacting with will feel as if you are maintaining eye contact in a comfortable

manner.

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2) WHITE AND GOLDEN BUBBLE EXERCISE

This is an exercise that taps your sub/unconscious to create rapport with an individual or

group at a greater speed than consciously using these skills. Once you have developed

rapport skills, you can put them on auto-pilot and use this exercise. You imagine a white

bubble surrounding yourself and the people with who you want to gain rapport. Next,

imagine a golden lining over this white bubble. The results can actually be quite

amazing. I believe this works for two main reasons: 1) You start to portray confidence

because you assume rapport and this confidence helps give off the right vibes for gaining

rapport and 2) This exercise acts as a trigger for all your rapport skills to turn on.

3) RAPPORT EQUATION1

The Equation For Successful Rapport

Rapport equals Trust plus Comfort.

Gaining rapport is one fundamental of magic and mind reading that we need to explore

in-depth and start to realize how many things can be accomplished with a strategy for

gaining said rapport. There is a simple equation to gain rapport with anyone at anytime.

1 This formula was developed by a man going by the name of Mystery and shared in the book “The Game” by Neil Strauss on page 228.

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You simply have to combine trust and comfort. When you combine those two elements,

you get the by-product known as rapport.

This is one of the reasons I hate when I hear a magician say, “What do you expect? All

magicians are liars.” When they say something like that to an audience member, or even

a fellow magician, they are breaking the trust component of the equation. What does it

matter if they say it to fellow magicians only? It matters because they will internalize

this belief and act upon it when they are around an audience. Thus, they will be on the

losing end when it comes to gaining true rapport.

People can easily see that using a participant as a table, or requesting them to slam a hand

down on a cup that may contain a spike, is discomforting to the audience. This will lose

rapport because the magician is not handling the “comfort” part of the equation. Yet,

many magicians will tell you they lie all the time, and just as many will put their

participants in questionable positions.

Is rapport important? Well, it is to me. More importantly, rapport is very important to

my participants. The biggest benefit I have found to gaining rapport is that the audience

will accept you and bond with you. The audience will LIKE you.

What does it take to make the audience like you? It takes trust and comfort. When you

combine trust and comfort, you will gain rapport. When you gain rapport, you can get

away with many things that would not otherwise be possible. By this, I mean, that

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something which may be trivial in another performer’s hands because awe inspiring in

your own performances. Also, you will be able to frame the smallest “happenings” as big

events that are worthy of the audience’s attention.

To gain trust, you simply have to be trustworthy. Apparently, that is a tall order for some

magicians. To make the audience comfortable, you have to treat them as human beings

who you want to please because they came to see your demonstrations. Again, this is

apparently a tall order for some magicians.

Once you gain rapport, you will be able to step into the worlds and minds of your

audience. When you can do this, you will see a major difference in the responses you get

from your audiences. There are also many advantages method-wise to gaining rapport.

We will discuss some of the advantages of gaining rapport later in this book.

First, however, let’s explore ways to increase your rapport with an audience.

Rapport equals trust plus comfort. You need both components to make a lasting

impression and gain the respect of your audience.

4) IMMOBILIZED PARTICIPANT (Hands Impossible)

The following is a Richard Bandler / John Grinder quote from the book “Trance-

Formations”. The idea behind this technique is to use resistance as a tool for utilization.

If the participant decides to not respond, then you take the non-response as a response

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and spin it into a workable situation. In fact, as the quote below shows, you can

immobilize a participant by the utilization of resistance.

“You can try in vain to not lift your hand…It’s a far-reaching experience…And then you

begin to wonder which hand won’t lift first…Because you thought it was that one.”2

5) ARM LEVITATION AND OTHER “SUNDRY” STUNTS

In Short: Communication with the Unconscious

In this section I will go over some ideas related to ideomotor communication, including

arm levitation, pendulums, finger signals, and something I have dubbed “Finger Pulse

Reading Sub-communication”.

�

Arm levitation is one of the stunts or effects that many first time hypnotists want to learn

about, but unfortunately all they wan to do is make someone’s arm levitate. There needs

to be a nice context to the arm levitation for it to have the greatest impact possible. And I

don’t mean the context of “One arm is holding a heavy dictionary and your other arm is

attached to a helium balloon.” Although, you could use that as an opening suggestion

test for the entire audience to see who the best responders are for the Sensational

2 Language pattern found in “Trance-Formations” by Richard Bandler and John Grinder 1981 p. 112

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Suggestions mentioned in a previous section. I like to use Arm Levitation for one of two

things: 1) To rapidly induce trance and 2) to confirm unconscious reponses.

�

In order to rapidly induce trance with arm levitation, what I do is to match and mirror the

client’s behavior. I will make a distinction between matching and mirroring. Matching

means by eyelids blink at the same rate as the subject breathes in; while mirroring is

when I breathe the same rate the subject is breathing. Utilizing matching and mirroring, I

steer the conversation into either hypnosis, meditation, or guided imagery. From there, I

test my work by asking the unconscious to raise the subject’s arm as soon as they are in

trance.

�

Here are examples of wording to use:

A) For hypnosis: “Let your unconscious levitate your arm as soon as you feel yourself

being hypnotized”

B) For meditation: “Let your arm levitate at the rate that your brainwaves start to go into

delta”

C) For guided imagery: “And your arm will levitate along with mine as you enter this

fantasy realm”

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As I am telling them to raise their arm, I also raise my own arm and match their pace of

arm levitation. This does two things: 1) It allows me to be in the trance with them while

still being able to guide them 2) It is automatic feedback for me, if I feel my own arm

getting heavy there is a good chance they are not feeling their arm getting light and so I

go back a few steps and do something different until I get the result we’re both after.

�

Ideomotor communications with pendulums are a great tool. You can create pie charts

with all sorts of processes and/or revelations for the pendulum to swing to under the

unconscious control of the participant. One idea I have had is to create a “Forcing

Pendulum Chart”. There are eight sections, and each section gives one of the options I

want. You could make the “Forcing Pendulum Chart” have the same suggestions, but

worded slightly different, on each section. Cover the “Forcing Pendulum Chart” if you

are nervous about getting caught—but I doubt you’ve read this far if you get nervous

about someone catching you. You might have the top line read: “I will go into trance in

thirty seconds.” The bottom line might say “I will go into a deep meditative state

tomorrow at noon and a solution will appear to me.” If you are in a stage environment,

you can have a half-chart with all different options on the front, but the back is a

“duplicate” chart with only one option. You show the chart around, and then ask a

person to close their eyes and hold the pendulum over the half-chart. You then have

them open their eyes and focus on their choice, while moving the paper away from them

and putting it into your pocket. This is a sort of dual reality/instant stooge presentation.

You can cover your tracks more by saying “Sometimes the pendulum makes us so

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determined to take one course of action that we only see one course of action….even

though, tonight, people clearly saw other choices for you.”

�

Setting up ideomotor finger signals has been one of the easier things for me while

applying these concepts. It’s rather simple in concept and very simple in execution. The

one thing I dislike about it is you may have to wait three to five minutes or longer for the

unconscious to process the changes or communications you have made with the

unconscious before you get the finger signal. Richard Bandler has pointed out that

Milton H. Erickson would take a thousand attempts to solve a problem if Erickson felt

that it would take that long. Bandler, on the other hand, says he (Bandler) is about

getting the right result in the quickest manner. To set up a simple ideomotor finger signal

system, you talk to the unconscious directly.

�

“Your unconscious…will now lift the first index finger of your right hand for yes and the

middle finger will lift for no.” Then ask the unconscious if it understands the process.

“Does…your unconscious…want to use these signals.” You’ve now caught the

unconscious in a bit of a trap. In order to reply to you it will either use a finger signal or

the person will come out of trance or the unconscious will give you a different signal,

such as a change in tone of voice, or even something more subtle like the shade/glow of

the skin. You’ll have to be observant, but if you watch with the right frame of mind you

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can utilize anything that is provided to you. Also, notice the embedded commands?

“Your unconscious” sounds like “You’re unconscious”.

�

Since I got a bit tired of waiting three minutes for a finger signal, and I have been playing

around a lot with pulse reading, I decided to incorporate pulse reading into unconscious

communication. I have labeled this technique as “Finger Pulse Reading Sub-

communication” because the unconscious gives you communications through the pulse of

a finger. You set this sub-communication up the same way you would set up the

ideomotor finger signals. However, instead of having them lift a finger, they will direct a

pulse in a finger to become stronger. A stronger pulse in the index finger is defined by

the hypnotist to mean “Yes” and a stronger pulse in the middle finger is defined by the

hypnotist to mean “No”.

�

Pulse reading is when you take a pulse from a finger and see if the pulse gets stronger or

weaker. An interesting exercise with this “Finger Pulse Reading Sub-communication” is

that you can do a streamlined version of a Zodiac Sign Divination. Ask them if they are

an Aries. The pulse goes to the no (middle) finger. Ask them if the are a Taurus. The

pulse again gets stronger in the middle finger. Now, ask them if they are a Virgo. The

pulse is stronger in the index finger. You’ve just divined their star sign with them not

having to say anything and in a more streamlined fashion than my previous work on this

concept (The VCR Zodiac Sign Test was my previous work on this). You can this one

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step further, by telling them to send white energy to the finger when you mention their

Zodiac Sign. So, if the pulse gets stronger in the finger when you mention they are

Virgo, but the pulse was weaker in that same finger for other signs, you now know they

are a Virgo.

6) ONE MINUTE MIND TRIP (from “The Game”)

This is a small set of techniques that will take your participant on a mind trip in a short

period of time. I first read about these techniques being combined in this particular way

in “The Game” by Neil Strauss. The techniques were used by a person using the

pseudonym “Steve P.”. This is a very effective way of doing several things at once. The

interconnectedness of the pieces allows for supreme advantage. I am going to go over

what Steve P. did and give some variations on some of the techniques.

This One Minute Mind Trip will certainly blow away your participant, and can get that

same participant going from a stage of nervousness to outright calm. This process will

also leave the participant reeling, and they won’t soon forget the experience.

The first part of the process is to get the participant to slowly say their phone number

backwards. This in itself is a little mini-pattern interrupt. As soon as the participant gets

to about the fourth number of their backwards phone number, you will interrupt by loudly

saying “Swoooosh” and running your index finger from their solar plexus to their

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forehead and then moving your hand away. This is a stacked pattern interrupt. As we

will find out in the next section (FIVE KINDS OF INDUCTIONS), stacking realities is a

powerful means to trance, and stacking pattern interrupts also helps with this task.

So, what is a pattern interrupt? A pattern interrupt is when you interrupt a (normally)

unconscious pattern and insert suggestions/commands/directions directly to the

unconscious mind. Pattern interrupts can be used in overt situations and overt manners as

well. By stacking one pattern interrupt on top of another, we can quickly get our

participants into an altered state. Using multiple pattern interrupts almost

simultaneously creates a strong confusion in the subject. This confusion cancels out

anything the subject was thinking or feeling before the process and you then implant a

new thought or feeling that is more positive for the subject.

For example, in the book “The Game”, author Neil Strauss talks about being nervous

around characters Rasputin and Steve P. Steve P. uses the process described in this

section (ONE MINUTE MIND TRIP) in order to replace anxiety with calm. Steve P. ,

after the overt processes, asks Neil to find the anxiety and tells Neil it is no longer there,

there is a different vibration, Neil cannot bring back the anxiety. Neil writes that he

didn’t know if it worked, but Steve P. took him on some kind of one minute mind trip and

left Neil reeling afterwards.

You will be able to impact others with this same reeling feeling by following certain

instructions. One of the key factors is an Energy Work Technique that Steve used. He

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utilized the central meridian when running his finger from navel to head which allowed

energetic access to other “bodies” of Neil. As you will see later, I believe we have at

least seven bodies in a human. Most of these bodies are subjective concepts, only by

experiential means can you access them, and doubt is one of the biggest roadblocks.

Since doubt is a huge roadblock, it is useful to let go of preconceptions before attempting

Energy Work materials.

The central meridian is one of the easiest to manipulate because of the circuit that it runs

through in the body. By having the client recite their phone number backwards, you are

not only setting them up for a pattern interrupt, but you are creating mystique and intrigue

which can both be useful for this type of work.

After you say and perform the “Swooosh” part of the process, you will say something

along the lines of “Watch that feeling float away like smoke on a windy day. Tour your

body. Try to bring back any part of that feeling. Notice how there’s a different vibration

there.”

This causes further confusion and further pattern interruption. You are creating a sort of

synesthesia by turning words (verbal process / auditory process) into actions (feelings /

kinesthetic process) by having the person recite the number backwards and then

interrupting with the “Swoosh” and everything thereafter. You go from them verbally

reciting a phone number backwards to trying to find a feeling. This is a very good way

to induce a quick trance state.

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Let’s examine the language pattern used in the final phase:

“Watch that feeling float away like smoke on a windy day. Tour your body. Try to bring

back any part of that feeling. Notice how there’s a different vibration there.”

“Watch that feeling float away”

You are inducing some synesthesia by having them see a feeling. You are also creating

distance between the subject ant the feeling when you tell the subject to see the feeling

“float away”. That is an away-from propulsion at work.

“like smoke on a windy day.”

This is invoking the power of metaphor or simile. Very powerful stuff!

“Tour your body.”

Now you are leaping to the kinesthetic part of the person’s perceptions. This sets them

up for the next part of the language pattern.

“Try to bring back any part of that feeling.”

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“Try” is part of the linguistic trickery included here. Try to pick up a pencil…you cannot

try, either you pick up the pencil or you don’t. The word “Try” here indicates that there

will be failure to do whatever comes next, which is “bring back any part”. You have just

told them all the parts of the feeling are gone and they can only “try” to “bring back”

the feeling. They will be focused on trying and therefore unable to bring back what you

say is gone.

“Notice how there’s a different vibration there.”

You have just successfully induced a different vibration. Their brain can now stop

“trying” to bring back that “feeling” because you have told it there is a different

vibration there!

Some Further Variations

Depending on context, you may want to “unzip” the central meridian. In order to unzip

the central meridian simply follow the process of tracing the meridian in the opposite

direction of what has been said. You may wish to use Triangular Gazing in order to

further engage the subject. This One Minute Mind Trip can quickly set you up as an

expert in Subjective Realities and Mind Games; so use that perception to your advantage,

although I would hope you had some experience with such things before laying claim to

them. Having the subject engage in almost any repetitive process will allow you to

ultimately interrupt that process and therefore create an effective pattern interrupt. We

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used the example of the backwards phone number previously, but if you search for other

ideas you will soon find them, such as having the client recite the alphabet backwards or

counting imaginary leafs falling from an imaginary tree.

When you unzip the Central Meridian you can implant a thought or feeling inside the

meridian and then zip the Central Meridian back up again. This can be very useful in

covert work, but with the proper chutzpa you will be able to get the client to accept the

thought/feeling and integrate it quickly using this method.

7) FIVE KINDS OF INDUCTION: LEVERAGE INDUCTIONS,

PATTERN INTERRUPTION, OVERLOAD, PERSONAL POWER,

AND STACKING REALITIES

This section was heavily influenced by the book “TRANCE-FORMATIONS” by Richard

Bandler and John Grinder. I highly recommend that you seek out a copy of this book in

order to become even more proficient at these five kinds of induction. I also recommend

that you look into the works of Milton H. Erickson and of Anthony Jacquin.

In this section I shall share five kinds of inductions: Leverage Inductions, Pattern

Interruption, Overload, Personal Power, and Stacking Realities.

LEVERAGE INDUCTIONS

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Use suggestions while having a person put and hold their arm in the air. People do not

normally hold their arm in the air without reason. Ask, “May I borrow your arm for a

moment?”3 Slightly shake the arm as you hold it in the air and it will become cataleptic.

You are now well on your way to inducing trance. Simply tell them that as their arm

slowly lowers, they will go deeper and deeper into trance…just as fast…or as slow…as

their arm moves downward.

In a Leverage Induction, you have the subject take an action outside of normal

parameters and then “leverage” this action into a trance state. Arm catalepsy is great for

this, because you can raise the person’s arm and hold it there until you feel it going

cataleptic.

PATTERN INTERRUPTION

The most classic, in my opinion, form of a Pattern Interruption is the Handshake

Interrupt. This technique is used by many professionals, both in the hypnosis field and

the hypnotherapy field. NLP, in my opinion, boosted the awareness of Handshake

Interrupts and after modeling several proficient masters, Neurolinguistic Programmers

were able to come up with better and better solutions to the Handshake Interruption.

Milton H. Erickson is often cited as one of the geniuses that helped Bandler and Grinder

to create their version of the Handshake Interrupt.

3 Quoted from the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p. 71

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“Hi my name is…” then reach out to shake the client’s hand. But then lift up your left

hand and grab their wrist gently, lift their hand up near their face and point to their palm

with your right forefinger. Then tell them to look at their hand. Tell them to “consider

carefully all the color changes and shadows that occur. Study the lines and creases with

interest as you allow your arm to drift down slowly.”4

Pattern Interruption Inductions could be considered a variation or subset of Leverage

Inductions. Take any process that is automatic in culture or for the specific person you

are dealing with, and interrupt the process. This creates an “open loop” where they are

waiting for you to “close the loop”. In other words, you have started something, and now

the client needs it finished.

By interrupting a handshake, you get the subject to wonder what is going to happen next,

and you gently guide them to what they are to do in order to close the open loop. They

will comply because there is no reason for them to not comply…by complying they end

the interrupt when you tell them so.

It is the same thing as if I were to start a story…Once upon a time there was a giant ogre

and a friendly elf…but I don’t finish the story, I leave you hanging so to speak. Your

mind then races for ways to end that story. Likewise, the subject’s mind will race for

ways to end the pattern interrupt but before their mind can do that you are already telling

them how to end the interrupt.

4 Paraphrased and Quoted from the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p. 70

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You will find a Pattern Interrupt discussed in “THE LIGHTER INTERRUPT 1” in this

manuscript. In that specific scenario, you interrupt the pattern of smoking a cigarette. I

have found this to be quite powerful.

Ask yourself the following question and write down as many answers as come to you

over the next few days: “What are patterns or behaviors that I can interrupt to more

easily leverage a trance in another person?”

OVERLOAD

“Whenever a person’s conscious processing is overloaded, you can pass information

directly to the unconscious, and the person will respond to that information. The easiest

way to overload someone’s attention is by having her pay attention to a complex internal

experience”5

Overload Inductions can be very fast and very effective. They also slip by conscious

filters and go directly to the unconscious/subconscious. Complex internal experiences

can be used to overload the conscious mind and give your suggestions to the

subconscious. One way to overload the conscious mind is to make the conscious more

and more aware of Sensory Memory or Sense Perception.

5 Quoted from the book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p.81

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Sensory memory generally lasts anywhere from a nanosecond to a few seconds. Short

term memory can handle seven (plus or minus two) items at once. Long-term memory is

where short-term memories go when there is enough meaning, confusion, or other source

of pushing into the long-term memory. We will be utilizing Sensory memory and Short

Term Memory to overload the conscious mind.

Have the subject starting paying attention to details that are not generally kept track of by

short term or long term memory. If you counted your blinking eyes every time you

blinked, you’d be able to do little else. Focus attention on the person’s rate of breathing,

their pulse, their blinking of their eyes, the movement of their eyes, the surface and

internal temperature of their skin, their tone of voice inside their mind, and you will soon

overload the conscious and be able to sneak in some subconscious

commands/directions/suggestions.

Here is another way of overloading the conscious: have the subject count back, out loud,

from 200 by three’s. As they do that, you turn them, seated, in circles. Then you deliver

the following suggestion: “If at any point you discover it is more comfortable for you to

drop into a deep trance, do so with full realization you are in good hands.”6

Any time a person goes “on hold” is the time to offer them clear suggestions as to what to

do next.

PERSONAL POWER 6 See the book “Trance-Formations” by Richard Bandler and John Grinder p. 81

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This is the direct form of inductions. You tell the subject to go into trance and they will

go into trance. Of course, you have to be congruent and truly believe that this will work.

You have to be congruent in your expectations. Simply tell the person “When I am done

counting backwards from three, you will go into a trance.”

Using Personal Power can be easy for some and difficult for others. As Anthony Jacquin

says “You must be THE HYPNOTIST”. In other words, they must know that you are

capable of putting the subject into trance in any way you desire, and that this time you

simply desire them to go into trance by telling them so.

STACKING REALITIES

This is a variation on the Overload Induction. Embed story inside story inside story

inside story inside story until the conscious mind is overloaded. The stories you tell can

each be about induction or relaxation or whatever you want to accomplish. Deliver

induction messages throughout the stories. You can also use quotes to help remain

congruent and to relate specific trance phenomena throughout the entire story of stories.

“Soon a client gives up trying to keep track of which reality I’m talking about. Inside of

those realties, I can then embed a process instruction to make changes.”7

7 The book “TRANCE-FORMATIONS” by Richard Bandler and John Grinder, p. 86

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In order to be effective at Stacking Realities Inductions you must have Personal Power

and Rapport with the subject.

8) THE LIGHTER INTERRUPT 1

This piece may cause some controversy as it deals with getting a subject to stop smoking.

Stop smoking hypnosis seminars generally roll into town, implant some suggestions

about feeling negative about smoking and changing the taste of the tobacco. Once the

Roll-Into-Town guys leave, you have smokers who cannot be around smoke without

getting sick, who feel if they need to have a cigarette they are being a bad child, and who

generally return to smoking to avoid all that hassle. Fortunately, there is a different,

better, and more efficient way. I also believe if you start using The Lighter Interrupt 1

Process you will soon discover how easy it is to get a person to stop inhaling tar into their

lungs without being one of the Fly-By-Night Hypnotists! You’ll also be able to stay in

the same location if desired and can set up other appointments for different modalities to

deal with other concerns. And you will get referrals. Since you didn’t leave town the

next day to escape the “Wrath of the Conned”, you will be able to do an intake on these

new referrals and count your money. Please note that this is only one of many

approaches to stopping smoking, and besides this Lighter Interrupt 1, I also have two

other Lighter Interrupt Processes ready and waiting to be used depending on the

circumstances, client, context, and overall perception of authority.

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As far as I’m concerned the addiction to smoking comes in four parts. T hose four parts

are as follows:

THE DIRTY FOUR

1) Physical addictions

2) Psychological addictions

3) Secondary Gains addictions

4) Self Fulfilling Prophecy from Self and Others

So let’s get down and dirty with “The Dirty Four” things you have to take into account to

get someone to stop smoking. The “Dirty Four” is listed in the order of what to do first.

First, you have to deal with the Physical Addiction part. Then you deal with the

Psychological addiction part (which is slightly different than Secondary Gains but often

confused with Secondary Gains). Next, you deal with Secondary Gains. Finally, you

deal with Self-Fulfilling Prophecies From Self and Others.

PHYSICAL ADDICTION

The first obstacle to overcome is the Physical Addiction. This is the addiction caused by

the nicotine, tobacco, and other additives in most cigarettes. Nicotine withdrawal is a

serious symptom/side-effect and you must take great care when dealing with such a thing.

I’ve found three useful processes for dealing with nicotine withdrawal.

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The first process is to have the person drink more water. They should be drinking at

least a gallon per day, although that amount might need to be higher depending on the

size of the client. Water is naturally good for you and helps to cleanse the system.

Speaking of cleansing, there are some wonderful ways to incorporate the drinking of

various juices. Not only will the cleansing juices help with systems, but they also take

some time to make—time you can point out that they could have been smoking!

The second process is the use of Reframing. We will put a positive spin on the

withdrawal symptoms. “If as you go about your day and you notice any withdrawal

symptoms you will know that this is a step towards the positive. The withdrawal

symptoms are purely temporary and your desire to no longer smoke is permanent. These

are small hurdles and you are capable of jumping them with ease.”

The third process utilizes what I call “The Art of Mental Machinery”. You will create a

“hypnotic cigarette”. This can be done with or without a formal hypnotic induction. The

person will be instructed that any time they feel like smoking they can take out “this

invisible hypnotic cigarette” and smoke it. They will soon realize when they feel most

pressured to smoke and can use the hypnotic cigarette at times of withdrawal. This is a

briefer, quicker installation process related to The Drug of Choice Pattern that Steve

Andrea and Connirae Andreas developed.

PSYCHOLOGICAL ADDICTION

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Psychological addiction is often confused with Secondary Gains. Psychological

addiction is the need to smoke during a situation involving stress, sadness, or anger. A

Secondary Gain is a benefit the person gets from smoking cigarettes, while a

Psychological Addiction is using smoking cigarettes as a crutch for dealing with deeper

problems. Psychological Addiction is also the ingrained habits of smoking cigarettes.

Various sources state that it takes from 21 days to 90 days to fully break a habit. I have

found that the time can be lessened through effective alternative modalities of treatment.

Still, it is a good rule to follow the 21 day regime of habit-breaking and let the person

know “After 10 days, you’ll want to smoke less…After 15 days, you will start getting

over any urge to smoke…and After 20 days you will be determined and successful at no

longer smoking.” This gives the person a time-frame or time-line to follow and lets them

know that there will be small hurdles but they can easily jump them.

A stress ball is a useful tool for dealing with the Psychological Addiction aspect of

smoking. When they feel the psychological pressure to smoke, they can work with the

stress ball. The urge to smoke can be replaced by other, more positive urges. You can

install urges to clean house, to work more effectively and efficiently, or to do something

the client finds pleasurable but feels they lack the time to accomplish. When they realize

how much time they spend smoking they can replace that “smoking time” with a

pleasurable action.

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There is also the habit of oral fixation in Psychological Addiction. This is why sugar-free

mints are so handy. When they feel the habit kick in that says “Go smoke”, they can pop

a mint into their mouth. While I’m on the subject of mints, here’s a handy little tip: have

the client throw away all their cigarettes, but keep an empty pack of cigarettes. In the

empty pack of cigarettes, they are to put as many mints as can fit. Now, when they have

that habit to reach for a pack of smokes, they will reach for the pack that now contains

mints. This will remind them to pop a mint into their mouth instead of smoking and also

acts as positive reinforcement.

SECONDARY GAINS

Secondary Gains are benefits the person gains from smoking. One common example is

weight maintenance. The client feels if they stop smoking then they will gain weight (it

is generally a worry about gaining weight and not a worry about losing weight). Another

secondary gain might be to blow off steam. They feel angry, but instead of acting

appropriately to the situation at hand, they go and smoke a cigarette. People can often

have multiple Secondary Gains.

It is like peeling the layers off an onion. You must deal with each Secondary Gain

separately and either utilize or reframe that Gain. This is where a Swish Pattern comes in

useful.

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A Swish Pattern is a Neurolinguistic Programming technique. First, have the person

visualize themselves in a gray frame smoking a cigarette. Now, have them visualize

themselves in a golden frame in the bottom right hand corner of the gray frame. Inside

the golden frame they are to picture themselves dressed exquisitely, smiling, at their

perfect weight. Now have them blow up the golden frame in their mind so that it covers

the gray frame and at the same time have the gray frame go out of focus and be replaced

by the golden frame. As they are doing this, which you can tell from body language, you

say the words “SWISH!” loudly and then you move your hand clockwise and say

“CLICK! Now that golden frame is locked in permanently!” That is one way of dealing

with the Secondary Gains. Also, pattern interrupts work really well on the first three of

the Dirty Four list.

Ask a smoker to take out a cigarette and smoke it. As they go to put the cigarette in their

mouth, grasp the hand holding the cigarette and grasp their other hand holding the lighter.

“You want to quit smoking. You are going to drop two things. You can drop the first

you wanted to drop first, first and the second thing you wanted to drop second, second.

You feel healthy, vibrant and alive. You are no longer branded as a smoker.”

SELF FULFILLING PROPHECY FROM SELF AND OTHERS

The last item on the Dirty Four list is Self-Fulfilling Prophecy From Self and Others.

You must quash any doubts the subject has in regards to returning to smoking in the

future. Also, you need to build in reinforcing suggestions so that other people don’t tell

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the subject that it is temporary. You want your suggestions to be permanent but not to

interfere with daily life.

People can try to dash the quitting smoker’s hopes for all sorts of reasons, such as:

wanting a superior position over the smoker (i.e. I never smoked so I’m better), co-

dependency caused by smoking, and a number of other reasons for people wanting

(unfortunately) to see your subject fail. It is your responsibility to make sure they have

“psychic shields” against such “psychic attacks”.

In fact, setting up a “psychic shield” is a great idea! Have the subject create a shield from

negative forces and negative energies. Ask them to pick the first color that comes to

mind and charge the psychic shield with that color. Tell them the psychic shield will

protect them from any naysayers and that the psychic shield will reinforce all positive

programming, all positive thought, and all positive learning from their session with you.

Tell them that now as a former smoker they are free to go about their daily lives and

seeing or smelling cigarettes will only reinforce the psychic shield and thus reactivate

their new non-smoking way of life.

9) ENERGY HAND

In this exercise / demonstration you increase the warmth of your hand thanks to enhanced

energy flow. This is a spin-off of “One Hottest Coin”. I used “Energy Hand” to great

45

effect in a speaking engagement. Hold out your hand as if you were to shake hands with

another person. The italicized text below is the language pattern for “Energy Hand”.

Now, remember the last movie you saw. Next, remember what the temperature was like

when you had your last good vacation. Finally, remember the color of the door to your

house.

See purple energy radiating around and out of your hand. Feel your hand get warmer

and warmer as if you were a master Reiki instructor; feel this feeling until it overcomes

you. Look at the purple energy around and inside your hand; it is as if you have x-ray

visions and can see the energy inside the very tendons and bones of your hand.

You can feel this purple energy getting warmer and warmer to the touch. As you notice

the touch of your hand getting warmer you can be certain that when you think of this

purple energy around your hand, then your hand will heat up. Practice for five to ten

minutes daily until you can consistently warm up your hand with the purple energy.

People used to working in energy related systems generally get this down very quick. No

matter what speed you use to get to the final outcome, you will have at least three new

powerful tools from “Energy Hand”.

Tool One: You can increase the temperature of your hand and have people feel your

hand getting extremely, extremely warm to the touch.

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Tool Two: You can use this when shaking hands with a person in order to help put

rapport on auto-pilot for yourself.

Tool Three: For fun and profit, you can teach the general public this exercise.

“Energy Hand” is also easily picked up by intuitive consultants. I think this is because

they tap into different areas of the brain than other people and those areas help to regulate

and can enhance energetic techniques.

PRIMING THE PUMP: You’ll see a difference between my “One Hot Coin”/”One

Hotter Coin” (which were previously published) and “The Energy Hand”. Instead of

asking about the last great vacation, I “prime the pump” of the mind myself so to speak. I

tell them to visualize something, then to feel something, then to visualize something

again. I am stacking a pattern in their mind. Now, when we get to the part where Energy

courses through their hand, the commands given are: 1) visualize, 2) feel, 3) visualize. In

essence I am leading the horse to water and then making it thirsty enough to drink. This

Priming Technique is very important and very powerful. Use it with caution and care.

I just want to repeat that the difference between the Hot Coin routines and The Energy

Hand is that YOU are in control of the frames of reference from the beginning of the

effect. You then use those frames to frame Energy swirling around and inside their hand.

I feel this is more effective than asking about their last great vacation because now we

know with CERTAINTY what submodalities to use when creating the Energy Hand.

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There are no vague answers, a less awkward moment (because in the original you ask

them to remember their last great vacation and tell you three things about it), the pace and

lead is faster, and I’m sure you’ll find a myriad of other reasons to why this is so much

more effective!

10) DIMINISHING MOON

In Short: The Moon Diminishes.

�

Here's a little seed of an idea, which may be developed further or not. You'll need a glass

pane or plastic pane, a marker or Sharpie that will work on the pane, the moon, and a few

witnesses.

Hold the pane up and circle as the moon is closer to the horizon. It is an optical illusion

that the moon is bigger at this time of night--what we're going to do is prove that it was

bigger tonight. Secretly, you will outline a circle with the marker on the pane slightly

larger than the moon!

Now, when your circle the moon as it is higher in the sky later that night, you just do a

normal circle that is the size of the moon. The moon will appear to have diminished. You

just shrank the moon--with "proof" to boot!

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�

Originally, I thought of making the circle larger on the second view, but people could

check that too easily. They don't know what you're about to attempt at the start, and you

may not even tell them until you get to the second circling of the moon, so making the

larger than the moon circle first is going to help out the method and effect. Also, you can

tell people after you have done this Moon Shrinking effect, that it is very rare and they

can see for themselves by performing the same experiment that the moon stays the same

size...unless you're a sorcerer! All this came about after I'd read a couple science books

aimed at kids.

11) A MATTER OF TRUST

In Short: A coin flipping routine that starts and ends a show, all as a matter of trust…or

not!

�

Presentation: “Have you ever flipped a coin to decide something? For example, who

gets the last cookie, or which team starts first? Would you be just a bit bothered if

someone could always win at flipping coins? Could you put your trust in such a person?

If you found out about their abilities, would you test them? You probably wouldn’t let

them ever flip coins in a coin flipping decision or game ever again…unless you saw

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someway you could benefit from this strange power! I knew a Greek man who could do

such things. If you knew such things about a person, we already know you wouldn’t let

them flip the coin. You’d insist on flipping it yourself, just as I insisted after witnessing

the powers of this Greek coin manipulator…and you’d be just as surprised at the results

as I was. The only way to win against such powers is to hold a complete trust that the

other person won’t manipulate the coin in any way…physically or through mental

prowess. You’d probably end up thinking: put the coin in a box! This is a “Matter of

Trust”.”

�

Details: A controlled coin flip is used for the first three calls of the coin. The second

phase is simple “Penney’s Ante Game”. You have the volunteer call out a three string

combination such as Heads, Heads, Heads and you would then call out THH giving you a

7 to 1 chance of winning. Of course, this means you have a chance of losing, so we have

to cover this with the scripting applied to this coin-flipping sequence. Below are the

combinations the spectator can call, followed by the combinations you should call based

on their call, and then the odds of your winning8. You can also, of course, use a nail

writer to ensure that you’re always a winner but you won’t be able to openly predict the

most likely outcome. A third strategy at this point in the presentation is to switch in and

out double-headed and double-tailed coins depending on the desired outcomes. The third

phase utilizes pure bluff enhanced by compliance and strong use of rapport strategies.

Or, you can use the nail writer for the ending climax of this routine. My personal 8 http://plus.maths.org/content/os/issue55/features/nishiyama/index Accessed on 1/18/12

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preference is three controlled flips, switching in and out the appropriate coins, and then it

is a toss-up (pun intended) between pure bluff and a nail writer.

HHH�THH�7 to 1

HHT�THH�3 to 1

HTH�HHT�2 to 1

HTT�HHT�2 to 1

THH�TTH�2 to 1

THT�TTH�2 to 1

TTH�HTT�3 to 1

TTT�HTT�7 to 1

�

The Pure Bluff

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The coin is put into a container. Every so often during the show either the magician or a

participant shakes the container and can hear the coin rattling within. At the end of the

show, the mentalist says the coin is Heads Up. He then looks inside the box without

allowing the audience to see inside. The mentalist smiles, says a congratulatory “Yes”

and closes the box. This is akin to Schroedinger’s Cat, albeit experienced by the

audience and using a coin and box instead of a dead/undead cat. Of course, if you want

to be able to show the coin at the end, then you can use a variety of feints to accomplish

this. One feint would be to tape a quarter to the bottom of a box. Have a second coin in

classic palm. Pretend to drop the coin from the container and show the classic palmed

coin. This is similar to many other effects that use a folded card for a switch and reveal.

�

Final Thoughts:

If you do this routine as described, you may want to wager money on “Penney’s Ante

Game”. Some of the times you will lose, so after losing do a sure-fire coin flipping

routine to show that you are still in control. The losing at “Penney’s Ante Game” makes

this even more realistic, it would seem, because you have “failed” and your “powers” did

not work this one time. I don’t like to end on failure or end on Pure Bluff. So I would do

a controlled-flip three times in a row if I happened to lose “Penney’s Ante Game”,

wherein we would play “Penney’s Ante Game” again, double or nothing. The first time

you play “Penney’s Ante Game” you can have the volunteer flip the coins. If you have to

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performer “Penney’s Ante Game” with the controlled-flips, simply say “You got to flip

the coins last time, now it’s my turn!”

�

Credits: A controlled flip goes way, way back and probably cannot really be credited

other than to some anonymous conman. Switching coins in and out is as old as The

Discoverie Of Witchcraft, probably older. The PURE BLUFF was inspired by Robert

Anton Wilson and his writings on Quantum Physics. The PURE BLUFF also has its

roots in a conversation with Adam White. “A Matter of Trust” is a deep piece that can be

played in a very solemn way.

12) RELATIONSHIP KEYS

In short: Prerequisites for Creating and/or Enhancing Relationships

According to L. Michael Hall, PH.D and Barbara P. Belnap, M.S.W., there are seven

important keys to keep in mind when wanting to create or enhance a relationship.9

The seven components to keep track of and to use are as follows:

1) Rapport

2) Pacing

9 See “The Sourcebook Of Magic” by L. Michael Hall, Ph.D. and Barbara P. Belnap, M.S.W., page 266.

53

3) Representational Systems

4) Predicates

5) Anchoring

6) Desired Outcome Frame

7) State Management of The Self

1) Rapport

This is covered in great detail in other sections of this book and in the “MY RAPPORT

LECTURE” section.

2) Pacing

This is covered somewhat in “MY RAPPORT LECTURE”. You want to pace the

sensory modes and the reality of the person in front of you that you are dealing with at

the time. Pacing leads to leading and is often skipped over by over-eager beginner

hypnotists.

3) Representational Systems

There are at least five major representational systems: together they make up the acronym

VAKOG. There is Visual, Auditory, Kinesthetic, Olfactory, and Gustatory. Create or

enhance a relationship by noticing what representational systems the person uses during

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different contexts, as well as noticing in those contexts the order of the representational

systems (or lack of representational systems altogether).

4) Predicates

Paying attention to predicates helps you gauge the sensory representational systems the

person is using as well as the timeline/timeframe they are using. Are they talking in past

tense, present tense, future tense, or a mix of two or more?

By matching predicates of the other person, you can increase your overall rapport and

enhance the relationship with the person you are dealing with at the time.

5) Anchoring

An anchor is any stimulus which triggers the same response every time. Pavlov’s Dogs is

the classic example. After training the dogs that the ringing of a bell indicated food was

about to be served to the dogs, the dogs then started associating the bell ringing with

food. Soon, the bell ringing produced the salivation in the dogs, even when no food was

present. Pavlov had anchored the ringing bell stimulus to a response of salivation in the

dogs.

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Another classical example is hearing a certain song and always being reminded of a

certain person or event in your life. The song is the stimulus and your thinking about the

event is the response.

Using Anchors can be quite effective in creating or enhancing relationships. You can

anchor positive emotions and feelings to yourself in the other person. You can use

anchors to increase pleasure and decrease arguments. You can use anchors to increase

trust. Anchors are versatile so you must be careful when anchoring that you don’t anchor

a bad experience to yourself or to the other person. The other person will generally use

anchors without awareness, and you can decide whether or not these anchors are useful to

you and your relationship.

6) Desired Outcome Frame

What is your desired outcome from having a relationship with this particular person? Is

the desired outcome to sell something, to make a friend, to have a lover, etc. etc.?

Once you have determined your desired outcome, you can frame all your messages and

body language and other processes in the correct way to get the desired outcome you

want. You have to know what type of frame you want to put around the picture of the

person in front of you. If you don’t have a desired outcome frame, then you are not in

control of the situation and you will be letting the frame be set either randomly or by the

other person. When you are congruent enough, you can match your desired outcome

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frame to their desired outcome frame (if both are mutually beneficial to each party).

Setting a well-defined desired outcome is vitally important.

7) State Management of the Self

If you’re a total wreck, you’ll probably not be as efficient at persuading, enhancing, or

creating relationships. State Management of the Self is about controlling your own

frames of reference. Be confident that you can be confident in these situations. “Fake it

until you make it” if you have to, but once you starting faking you will soon realize that

you are actually following the procedures for State Management of the Self.

State Management is about controlling your frame of reference, your feelings, your

responses, and everything in between. You must learn to manage the Self in order to

manage relationships. This is the NLP principle of “going first”. For example, if you

want to bring a trance about in a person, then it is good for you to know what being in a

trance is like so you can know what signs to look for and other important things.

13) THE SEVEN BODIES OF HUMANS

1) The Physical Body / The Tonal: material objects: physical interaction

2) The Aura

3) The Grid

4) The Aetheric

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5) The Nagual: non-material world: energy/spiritual interaction

6) Subtle Energy Body

7) The Soul / The Center

It is my belief that we have at least seven bodies. The first is the physical body itself, and

the other six are “energetic” or “magickal” bodies. Each body relates to a chakra. The

Physical Body relates to the first chakra also known as the Root Chakra. The Physical

Body is manipulated through diet, exercise, and various body massage techniques. In

Carlos Castaneda’s terminology the physical body is the Tonal. It deals with material

objects and physical action.

The second body is The Aura and relates to the Sacral Chakra. The Aura is the most

commonly seen and interpreted energy body, but it is just the beginning. Awareness of

the Aura can be increased with certain visualization exercises. See “Aura or Aura

(Somewhat Updated)” in the “FALSE FAITH SERVED MEDIUM RARE” section of

this book. The Aura is interpreted by the color it gives off. Everything has an aura:

rocks, vegetables, people, animals, etc. Our Aura interacts with other Auras throughout

the day can be either be uplifted or poisoned. When dealing with a “toxic person” or

“psychic vampire”, you can use various visualizations to create a psychic shield for your

Aura.

The third body is The Grid and relates to the Solar Plexus Chakra. This is literally an

energetic power grid that lies over your body. It is typically green or gold, although

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when there are “injuries” to The Grid, parts of The Grid may change color. The Grid is

what is being manipulated in acupressure, acupuncture, reflexology, and Dim Mak. The

Grid carries energetic information from one part of the body to another part of the body.

This means, for example, that a foot reflexology massage that affects the upper back is

being channeled through the Grid of the foot to the Grid of the upper back. The Grid

crisscrosses all over the body and when properly balanced there is a feeling of being

complete and having high energy.

The fourth body is The Aetheric or Dream Body and relates to the Heart Chakra. The

Aetheric Body is what is used during Astral Travel and Lucid Dreaming; as well as

shared dreams. The classic method of controlling the Aetheric Body is to visualize a

silver chord coming from the Heart Chakra and going into a solid visualization of your

Dream Self. The Aetheric Body can also be used to change perspectives by imagining

yourself inside someone else’s body or head.

The fifth body is The Nagual and relates to the Throat Chakra. Carlos Castaneda’s

concept of The Nagual is one of a non-material world. It is an energy/spiritual

interaction. The Nagual is what allows us to realize other dimensions of being and to

interact in those dimensions. The Nagual is also highly spiritual. Stigmatics and Saints

both have a strong connection to The Nagual. This highly spiritual body allows you to

interact with other spiritual bodies, some o which may not have corporeal bodies at all.

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The sixth body is The Subtle Energy Body and relates to The Brow Chakra. The Subtle

Energy Body governs over the previous five bodies. In order to access this body you first

access one of the previous five bodies. The Subtle Energy Body contains code that

allows you to manipulate your energy bodies. It is like the source code for a website.

You can tap into the source code of The Subtle Energy Body through such activities as

magickal ritual, sweat lodges, active dreaming, and fasting to name just a few ways.

Once you access The Subtle Energy Body you can activate other energy bodies at will.

The seventh body is referred to as either The Soul or The Center and is related to The

Crown Chakra. The Center Body is what keeps us centered on earth. It can be disturbed

through stressful situations, insults, and self-deprecating belief systems. It can be attuned

by relaxation techniques and by improving self-image. While The Subtle Energy Body

rules over the first five bodies, the Subtle Energy Body is ruled of by The Center Body.

Those who tap into the Center Body soon find themselves in a happier frame of mind and

may even find their True Will or True Purpose in life and be able to carry out that

Purpose. The Center Body is the body that you have for all time.

14) THE ENERGY DART GAME

In the spirit of Jerome Finley’s ebook “Random Acts of Kindness”, I’d like to share a

little random piece that allows you to secretly perform an act of energetic kindness.

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This was inspired by Stuart Wilde, in his book “Simply Wilde”, p. 58. First you need to

know a little about the solar plexus chakra, but you only need to know very little about it.

It spins clockwise and breathes in new energy and expels a combination of negative and

good energy. You can project energy from the solar plexus. That’s all you really need to

know for right now.

As you are going about your day, you are going to play a game of “Energy Darts” with

people. Look at someone who isn’t standing very close to you. Then breathe in deeply,

as you breathe in deeply imagine white bright energy coming into your body and going

down to your solar plexus. Then breathe out sharply while imagining a dart or bolt of

bright, white energy shooting from your solar plexus into the other person’s solar plexus.

You will be surprised at how many people light up and even start smiling when you use

this technique.

15) THE MINOR CHAKRAS

There are Seven Main (or Major) Chakras on the body. A Chakra is a vortex of energy;

constantly receiving and transmitting whether you pay attention to it or not. If you do

pay attention, you can accomplish some amazing things. Most people’s Chakras spin in a

clockwise pattern. I am going to discuss the Minor Chakras, which do not generally get

as much attention as the Major Chakras.

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Minor Chakras are also energy vortices. They, too, generally move in a clockwise

direction. The Minor Chakras cover every single joint on your body, all your orifices

including your eyes, and your skin. Chakras spinning in the wrong directions correlate

with an upset energy flow or energy blockage. Blockages in one joint of your body may

affect the spinning of other Minor Chakras throughout the entire body because the energy

bodies and physical body are all interwoven and connected in a neat little pattern.

It is my belief that if you learn certain Mudras (which in basic form are hand gestures

coupled with focused intent and proper breathing), you can prevent certain ailments later

in life. This does NOT mean that if you get a splinter in your finger that you can just use

a Chakra balancing technique on it. Chakras are a complimentary aid to modern

medicine. Chakras can also be used as a complimentary aid to prevent illness and

injuries. One of the things that spinning and balancing Minor Chakras allows you to do

is focus intent and pay attention.

If you can focus your intent for long periods of time and are paying a lot of attention, you

will notice things other people are not noticing. By noticing these things you can help to

prevent them or change their direction of intention.

16) DISENGAGING RAPPORT

Sometimes, for whatever reason(s), you need to turn off the rapport machine and

disengage from a person(s). There is a Huna (i.e. Hawaiian mystical tradition) concept

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known as Aka Chords. These are generally black chords that reach out from your

different centers and beings and attach themselves to anything you come into contact

with during your life.

The Aka Chords attach not just to people, but to inanimate objects, animals, thoughts,

feelings, emotions…in other words Aka Chords are connecting you to EVERYTHING.

But there is a simple and easy way to “Cut an Aka Chord(s)”! First, for the sake of an

example, we will say you are connected through Aka Chords to a previous boss who

berated you. You still have bad feelings about this and wish you could “just get over it”.

Now, imagine that boss and visualize black chords coming from and going to him and

vice versa.

Next, imagine a giant silver shuriken (throwing star) cutting all the chords. In order to

complete the process, you need to close off the meridians from re-opening those empty

Aka Chords. In order to do so you can either physically or mentally turn your entire body

around 360 degrees for three turns. This seals the Aura and Meridians from the potential

of reattached Aka Chords. You can go through this process with anything that you need

to detach from in your life.

You can also use this process in reverse in order to gain more rapport. Imagine

thousands of Aka Chords generating from every pore of your body and entering into the

recipient/client/subject you are dealing with at the time. Later on, when beneficial, you

may cut some or all of the Aka Chords!

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When I sit down with someone, I sometimes visualize the Aka Chords. They are often in

different places for different people and in different situations. I trust my intuition.

Sometimes the Aka Chord visualizations have told me to stay away from certain things or

places. When I have stayed away, I later learn that by not going or by leaving and cutting

the Aka Chords, I have made a wise decision. Aka Chords can also be a sign of a

positive connection. Aka Chords may sound familiar to those of you who have done

some Astral Projection work because of the Aka Chord’s similarity to the Silver Solar

Plexus Chord that keeps your Dream Body attached to your Physical Body.

You can use that Silver Solar Plexus Chord by visualizing it shooting out of your solar

plexus and into the solar plexus of the person you want extreme rapport with at the time.

Later, simply imagine the Silver Chord retracting back into your body.

Another technique, which I will “hide” in this section, is the “Gray Cloak”. In “The

Trick to Money Is Having Some”, the author Stuart Wilde recalls witnessing this

technique from an objective viewpoint. A man was dealing with a banker and wanted a

loan. The man wanting the loan visualized a giant Gray Cloak emanating from his Solar

Plexus and engulfing the man and the banker. The man was able to manipulate the

banker into giving the loan. Now, this is not entirely due to the “Gray Cloak” and in no

way do I recommend getting loans you cannot or are not going to pay back. The “Gray

Cloak” is a piece of “Mind Machinery”. When you imagine the “Gray Cloak”, your

mind/brain and body start to do everything that you have associated wit the “Gray Cloak”

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technology. This is like putting rapport and persuasion on Autopilot and giving you

more chances to persuade and influence the other person because you are not consciously

worrying about many of the processes. The “Gray Cloak” is very efficient, when used

properly, and used carefully.

Side Note: Huna as we know it in English is supposedly a translation into the word

“Secret” and Kahuna is supposedly the word “Keeper of Secrets”. Max Freedom Long is

generally credited as bringing Huna into the American/Western Consciousness. Some

have argued that Long manipulated words and linguistics to arrive at a system that is not

“true Huna”, nonetheless, his materials provide for essential reading and experiential

evidence will find some of the techniques useful and easy to master.

17) FOUR CORNERS MOON THIEF

There is a very interesting book titled “How The Shaman Stole The Moon” by William

H. Calvin. In studying eclipses, he chose the Four Corners region of the USA (where the

modern states of Arizona, New Mexico, Colorado, and Utah meet). He found through his

research that the average person from 700 AD to 824 AD would have seen one

potentially observable eclipse per in an average year.10

Calvin, through his research, found that a series of three or four eclipses can be seen in a

two year period; while other times no eclipses can be seen for four years. The eclipses

10 See “How The Shaman Stole The Moon” by William H. Calvin, p.31

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“cluster”. “There was often a second lunar eclipse on the sixth full moon after the

first”.11

By watching from moonrise to moonset for partial eclipses, the observer would notice

many more eclipses than seen by the modern evening-only spectator. “Given such

diligent observers and unclouded viewing conditions, one gets a 56 percent chance of

another lunar eclipse in the sixth full moon after an eclipse, an 11 percent chance at the

twelfth, 8 percent at the seventeenth, and 5 percent at the eighteenth.”12

The sixth and twelfth full moon after an eclipse could then be calculated to have another

eclipse. Remember, eclipses cluster and so do non-eclipses. By paying attention from

moonrise until moonset, you can start to predict lunar eclipses with some authority.

Another interesting aspect is how the shamans counted to six on one hand. One through

five were counted on the fingers and then a closed fist signaled six. This allowed the

shamans to keep track of the sixth and twelfth month after each lunar eclipse and use that

knowledge to their advantage.

18) RAPPORT INCREASING STRATEGIES

Multiple Strategies to increase rapport with both individuals and groups

11 “How The Shaman Stole the Moon” by William H. Calvin, p. 31 12 “How the Shaman Stole The Moon” by William H. Calvin, p. 31

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I will first discuss methods to increase rapport with a single individual. These methods

will help you gain rapport with a group as well. This is because the volunteer that helps

you is a proxy for the rest of the audience. When you gain rapport with the volunteer,

you also gain rapport with the rest of the audience as a by-product.

One of the most common ways taught to gain rapport is to mirror the movements and

speech of the person with whom you want to gain said rapport. This is taught in many

Neurolinguistic Programming texts, as well as in many schools, sales trainings, and other

places. The simplest way to achieve this is to do with your body what the other person

does with their body. You also use the same type of words and forms of speech as the

other person. This doesn’t mean you exactly copy them movement for movement and

word for word. Instead, you approximate their actions and speech. If they say the words

“What I like to see”, you then use something like “When I look”.

Pay close attention to the type of sensory words the person uses. If they use a lot of

references to visual aspects in their speech, then you will want to use visual predicates in

your own speech. Likewise, they may use audio or kinesthetic. They may use a

combination. You will have to be aware. You will have to awaken yourself to pay

attention to these important factors. Once you become proficient at gaining rapport, there

are some visualization techniques and short-cuts you can begin to use.

One of my favorite techniques is to imagine a golden chord coming from my solar plexus

and stretching out into the solar plexus of the person with whom I want to gain rapport.

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Another useful technique is to imagine yourself bathed in white light, and that the white

light is encompassing the person you want to influence, or even encompassing a group

you want to influence, such as an audience.

We can associate these visualizations with gaining rapport, by performing these

techniques after gaining rapport through mirroring movements and language. Thus, we

associate these visualizations with gaining rapport, and create sort of subconscious

process that makes us gain rapport almost by default. When you get really good at this,

you will be able to unconsciously gain rapport through the use of these visualization

techniques. Matching the breathing rate of the person in front of you is also useful.

However, sometimes matching the breathing rate is difficult, so here is an easy way

around it: guide the person in front of you through some sort of positive visualization

and breathing exercise. Have them breathe in for a count of three, then hold it for a count

of two, and then breathe out for a count of three. You will then be able to match their

breathing, because you have essentially told them how to breathe for this experience.

Likewise, if you are having trouble mirroring or matching anything else, you will want to

take charge and instruct the person into the direction you wish to take them. This is an

often overlooked strategy for gaining rapport.

Another important aspect of rapport is meeting the person in their reality and bringing

them over to your reality. When you match what the person knows to be true, you can

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then start to bring in ideas and actions that may or may not be true. These ideas and

actions will be accepted as true, because you have matched the reality of the participant.

Gaining compliance of a participant is often necessary in order for an effect or

demonstration to work properly. You usually gain compliance by first gaining rapport.

However, if the person is compliant with what you say, then you know you have rapport

by a certain default of judgment on the part of the participant.

It has been said that people’s favorite subjects are themselves. When you are like them,

they will like you. You become like them when you gain rapport. They will sense a

certain “oneness” with you.

Gaining rapport is a very important step in the direction of being able to lead someone.

This is called pacing and leading. When you pace, you are mirroring and matching the

other person. Slowly and gradually, but sometimes in a fast manner, you will begin to

lead the person’s actions and thoughts in the directions you want to take them.

Remember, that rapport equals trust plus comfort. Once you have gained trust and

comfort, you will have gained rapport. Once you have rapport, you will be able to lead

the audience where you want, and you will also be able to be perceived as even more

powerful. You will also become more likable in the process. Not such a bad deal, really,

huh?

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You can gain rapport with the rest of the audience by proxy through a volunteer. You

can associate certain visualization techniques with gaining rapport so that gaining rapport

becomes a default state when you use those visualization short-cuts. If you are having

trouble matching a person’s breathing, then take charge and tell them how to breathe.

Once you gain rapport, you can become the leader. Pacing and leading are two important

parts of the equation in performance art. When you increase rapport, you will become

more likable in the process.

19) THE ICHAZO / LILLY / HILDEBRANDT SYSTEM

The following is based on works by Oscar Ichazo and John C. Lilly, with my

interpretations and thoughts mixed in and compiled based on their energy system. In

order to activate a Body Part for a Mentation you will focus on that body part and send

positive energy to that body part. The Grid from the “Seven Bodies of Humans” will be

useful in energizing any of these body parts and thus increasing the potential for the

Mentation to take place. It is possible to have blockages in the Mentations. Oscar Ichazo

dealt with these blockages through what he dubbed Psychocalisthenics.

Psychocalisthenics were generally a series or set of dance-type moves in a ritual manner

while concentrating on a desired outcome. For more detail on Psychocalisthenics, I

suggest you attempt to find at least one book by Oscar Ichazo. The Mentations are also

mentioned in the book “Center of the Cylclone” by John C. Lilly, which I also

recommend.

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THE ICHAZO/LILLY/HILDEBRANDT MENTATION READINGS

BODY

PART

MENTATIONS CENTERS READING/

ENHANCEMENTS

EARS Substance:

objective reality

of something

Minor

Chakras

This is more than

how you look at the

world; this is the

world itself

unencumbered by

subjective reality.

EYES Form Minor

Chakras

This relates to the

form that your ideas

take.

NOSE Possibilities:

Alternatives

Minor

Chakras

This mentation

allows for making

choices, both

positive and

negative

MOUTH One’s Needs Minor

Chakra

The Mouth deals

with physical,

emotional, and

psychological needs

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and necessities.

CHEST Impulse

(Automatic

Energies)

Heart

Chakra

Automatic Energies

are your conditioned

responses to what

life throws at you.

UPPER

BELLY

One’s

Assimilation

process

Heart

Chakra

This relates to how

well you can cope

with change, in

either environment,

process, or content.

LOWER

BELLY

One’s

elimination

process

Solar

Plexus

Chakra

This is how you get

rid of what is not

useful for you.

GENITALS Orientation of

oneself

(evolutionary or

regressive)

Root

Chakra

Are you going

forward in

development of

True self or

backwards to

negative behaviors?

UPPER

LEGS

The capacity of

a person (how

Minor

Chakras

This relates to your

energetic battery.

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AND

UPPER

ARMS

much energy a

person can

hold)

How much energy

can you deal with at

one time?

KNEES

AND

ELBOWS

Charisma

pertaining to

oneself

Minor

Chakras

How much charisma

do you have? Do

you want more?

Then concentrate on

this energy center.

LOWER

LEGS

AND

LOWER

ARMS

Means (what

one is

able/capable of)

Minor

Chakras

This is what you are

either able to do or

capable but not

willing to do.

FEET AND

HANDS

One’s goals Minor

Chakras

This is where goals

are stored, access

this center to help

reach goals.

20) INDUCING THE ALPHA STATE (EARTH’S VIBRATIONAL

FREQUENCY)

There are different brain cycles/frequencies that our bodies go through. I have included

an MP3 titled “Earth Frequency” with this manuscript that contains a tone that has been

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manipulated to have a 7.8 hz frequency, which is the threshold from the Alpha brain

wave to the Theta brain wave. It has been taught by certain Silva Method™ instructors,

as well as other biofeedback teachers, that the Earth itself resonates at this frequency and

so does the word “OM” when properly chanted.

The Alpha State is a nice relaxing state, which you can tune into at any time. I

recommend looping the MP3 and meditating on the sound. You can also intone the word

“OM” while listening. Supposedly, the Alpha State opens one up to more psychic

awareness—I’ll let you decide if that is true or not. The “Earth Frequency” MP3 is

designed to attune you to the harmonies of the Earth’s resonance.

I recommend the book “Silva Mind Control” by Jose Silva. Silva’s book will give you, at

the least, interesting fodder for presentations, and at the most a way to tap into an altered

state that can interact between the energetic and physical worlds.

21) A DIFFERENT KIND

This is a notebook “device” for switching billets or cards. You will need two of the five-

subject notebooks; the ones that come with partitions for each subject. The partitions

should have a folder on at least one side. You are going to take off t he back of the first

notebook. Replace the back of the first notebook with the front of the second notebook.

Make sure you orient the second cover so that when you turn it over everything looks

kosher.

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If the partitions only have a flap on one side, then you need to do a little craft work and

put in another flap on the other side of the partition. Congratulations, you now have a

switching device that can also be used for Add-a-Number routines.

The main purpose of this gimmick is to switch billets collected from the audience for

blank billets and then switch the billets back again if so desired. You can also use this for

a card calling routine by having people pick, but not look at, various cards. You put the

cards in the flap on one side, and in the other flap you have your memorized card set up.

This will only handle a small packet of cards, though, so I recommend the notebook

device for billets. You can also write down things in the notebook as they come to you,

make a magic square or other talisman for someone, and create other moments of

astonishment.

22) MY RAPPORT LECTURE

My Basic Rapport Lecture (NLP CALIBRATION AND RAPPORT) can last

approximately 1 hour 30 minutes and necessitates at least four participants. It is

important for me mention that much of the time in the lecture is spent with the

participants doing exercises. This achieve several things, such as experiential hands-on

learning for easier integration, breaking the lecture into bits, enhancing the experience,

utilizing the proper time management to hit the spot for the time you want to spend, and

more. You’ll also find a small warning about something I once attempted and ended up

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being too powerful for casual rapport! First, I’d like to share the general outline of my1

hour 30 minute Rapport Lecture, then after the List/Outline I will describe how to do the

exercises or refer you back to portions of this manuscript that already deal with portions

of the outline:

GENERAL RAPPORT LECTURE OUTLINE

RIPPLE RAPPORT EFFECT

WHITE AND GOLDEN BUBBLE

LOOSEN UP EXERCISE

OM CHANTING

BREATHING EXERCISE INHALE FOR 3 SECONDS THEN EXHALE

ENERGY TESTING EXPLANATION/DETAILS/DEMO (reversed polarities!)

ENERGY TESTING EXERCISE

RAPPORT=Trust + Comfort

HANDSHAKING DETAILS

HANDSHAKING EXERCISES

VAKOG & HOT HAND

ENERGY HAND?

CLOSED COMMUNICATION: Person A closes off to Person B physical and shaking

head “no” while Person B attempts to tell them something

(Go through group and help)

SWITCH Person A and B

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(Go through group and help)

SWITCH PARTNERS, DO CLOSED COMMUNICATION AGAIN

(Go through group and help)

SWITCH Person A and B again

DETAIL HOW CLOSED COMMUNICATION CAN BE USED TO DEFEND

AGAINST UNSCRUPULOUS MANIPULATION

DETAIL HOW CALIBRATION IS IMPORTANT: Is their arms crossed because

they’re cutting off communication or because it is cold in the room? Calibration=The Art

of Noticing

OPEN COMMUNICATION: Person A open body language towards Person B

(Go through group and help)

SWITCH Person A and B

(Go through group and help)

SWITCH PARTNERS, OPEN COMMUNICATION

(Go through group and help)

SWITCH Person A and B again

(Go through group and help)

DETAIL PACING AND LEADING

PACING / MATCHING EXERCISES

*WORDS

*VALUES

*BELIEFS

*POSTURE

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*BREATHING

*OTHER FACETS OF ONGOING EXPERIENCE

LEADING EXERCISES

EXPLAIN MIRRORING, DETAIL HOW MIRRORING CAN BE USED

MIRRORING EXERCISE: Person A mirrors Person B

(Go through group and help)

SWITCH A and B

(GO through group and help)

SWITCH PARTNERS, MIRRORING EXERCISE

Person A mirrors Person B

(Go through group and help)

SWITCH A and B

(Go through group and help)

MATCHING EXERCISE, Explain difference between matching and mirroring

Person A matches Person B

(Go through group and help)

SWITCH A and B

(Go through group and help)

SWITCH PARTNERS

Person A Matches Person B

(Go through group and help)

SWITCH A and B

(Go through group and help)

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THE IMPORTANCE OF EYE CONTACT

EYE CONTACT EXERCISE: Person A and Person B maintain eye contact while having

conversation

(Go through group and help)

SWITCH A and B

(Go through group and help)

SWITCH PARTNERS for EYE CONTACT EXERCISE

Person A and B maintain eye contact while having conversation

(Go through group and help)

SWITCH PARTNERS

Person A and B do EYE CONTACT EXERCISE

(Go through group and help)

SWITCH Person A and B

(Go through group and help)

TRIANGULAR GAZING EYE CONTACT EXERCISE: THE POWER OF

ULTIMATE EYE CONTACT

TRIANGULAR GAZING EXERCISE: Person A triangular gaze while conversing with

Person B

(Go through group and help)

SWITCH PERAON A and B

(Go through group and help)

SWITCH PARTNERS

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TRIANGULAR GAZING EXERCISE AGAIN: Person A triangular gaze while

conversing with Person B

(Go through group and help)

SWITCH Person A and B

(Go through group and help)

Now, let’s go through the outline as I describe each instructional point and exercise for

you.

RIPPLE RAPPORT EFFECT

This is a private technique that is taught publicly in my Advanced Rapport

Seminar. This is to help you set your own mood, and enhance your rapport with the

participants. I imagine a purple amethyst pebble coming down from the skies and

rippling white and gold energy throughout the room as a pebble makes water ripple when

the pebble hits the water. This is a very useful and easy technique to help automate your

own group rapport covertly.

WHITE AND GOLDEN BUBBLE

This is another covert technique useful for preparing yourself for the training,

although the technique can also be demonstrated and used with the entire audience. This

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is explained in this manuscript as a separate exercise: “WHITE AND GOLDEN

BUBBLE EXERCISE”.

LOOSEN UP EXERCISE

This is where the actual teaching phases generally start. You want people to

become comfortable and loosen up. You want them to literally shake off bad energy and

negative vibes. Instruct the participants to shake their heads, necks, arms, and legs in

order to remove negative energy. Either after this or during this you can do the OM

CHANTING.

OM CHANTING

This chanting allows you to mirror and replicate the consciousness of the group

while setting you up as the leader of the group. As leader of the group you need to

command a strong presence and be in rapport with everyone. I like to have the audience

chant “OM” while I also chant “OM”. This exercise attunes everyone to everyone else.

Since I started the OM Exercise, then I must be the leader. “OM” Chanting is also a very

potent tool in Zen Buddhism and other related practices.

BREATHING EXERCISE INHALE FOR 3 SECONDS THEN EXHALE

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This is another exercise for obtaining group rapport and controlling the breathing

of the attendees. Have the participants breathe in deeply for three seconds and then

breathe out deeply for three seconds. After a few rounds of this breathing exercise, you

can have the participants sit down and get ready for the lecture (which has already started

and you already have great rapport with the group due to both covert and overt

techniques that you have used).

ENERGY TESTING EXPLANATION/DETAILS/DEMO (reversed polarities!)

You are going to teach applied kinesiology, also known under many other

names—my personal favorite being the term “Energy Testing”. Energy Testing will

allow a self-measure of the effectiveness of techniques for each individual during the

rapport exercises and in more advanced classes that you may teach.

Energy Testing is a wonderful tool that can help you make better intuitive choices

in your life. I prefer to instruct my participants using the Outreached Arm Energy Test.

While this Test can be faked, there is no need to (consciously) fake it if you just follow

the instructions.

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Figure One: Arm Properly Outreached for Energy Testing

The above crude illustration (Figure One) shows how the participant being

Energy Tested should hold their arms. The right arm should be held out to the right side

of the participant being Energy Tested. The right hand should have all its fingers closed

together, with the thumb pointing down to the floor. The left harm should be at the side

of the body, fingers all closed together and pointing down.

In this Energy Test Demonstration, you will disturb the Central Meridian. This

meridian runs from the bottom of the pelvis up to the center of the head in a straight line

and then runs down the backwards of the head towards the pelvis, completing the

Energetic Circuit of the Meridian. Figure Two’s crude illustration shows where the

Central Meridian runs. A Meridian is a channel that Energy flows through, and the

Central Meridian is one of the Vital Meridians to know.

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Figure Two: The Red Line is the Central Meridian’s Location

In order to Energy Test, You will hold out your index and middle finger, with the

thumb, ring finger, and pinky held in a closed circle. You will take the index and middle

finger and lightly press down on the right wrist of the participant. Tell the subject to

relax. There will be a small, “springy” reaction when you push down on the right wrist.

Now, you will take your left hand and make counterclockwise circles around the

abdomen area of the participant as you push down again on the wrist. The arm of the

participant will easily be pushed down even though you are using as much if not less

force as the first Energy Test, where the arm was “springy”. The arm goes from

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“springy” to weak while you interfere with the flow of energy through the Central

Meridian. Now have the class go through the Energy Testing Phase with each other.

RAPPORT= TRUST + COMFORT

This Rapport Equation has already been explored in this manuscript, so let me just

remind you that after each Exercise in this Rapport Lecture, you have the participants act

out the necessary instructions and exercises with each other. Spectator A goes first on

Spectator B, while for example Spectator C works with Spectator D. Now have A and B

switch and have C and D switch. Monitor the progress of the entire group and point out

what they may be doing wrong in the process, but also REMEMBER TO TELL THEM

when they DO EXCELLENT! You may then have C and A switch and go through the

exercise again with A and D working together and C and B working together.

HANDSHAKING DETAILS

Handshakes are a certain forte of my own explorations. In my Basic Rapport

Lecture, I teach a firm, yet polite handshake and I also instruct the participants on how to

create The Energy Hand. Again, I want to remind you that you will have the participants

get into small groups and do the drills. Also, if you have “Hand Bluffs Plus More Stuff”,

you will find many other Handshake principles and related effects.

ENERGY HAND

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The Energy Hand has already been described in this book. Remember, one of the

most important aspects of The Energy Hand is “Priming the Pump”!

CLOSED COMMUNICATION

This is the art of Anti-Rapport. I feel it is important to teach Anti-Rapport or a

Closed System for at least two reasons: 1) So a person may close themselves off from

the rapport of one trying to negatively influence or negatively impact them and 2) So that

the participants realize what closed rapport is and may come up with some ideas of how

to open closed rapport for the benefit of all involved.

You will have Participant A and Participant B. Participant B is to sit down, have

their legs pressed together and crossed; have their arms crossed in front of them, and

shake their head no to everything that Participant A says or does. Participant B may even

find it helpful to actually say “no” out loud during this drill.

After the Participants have switched and everyone has explored what it is like to

deal with someone who is not in rapport with you then you will point out that very fact.

“How did it feel communicating with the person while they were closed off? Did you

feel you were getting anywhere?”

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DETAIL HOW CLOSED COMMUNICATION CAN BE USED TO DEFEND

AGAINST UNSCRUPULOUS MANIPULATION

Dealing with a stereotypical used car dealer? Close off communication. Dealing

with an annoying telemarketer? Close off communication. Dealing with an overzealous

person trying to persuade you into something that’s not in your best interest? Close off

communication. I’m sure you now see dozens, if not hundreds, of uses for being able to

close off the communication and shut down rapport.

DETAIL HOW CALIBRATION IS IMPORTANT

Calibration is “The Art of Noticing”. This is an important aspect of rapport

instruction to mention immediately after the “Closed Communication” section of the

lecture. One example you can give is that a person with crossed arms may not be closing

off from rapport, but rather they find the room chilly. Another example is that it may

look as if two people are in closed communication because they are both “closed off”. In

reality, they are mirroring each other and in excellent rapport with one another. So, it is

very important to calibrate how and why the person is in the posture they are in and to get

feedback; but most importantly to calibrate or “pay attention” to the surroundings,

context, and content of the person in front of them. Otherwise a cold person may be

viewed as closing off from rapport or any other number of things could be confused with

closing the communication, when in fact the person is ready, set, and willing to be in

rapport with you.

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OPEN COMMUNICATION

This is the exact opposite of the “Closed Communication” exercise. I like to take

the approach of doing the more “negative” things first and then moving on to the more

“positive” things when teaching, when possible. This is the same approach I attempt to

give when giving advice, 1) negative aspects 2) how to improve the negative aspects 3)

positive aspects and 4) how to improve the positive aspects.

In this round of drills, the participants who are interacting with one another open

up and have their arms and legs uncrossed. Occasionally, they may nod their head “Yes”

or give a verbal affirmation. The differences between closed and open communication

will quickly be demonstrated. The rapport between the participants will highly increase

and if they are practicing the art of noticing (Calibration), the participants will notice how

much more at ease the other person is and how much easier it is to discuss things during

this open communication exercise. Remember to point out to your audience how much

easier it was to get rapport during open communication!

DETAIL PACING AND LEADING

The former exercises lead up to leading from the use of pacing techniques. In

pacing, you start at the reality of the person you want to influence and in leading you lead

the subject to the reality or topic that you want, in order to influence said subject.

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PACING / MATCHING EXERCISES

This section will deal with pacing and matching Words, Values, Beliefs, Postures,

Breathing, and Other Facets of Ongoing Experience.

*WORDS

Matching phrases, predicates, and sensory words used by the person you want to

gain rapport with will help speed along the process. This is one of the easier ways to

Pace and Match the other person, but don’t overdo it.

*VALUES

If you can elicit the values of the person in front of you then you can gain great

rapport. How do you elicit those values? By asking them, you can elicit the criteria of

values that they hold. Also by paying attention to what they say you can often determine

their values.

*BELIEFS

In order to become congruent with someone else’s belief system, then you have to

deduce what that belief system consists of for that particular individual. “What are your

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core beliefs?” could be a starting question for eliciting beliefs. Noticing what and how

the person is delivering their message will also gain you access to their beliefs if you

listen closely enough.

*POSTURE

This is one of the more simple things to pace. Notice how the person in front of

you is standing, or how they are seated. Match their posture, but try not to make it

completely obvious. You might want to go through an exercise of half-mirroring with

the group. When Participant A puts both arms in front of their chest, then you have

Participant b half-mirror by putting one arm in front of their own chest. This can be very,

very effective.

*BREATHING

Pacing and matching breathing can actually be one of the more difficult tasks for

a beginner in NLP. One little trick that helps is to focus on the person’s chest, stomach,

and shoulders using peripheral vision while maintaining some form of eye contact. The

shoulder movements are usually the easiest to see and to pace, but other times you will

have to look at other facets of the ongoing experience to be able to match the breathing.

Of course, if you lead the person in a breathing exercise, then you will bring their

breathing to match yours. (Just a sneaky little technique, I thought I’d thrown in there!)

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*OTHER FACETS OF ONGOING EXPERIENCE

Any other face of ongoing experience can be utilized in obtaining and maintaining

pacing and rapport. If you can think of a face of ongoing experience that is happening,

you can easily match that ongoing experience in order to pace the person in front of you.

One example is temperature reaction. Is the person in front of you cold, hot, or

comfortable? Once you decide upon this you can use mental tricks to lower or raise your

body temperature. You might imagine being in Antarctica for the cold pacing and being

in an oven for the hot pacing. The list is endless and limitless, and you will soon figure

out other ways to pace ongoing experiences.

LEADING EXERCISES

The previous Pacing and Matching leads into “Leading Exercises”. For example,

once you start matching the other person’s breathing then you can lead that person to

another, different type of breathing in order to influence them. Anything that can be

paced, mirrored, or matched can be used to begin leading the client/subject/participant

you are dealing with at the time.

EXPLAIN MIRRORING, DETAIL HOW MIRRORING CAN BE USED

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Mirroring is a technique wherein you pace the other person by literally mirroring their

movements, posture, breath, etc. Mirroring can be used effectively with the previous

techniques. Mirroring is slightly different than pacing and matching. In pacing, you pick

one element to focus on and pace that element. In matching, you match exactly what the

other person is doing. Mirroring covers multiple aspects of pacing and matching at the

same time for turbo-charged rapport. Mirroring can be used to effectively pace and

match several different details.

MIRRORING EXERCISE

In this exercise, you will have Participant A mirror Participant B. They then

switch and Participant B mirrors Participant B. You can have C and D do the same thing

and then switch D with B. It is very important to have the people in the room do the

exercises so that they can get instant feedback from yourself and others, and also because

they will gain the skills faster through an experiential manner.

MATCHING EXERCISE

Matching is slightly different than mirroring. The main difference I want to point

out is what I refer to as “half-mirroring”, which is actually a matching technique. For

example, if a person you want to influence is using both their hands to gesture, you may

use only one hand and match the gesturing of just one of the hands of the person you

want to influence. This detail of matching and half-mirroring is usually not as obvious as

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outright mirroring someone and can provide confidence for people trying these exercises

for the first time.

THE IMPORTANCE OF EYE CONTACT

Eye contact is a fundamental process when gaining rapport. Maintaining proper

eye contact is very, very important. Please, though, remember not to stare into their eyes

or else you could make them feel uncomfortable. Knowing when to break eye contact for

a second is as valuable as maintaining said eye contact. The eyes are the window to the

soul, or so it is said, and keeping eye contact will help you better perceive what else you

have to do to maintain rapport.

TRIANGULAR GAZING

Triangular gazing has already been covered in detail in this manuscript.

Triangular gazing ends My Rapport Lecture. People are fascinated with Triangular

gazing as it really helps them keep track of more things at once while maintaining proper

eye contact and can enhance peripheral vision over time.

A MISTAKE: TOO POWERFUL FOR CASUAL RAPPORT

I soon learned that Soul Gazing, also known as Anamcara, was too powerful of a

technique to teach for casual rapport. Getting that deep into rapport with a stranger or

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even friend for the first time can be disturbing to your participants. That’s why I took

Soul Gazing out of My Rapport Lecture—it’s simply too powerful for beginning level

rapport. Now, if I had a group of people who were in relationships with each other, then

it might be a viable process for the Rapport Tool Box.

FINALLY

I hope you have found enough in this section to not only help you create your own

Rapport Lecture, but also different ways you, yourself, can gain rapport with people. I

struggled with sharing My Rapport Lecture because of how powerful these techniques

can be, but I decided to throw in My Rapport Lecture for not only the sake of

completeness, but also because I genuinely want you to be able to go out and do these

techniques and processes. You will be amazed at how much fun people can have with

the experiential phases of My Rapport Lecture.

23) MY PENNY ACT

I set a challenge to myself to create a mentalism act that was based around coinage. I also

decided I wanted to frame some of the main experiences around the USA Penny coin.

The following is what I came up and I hope you put it to good use. This is a full act

intended for stage, which revolves around numbers and money.

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“A lot of people hate math and love money,” says the performer, “Tonight, I’m going to

demonstrate some math with some money. I guess it will be a love/hate relationship!

But these demonstrations go much further than just using mathematical principles. We

will explore the esoteric of consensus reality using a few coins. Coins are also known as

change and tonight we’re going to learn how to change our perspectives and our lives.”

You can adapt the following from radio to stage, with enough thought. The following

was first published in my ebook “Situational Sensations”:

Coin Of Interest Noted

A somewhat interactive effect for live radio broadcasts.

The mentalist gets invited onto a radio show. How to get invited on to a radio show is

outside the scope of this particular book.

“Somewhere out there, right now, somebody is listening to this station as they pick up a

coin. I am writing the value down right now. If the person who picked up that coin calls

in right now, I will reveal not only the value of the coin, but also the date on said coin.”

If nobody calls in by the end of the live broadcast, you simply say, “Oh, let’s not forget

the date and value of the coin. The person who picked it up did not call in, perhaps they

were busy with other things or got distracted, but it was a brunette woman who picked up

a penny dated 1992.”

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The above final scripting does a lot of things. You should have done at least two other

effects that you knew were going to be successful. The first effect should be one that is

successful. The second event should be the effect you are currently reading. The third

effect should be totally and completely sure-fire. The scripting and location of the effect

during the show are directly related to advice from “Kentonism” by Kenton Knepper,

“Ball and Tube” by Docc Hilford, and from Jerome Finley in the book he co-wrote with

Devin Knight, titled “Cloud Busting Secrets”.

The basic idea is that you establish yourself and your credentials. If nobody calls in with

the value and date of the coin, then you make a “random” guess. Someone just may call

in at a later time to confirm what you have guessed. Personally, I simply let my mind rest

and concentrate on a screen of white and while trying to really visualize the coin I say

whatever comes to mind first, but I also tie in a gender and a hair color to the revelation

as an added enhancement. This is so if a brunette woman who was listening finds a

penny dated 1992 and calls in, I will have a complete and total miracle on my hands. If a

blonde woman calls in and says she found a penny dated 1992, I still have enough of a hit

to be considered as impressive. Likewise, if a brunette male then calls in with a penny

dated 1992, I will have a different sort of near hit. You see, if I am going to risk being

wrong on everything, then I am going to list more things, because there are more chances

that my answer can be interpreted as correct or as a near hit. This also proves even

more amazing to the witnesses, as I have predicted three out of four things instead of a

simple two things when I get a near hit. If I do not get any hits, then I have said the

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person was busy or got distracted, and so it is simply not a big deal at all, because I did

not make it a big deal. If nobody at all calls in, then I still will get credit from many

people, because I did what I said I could do in the other two effects or “experiments”!

There are those who would encourage you to use a stooge in case you do not get the hits

you were after. I discourage such a tactic because stooges are traceable. This means that

if someone investigates enough, they will find your connection with the stooge, and ruin

your chances of performing the effect again. If you use a no stooge method, then you

have no connection the person calling in when you are successful. This also means you

are self-contained; you do not need to bring your stooge to each place where you are

going to perform this effect.

Now, we will talk about what happens if someone does call in with a coin they randomly

found on the street. This is accomplished by the use of a nailwriter. A nailwriter is a

gimmick that contains a piece of lead that you attach to a fingernail, usually to your

thumbnail but not always. This is inspired by Docc Hilford’s work.

You take out a piece of paper, pretend to write on it with a mechanical pencil while

scratching the paper with your fingernail, and then ask the person calling to tell everyone

the date and value of the coin. You next write the information on the paper with the

nailwriter, after you have put away the mechanical pencil. You fold up the paper and

hand it to the host of the program. You then say “I want you to hold on to this piece of

paper, guard it with your very life, and then at the end of the show, we will see if it

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matches the value and date of the found coin. Now, think about this, I would have to

plant the same value of coin in many different locations all across this city and hope that

one person would call in after finding the coin. As you can see, that would be totally

impractical. It would be immensely difficult to pull off. However, by listening to the

tonality, timbre, and inflection in the caller’s voice, as well as relying on my own inner

intuition, I think I have been able to deduce what the value of the coin was, and to also

divine the date on said coin.”

While you have the person who found the coin on the line you can tie in some cold

reading to the effect and get even more valuable hits and make even more of a connection

with the person who found the coin. It is beyond the scope of this book to teach you cold

reading, but I thought I would mention it as you can easily tie into this effect. You can

also turn the found coin into a sort of oracle. You do this by saying there are different

meanings for different coins that are found. If you find a quarter on the ground, which is

usually more rare then finding a penny, then this means you have a higher energy or

vibration about you that day, and you can go into deeper details based upon which coin

the person has found and also about the significance of the date on the coin. It would

prove very valuable for you to learn about numerology so that you can reduce the date

down to one number and give a numerological meaning based on the date of the coin.

Again, it is outside the scope of this book to teach you all about numerology.

In this routine, you also have a statistical fact in your favor. Most of the people who call

in will have found a penny. So, if you do not want to go into the value of the coin, but

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want to still get a hit for the value, you simply change the script a little bit to say

“Someone out there right now is finding a coin on the ground. From my vantage point it

looks like a penny. Now, that’s not very impressive in and of itself. But, I’m writing the

date down right now, and if that person calls in, I have the proof of the date written down

on this piece of paper.”

So, now you get one free “hit” out of the deal by predicting what is already in your favor.

You even tell everyone that this “hit” is not impressive. Yet, if a person calls in, you play

up both the value of the coin and you really, really play up the date of the penny!

C.O.I.N.Q.A.: Adapting “Coin Of Interest Noted” to a Question and Answer Act

“I’m sensing that someone out there has picked up a coin they found today. I’m sensing

that it is probably a penny. If any of you have picked up a coin in the last few days,

please stand…as often these impressions last a couple of days.”

If a person(s) stand, you then ask them to call out the dates on the coin(s). You nailwrite

the dates as they are called out. You then turn over your drawing pad and show that you

have correctly predicted the date(s).

If nobody stands, then point to a person in the audience and say, “Actually, this must be a

premonition. Be on the lookout for a dropped coin soon in your future!”

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PROMETHEUS RISING

The following actually happened to me, and you can use this as a warming-up exercise in

manifestation, Q & A Act or otherwise.

“In the book “Prometheus Rising” by Robert Anton Wilson, there is an exercise where

you look for coins in two different ways. In one way, you set the frame that mystical

synchronicities happen all the time and you’re bound to find coins. In the other way, you

set the frame that people drop coins and other valuable things all the time and you just

have to start NOTICING such things…things which you don’t normally look for without

prompts.

The first time I tried one of these experiments, I found a total of $3.20 in one week. Two

of the dollars were found as dollar bills being blown through the wind by the air! I could

hardly believe it, but there they were, manifesting themselves for me.”

BIRTHDAY COIN TEST

You have a fishbowl sitting on stage, filled with American Pennies. There are dates from

1965 to 1995. You ask the audience to all take out their loose pennies and see if any of

the pennies dates match the year the person was born. If no such occurrence happens,

then reach into the fishbowl and pull out a coin. You have a very high probability of

picking out a birth date year. If you are still struggling to find a birth date / coin date

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match, then you will have to say something like “Isn’t that weird? None of you have a

coin that matches your birth date. Just ponder that for a moment, while I take out a coin

that matches my own birth date and we’ll go from there.”

BIRTHDAY PARADOX

If you have more than 23 people in a group, the chances are extremely high that two of

them will share the same birth month and birth day. I call this “Mix ‘N’ Mingle Birthday

Paradox”, because I simply allow the audience to each shout out their birth month and

day and I give a numerology reading for each participant. After giving all the

numerology readings, you may find two birthdays that match. Point out this miracle and

take credit for the spooky coincidence.

WHICH HAND?

A lot has been written on “Which Hand?” Routines. I refer you to the works of Jerome

Finley, Patrick Redford, and Bryn Reynolds. Since you are dealing with coins, a “Which

Hand?” effect will play nicely at this point.

ADD A NUMBER COIN JAR MATCH

Bring out another large container of coins and pour the fishbowl coins into it. Allow any

audience members that want to make a wish to drop a coin in the larger container. Ask

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three participants to each take out a coin and write the last three digits inside a notebook

(this is the notebook device described in “A Different Kind” in this manuscript). You

will now be able to switch the numbers and get a total. The larger container has a piece

of paper inside it that you pull out. Since you know ahead of time the number, you have

put this on the piece of paper. This is a slight variation on a coin guessing routine from

“Syzygy” magazine.

NUMEROLOGY NUMBERS

Now go back to the other coins in people’s pockets and start giving them readings based

on the value, date, and condition. You can use standard numerology methods in this part.

Give positive, uplifting life script answers and responses. These should go beyond the

mere numerological value and you should treat this as a powerful portion of a Question

and Answer Act. End on a “secret reading” a.k.a. a “Sensational Question and Answer”

as developed by George B. Anderson in his booklet “Dynamite Mentalism”.

24) THE NAME GAME

This is a close relative in methodology to my effect “Post Prediction Ploy”. You ask a

participant to select a card. The spectator is asked what the name of their card is. They

reply “Fred”. A bit frustrated with the joke, the wizard says, “So what’s the value and

suit?”. The participant answers “Nine of Hearts”. From a card box that has been sitting on

the table the entire time, one card and only one card is inside. This card is pulled out face-

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up and it is the Nine of Hearts. The card is then turned over and on the back is written the

name “FRED” in large capital letters.

This actually uses a very standard (in magic) gimmicked deck. If you are going to force

one thing, why not add another layer and force two things with the second thing

apparently unconnected to the force of the first thing from the perspective of most of the

audience? Yes, there is some Dual Reality, or at least a second cousin of it, happening in

this effect. You will be Secretly Forcing a Second Item!

The deck you will to obtain is a Svengali Deck. On each of the 26 force cards, you are to

write the name “FRED” in big capital letters. Make sure “FRED” is oriented the same

way on each card as you slip those force cards back into your Svengali Deck. Use a

pointer ace (any ace besides the Ace of Diamonds) by putting it on the bottom with the

pointer ace pointing up so you know the orientation for easy reading of the word

“FRED”. If “FRED” appeared upside down it could cause some trouble with the forcing

procedure, thus the pointer ace to help us remain oriented.

Now, when you force the force card, that force card will also have the name “FRED” on

it. Ask the person to look at the card but not to tell anybody anything about her card just

yet. Have the card replaced. Now for the fun part: ask the participant “What was the

name for your card?” They will respond, “Fred”. Laugh a little, as if this is a joke

you’ve heard before, then say, “What’s the value and suit?” They will tell you the force

card.

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Prior to performance, you have put a duplicate force card inside an otherwise empty carrd

box. On the back of the duplicate force card, you have written in larger letter “FRED”.

Open the card box and show the face of the force card duplicate.

Next, ask the spectator, “What was that name you gave me earlier?” They will say,

“Fred”. At which point you turn over the duplicate force card and reveal “FRED” written

in bold capital letters.

As you can see the effect for the participant is different than what the audience perceives.

The audience perceives that you mentally matched up the word Fred with a thought only

in the participant’s mind. The participant knows the word Fred was on the cards, but you

predict what card she would choose, so there is an effect for her as well.

25) THE SÉANCE INVITE

The following is one way to frame a séance if you’re normally considered a “regular”

magician or mentalist:

On Monday morning, I received an invitation to attend a party being hosted by Edward S.

Prior for the following Saturday. The party was to be held at Edward’s small dwelling, a

nice house within walking distance of the Old Library. The invitation itself was a bit

different. First of all, the envelope was red, with my name on a label. The envelope was

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sealed with wax with an arcane symbol on it that I did not recognize. I carefully opened

the envelope, half expecting it to be some joke as Edward had been known to me as a

simple magician.

The invitation read, in part:

Most of you know me as a simple magician. Lately, I have been experimenting with

something…a bit more arcane. I believe my advances in this field will prove very fruitful

in the near future. It is, therefore, imperative that I gather the correct people to fully

conceive this operation. I await your RSVP.

--With Gratitude,

Edward S. Prior

I rang up Edward on the phone. He would not give me much detail on what he was

planning on doing, only that “It won’t be a magic show, far from it. It’s something I’ve

kept quiet for years, but I think it may be ready to be unleashed. I just hope WE’RE

ready when it comes bubbling to the surface.”

Needless to say, I was quite intrigued. Apparently the other eleven guests were just as

entranced by the vague descriptions and the promise of something “a bit more arcane”. I

noted, a bit unhappily, that the group of people for this experiment of Edward’s

numbered thirteen. He SHOULD have invited one more or one less person. This wasn’t

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a good sign as far as I was convinced. Edward seemed to be a little more reserved than

usual.

26) WORRY STICK

This is a simple curved and sanded piece of wood. It makes for a great BOR (Back of the

Room) device. I use it as a prop to transfer worries through touch by utilizing

Banachek’s “PK Touches”. The worry of one person is transferred to another person.

The second person then has the worry removed through a ritualistic use of the Worry

Stick. You then mention that any time they have future worries, they can relate back to

this experience and remain in a calm, resourceful state by handling the Worry Stick. You

give Worry Sticks to both participants and then mention that the rest of the audience can

buy a Worry Stick for a small fee.

27) THE KEYCHAIN READINGS

These are Readings based on a person’s keychain and the keys and other tokens on their

keychain. I first introduced this concept during a teleconference with Ken Dyne. You

will ask for an audience member to come up to the table you are seated at IF they have a

key they no longer use.

You ask a few questions about the key they don’t use anymore and why they don’t need

it anymore. Then you give a brief reading of their past as connected to by t he keychain.

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You also tell them, “This key represents the past and represents something that may still

be bothering you. However, by the end of our time together, you will see a sign that will

make this key a reminder of only happier times and resourceful moments.”

Next, you ask them to select a different key. This is the key for the Present. You will

give a reading based off how the key is cut, the type of material the key is made from,

what the key locks or unlocks. You can use the information of what they key unlocks to

turn the phrase “And so your mind unlocks like a door, allowing positive vibrations into

your present time with us.”

Finally, you have them choose to take one key off the keychain. After they have taken

the key off the keychain, you tell them this is the Future Key. You give them a cold

reading based on the key and put in the future tense.

If there is a nametag, stuffed animal, or other accessory(s), then you can also give

readings based on those. For example, if there is a tiny plastic monkey attached to the

keychain, you can read that as “You are a playful person, but sometimes people think you

are fooling around too much…in reality, you are just trying to lighten up the darkness for

everyone.”

You then reattach the Future Key back to the keychain. At some point, the participant

will notice that the Past Key is bent and twisted out shape. Use your favorite real time

bending device here. David Neighbors in an issue of “The Minotaur” simply used

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leverage and a square slot of another key to put a bend in keys with round slots. When

they notice this bent key, they will remember how you told them that past was the past

and now they can move on.

28) THE DEAD PET PLOY

This is a simple ploy that I have seen more than one shut-eye psychic use. It is simple,

direct, and to the point.

“I sense an animal around you. Did you used to have a pet?”

If the person answers “Yes” you have a highly emotional, power-charged hit on your

hands. You have to be ready with tissues for this, because it can very tear-jerking

moment for the participant.

If the person answers “No”, then you tell them that they have a Spirit Guide. Use your

own intuition as to what Spirit Animal Guide belongs to each sitter. Remember, not

everyone has a Coyote for a Spirit Animal!

29) A LINE

This line has been developed for specific use with “Cubed Roots”. “Cubed Roots” can be

found in Lunarcy. Once you understand the thinking behind “A Line”, you can apply it to

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almost any oracle or reading system. I first discussed “A Line” on my interview for

“Confessions of Real Mind Readers”. “A Line” is a very powerful reading tool that

allows you a sort of “out” in the right situations and—as ads are prone to say—lets the

client do all the heavy lifting for you.

“A Line” creates a transderivational search within the subject through the use of clever

linguistics. What’s a transdervational search? It is when a person is left with the only

option to search within themselves for the answer; probing the unconscious mind and

allowing a conscious answer to pour forth. This (transderviational search) is the heavy

lifting done by the participant.

This linguistic trickery is done with merely one sentence in “Cubed Roots”. Once you

understand the premise, you can use such premise in other readings, whether those

readings are psychic, psychological, or in-between. I really love “A Line” because it is so

simple but hits so big—and also because it generally hits the sitter/client after you have

given them the reading thus prolonging your position as a authority in the field and

enhancing your prestige.

In “Cubed Roots”, you have a person/client imagine various items and then you tell them

what those items mean for them personally. You are then able to change those items to

create a change in the client.

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One of the items the client visualizes is a horse. You then ask questions such as “What

color is the horse?”; “Is the horse moving or standing still?”; etc. This tells you a lot of

information about the person in front of you and it relates back to the area of romance

and relationships in their life. You can then use “A Line” to cause a transderivational

search and let them find their own personal (and very true) association or meaning

between the horse they visualize and their romantic relationships. The great thing about

“A Line” is that it is a time-delayed process most of the time. In other words, the

associations will come to them when you’re not around thus providing a sort of spooky

after-effect phenomenon.

The scripting for “A Line” is as follows:

“The association between the horse and your relationships will enter your mind either

later today or even tomorrow.”

That one simple line has enormous power. This enormous power resides in the

subconscious/unconscious of the participant. As mentioned earlier in this write-up, using

“A Line” creates a transderevational search. The person seeks the answer and—usually in

a time delayed fashion—finds the answer themselves. Yet you get the credit for the brunt

of the enormous power because you focused their “subconscious” spotlight on this

question and asked the search engine of their mind to go find an answer. Since you

controlled the process, the outcome will be attributed to you and your powers.

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30) TDS

The following are some Transderviational Search (TDS) Questions you can ask yourself

or teach other people to ask of themselves.

“What am I not thinking about right now that could make me wealthier and wealthier?”13

“How can I improve Trick X for a better applause cue?”

“What am I missing that could improve my life beyond my wildest dreams?”

“How can I get more clients in seven weeks?”

“What will make me become happier and happier? How can I use my new happiness to

inspire others?”

“What questions can I ask to get better results at ‘Process X’?” where ‘Process X’ is any

process you want to improve.

“How can I use transderivational searches more often?”

“What can I do to better understand other people?”

13 Inspired by Kenrick Cleveland

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31) THE ALL-KNOWING CRYSTAL BALL

This is a way to let a person answer their own question during a Q & A Act. Induce a

hypnotic state and have the person feel a crystal ball getting heavier in their hands. Then

have them silently ask the crystal ball a question and tell them that they will see images,

may feel certain things, and might even get a auditory answer. This uses what I call “The

Art of Mental Machinery” wherein you create a hypnotic machine or hypnotic tool for the

person you are working with at the time. In this case, we are providing them with a

crystal ball and all the frames of their reference that go with crystal balls. They will

actually be performing a transderviational search on themselves! This is very sneaky,

and can be utilized when a direct answer might not be appropriate or even available to the

performer, but the answer can be conveyed by the unconscious mind of the participant by

tapping into that mind via the hypnotic crystal ball.

32) CREATING POSITIVE ENERGY

How can you go about Creating Positive Energy? In two ways: 1) Random Acts of

Kindness14 and 2) Smile!

It is the little things that can add up to the big things. Smiling is a way to create positive

energy. “Paying a favor forward” is another exemplary way of creating positive energy.

14 See the book for the public “Random Acts of Kindness”, but also see Jerome Finley’s ebook “Random Acts of Kindness”

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Doing things for others because it is helpful, uplifiting, or just for the fun of others can

create lots of positive energy. I wanted to include this small section in this manuscript to

remind myself as well as others that we need to be kind to each other and remember to

smile as often as possible.

33) CONFIDENCE BOOSTER #1

This is a Confidence Boosting Technique, which mixes a little ceremonial magick with

some Neurolinguistic Programming.

Beforehand, charge a metal folding chair with positive images, thoughts, and feelings by

mentally projecting those into the very fiber of the chair itself. Now, when you go

present the Confidence Booster you will have anchors in place for yourself that say “This

Chair Exudes Confidence”.

Have a person stand beside the chair. Tell them you don’t need to know any content in

order to boost their confidence. Tell them if they follow a few simple steps, then they

will become more and more confident.

Ask the person to visualize themselves in the chair being confident and in charge. Tell

them to “RAMP UP THAT CONFIDENCE”. Tell them to “MULTIPLY THAT

CONFIDENCE OVER AND OVER AGAIN IN THE NEW THAT IS SITTING IN THE

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CHAIR”. Deliver some more confidence boosting messages and then finally have them

sit in the chair, imagining their physical self melting into their new confident self.

Note the change in posture, attitude, and even skin tone when the person sits down. If

nothing changes either it didn’t work or you are not noticing subtle details. If it doesn’t

work, ramp it up even more on the confidence and energy levels. The easiest way to find

out if worked is to ask them, “Now, how much more confident do you feel on a scale of 1

to 10, 10 being superconfident, ready to take on the world, and feeling more and more

resourceful.”

34) STAR WHISPERING

Before you even start this chapter, I want you to visit and enjoy the sky at night time, then

come back here for further guidance.

Okay, are you back from spending some time with the night sky? This is a manifestation

technique. It is heavily inspired by Caleb Strange’s “Wishing Star” from his book “The

Garden of the Strange”. You’ll also want “Cloudbusting Secrets” by Jerome Finley and

Devin Knight, as well as “Lunarcy” by me.

You are going to use the Autokinetic Effect, which I first described in “Lunarcy” for

making UFO’s appear. This time, you are going to make a Star behave strangely, partly

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through eye fatigue, autokinetic effect, and suggestion. This piece is meant to be done

one-on-one instead of the usual group demonstrations of weather control.

You will have a person meet you during a night when the skies shine bright with stars.

Have the person write down something they wish to manifest. Take the folded piece of

paper with their wish on it, and burn it in the campfire (ala Caleb Strange). Next, have

the person look up at the night sky and pick a star to concentrate on. T ell them they will

telepathically send their manifestation out into the Universe and the Universe will answer

them back. Working on eye fatigue, other things being misinterpreted as stars, the

Autokinetic Effect (where a bright light stared at seems as if its movings), and your well-

placed suggestions, the person will see the Star change in some shape, manner, or form.

Once they tell you that the star is moving, has grown bright, or has grown dimmer, or

any number of other things then you congratulate them on successfully wishing on a star

in order to manifest their desire.

35) AN ESP COUPLE

In Short: A dual reading system and relationship enhancer.

Effect: A couple in a relationship is brought into the spotlight. “I have here a pack of

ESP Cards that contain five symbols repeated five times. There is a Circle, a Triangle,

The Star, a Plus Sign, and a Square.” The performer requests each member of the couple

to write down one of the ESP signs without seeing the other’s drawing, stand them back

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to back. “It doesn’t matter in the end if those two symbols match, because what we have

really done here is create a stronger, more reliable relationship by going through this

process.” The performer then shuffles the deck. The man chooses five ESP symbols and

the woman chooses five ESP symbols. All five match! (Alternative Handling: Four of

them match but their two drawings match the final cards of each other). “See? I told you

there was a strong connection and bond here.”

The mentalist then gives a reading based on the ESP Symbols drawn by each member of

the couple. If they are the same symbol, I would go for the Alternative Handling above.

Let the couple know in advance that “Your drawings may not match, but they will give

us great insight to each of your characters and how you interact with each other and the

world around you.”

This is highly related to my “Emotional Empathy” Routine from “Three Experiences”.

At the end of this section, I have provided “Emotional Empathy” and “Emerging

Emotional Empathy”.

For convenience, you can use a marked, cyclical ordered deck of cards. With a bit of

sleight of hand, you can make sure that four cards match and the fifth cards of each

person matches the symbol drawn by the other person.

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This borders on a mentalist-in-trouble scenario when the fifth and final cards do not

match. But when you show that the couple predicted each others’ symbols in their

drawings you create a moment of true emotional connection.

EMOTIONAL EMPATHY

For this experiment/demonstration you will need two people. It is best to use a couple,

preferably a couple that has been together for a long time and has a loving relationship.

When you ask for this couple, leave the word “loving” out of the request…instead say

something along the lines of “a harmonious relationship”.

“I am looking for a couple that has been with each other for a long time, who has a deep

connection with each other, and has a harmonious relationship.”

The volunteers are selected. Now, you run a variation on my “Thought Teller Process

Notes”: You can have one of the people stand in as a surrogate for you and instruct this

person how to transfer energy into the second person. If you want to add even more

layers, you can create more processes to energize the first person and then have them

transfer energy to the second person.

“I have channeled a surplus of energy into you…and you can use this energy to charge

your partner…and when you get home tonight you may just notice how much more

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energetic you both are, how much more rapport you have, and the way you listen to each

other more and more intently.”

I would also recommend Jerome Finley’s “The Process” from his “T & R” manuscript to

use in these first stages. Hand each member of the couple a drawing pad and a black

marker. You do not want to become some sort of marriage counselor with this routine, so

we look for a couple that has a good relationship. This is the best case scenario. I am

also going to recommend creating, maintaining, and increasing the rapport between the

two participants.

Here is an ‘Art of Mental Machinery’ way to increase the rapport between the couple:

“Have you ever seen those games where you squeeze a handle and it rates how great of a

lover you are? You wrap your hand around a joystick and grip it as hard as possible.

Right now, I want the both of you to imagine a joystick in front of you and realize this

joystick is connected to how much you love each other…now squeeze that joystick as

hard as possible, shooting your love towards each other and up through the roof!”

Now, you are going to tell the couple the following:

“You have now been centered, are at great ease, and have inner peace. Focus on these

thoughts and the relationship you have with your spouse. Concentrate on this, and stand

back to back. You may…feel a pulse of energy right now…emanating from your

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partner! In a moment, I want you to draw a simple symbol or shape that represents all

these feelings coursing through both of you, a shape that symbolizes what you are feeling

at this very moment towards your partner.”

After this set-up, I am hoping the drawings will match and will both be a “Heart”! If they

don’t match then you have an opportunity to give a reading based on the two shapes

drawn by the couple. Point out how certain lines are the same and this indicates a great

sense of the other person’s boundaries, etc. Also, if the drawings don’t match look at all

the positive programming you’ve created for the relationship these two have together!

Jerome Finley has created some wonderful work out of the previous demonstration,

wherein the drawing duplication is MOST POWERFUL when the drawings DO NOT

match! This totally turns the premise of a Drawing Duplication on its head and provides

an act of what can be termed Psychomagia.

What follows are my original write-up with Jerome Finley’s thoughts, which he has

allowed me to share here, with you. Jerome Finley’s thoughts are in blue font.

EMOTIONAL EMPATHY

For this experiment/demonstration you will need two people. It is best to use a couple,

preferably a couple that has been together for a long time and has a loving relationship.

When you ask for this couple, leave the word “loving” out of the request…instead say

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something along the lines of “a harmonious relationship”.

(Or "every relationship has its up's and down's...it's how we grow (!)...and with that in

mind, I'm looking for a willing couple (of loving) or (loving couple of willing) people in

an otherwise harmonious relationship.")

*This "otherwise" harmonious relationship is open-ended/unspecified enough to apply to

almost everyone as a sort of Universal pattern; trust me when I say those hearing this

request will fill in the blanks and soft spots in their own relationship as a result...it covers

everything...almost like the association process during a reading.

Again, I like to keep those frames and loops open at all times, as much as possible. I

think by prefacing and acknowledging the fact that not every relationship is perfect - in

fact, most AREN'T (!), but that's a GOOD THING (i.e. "how we grow") before asking for

a willing, loving (or willing to love?) couple in an "OTHERWISE harmonious

relationship" (again, all unspecified and artfully vague!) will give you a pool of sincere

people who acknowledge their relationship COULD very well be better (thus viewed as

more "real" and "honest" by the viewing audience - a very real possibility here is for

those who ARE NOT in a harmonious relationship to turn bitter at the sight of two hands

rising, hahaha) and who volunteer without any of the false masks and pretenses of being

in a certain (harmonious) type of relationship. There are a lot of ways to interpret this,

and I play to the vast majority instead of a specific few (at least initially).

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I'm probably the exact opposite of you here in that I would PERSONALLY look for the

couple who WAS/IS "on the outs."

Why? (that IS the question!)

Because when dealing with people involved in potentially intense emotional dyads during

an observational/experiential audience/group experience I desire the biggest

CONTRAST, shift and transformation possible. To me, it's not "magic" when two people

who admit to loving eachother /being in harmony with each other deeply and completely

both draw a heart, but when TWO PEOPLE who are currently having a rough go of it

reconcile their differences on stage, especially inasmuch/so much as to draw the same

symbol...now THAT is pure magic of the highest order.

I agree that we don't want to play marriage counselor (kinda sorta) - what I WOULD like

to see though is the Reality Engineer facilitating a process wherein those people involved

become their own marriage counselors through your expert help and guidance. Reach and

withdraw...empower and surrender the process to the two "become as one", surrendering

to their own process as seperate individuals...like a dance.

This is when and where the big "AHA" occurs and a deeper form of healing becomes

imminent.

Does that make sense?

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Speaking of psicomagia, the finale (whether both draw a heart OR both draw something

similar OR both draw different items and receive a reading!) is strong enough to be a key

point and pivotal moment in these two people's very existence. It can be very,

VERY beautiful and intense - transformational even - and those standing witness to such

a thing (your audience) will realize they are gazing upon something sacred as it occurs

and is born right before them. It boosts and propels our work to different levels the

average magician (loose term) couldn't ever hope to touch, approach or in most cases

even dream of.

“I am looking for a couple that has been with each other for a long time, who has a deep

connection with each other, and has a harmonious relationship.”

"I am looking for a couple that has been with each other for SOME TIME NOW; one

who has a deep emotional connection with/TO each other (for better or worse) in an

otherwise harmonious relationship."

Alternatively you could just ask for ANY COUPLE who truly feels like they "know each

other/know one another."

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The volunteers are selected. Now, you run a variation on my “Thought Teller Process

Notes”: You can have one of the people stand in as a surrogate for you and instruct this

person how to transfer energy into the second person. If you want to add even more

layers, you can create more processes to energize the first person and then have them

transfer energy to the second person.

Completely off topic (my apologies), but this reminds me of a sequence I perform in my

TIA demonstration wherein the entire audience stands witness to a form of raw mesmeric

energy channeled through the power of intent and suggestion...

I have each person place their "receptive hand" on the shoulder of the person next to them

(forming a straight line with as few breaks as possible) - and so on and so forth - until the

entire audience is now linked. In the beginning it's almost like a handclasp test and I'm

just pacing how that hand feels now, what the person they're touching feels/seems like,

any associated feelings in their arms and body during this process, how their thoughts and

expectations change as a result, to notice their breathing and their heartbeat, to notice any

of the thoughts and feelings radiating from their neighbor and those around them *and

vice versa* (etc) and proceed with suggestions to the effect of them being totally and

completely un-WILLING and un-ABLE to let go of the person(s) they're now touching as

this strong, INVISIBLE magnetic-life force and raw vitality courses through their arms,

hands, face, neck and shoulders healing them in the process...and of course, nobody can

drop their arms or let go...

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(Hint, make the person they touch a living, breathing symbol and temporary embodiment

of their criteria *organic personifications of one's hopes, goals, dreams and ambitions

right there to interact with them NOW...and they WILL NOT (even want to!) let go... :)

To end, I place myself in the chain and direct the energy with unique and interesting

results...those being EVERYONE is attached and connected TO ME (multiple levels and

layers of suggestions in play right here of course, ha!) and if "where thoughts go, energy

flows" then wherever I GO, those connected to me are sure to follow, even as they follow

their dreams, their hearts and their desires. Now I begin walking and the entire "human

chain" follows, deeply entranced and completely mesmerized as a result. It's a beautiful,

beautiful piece of work. ;)...the wave of human bodies crashing into each other at the end

is just the cherry on top, total strangers hugging and embracing one another as they

soak up and vibrate/bask in their dreams - the liberated greatest versions of their own

grandest visions...it's a remarkable thing, Dale.).

“I have channeled a surplus of energy into you…and you can use this energy to charge

your partner…and when you get home tonight you may just notice how much more

energetic you both are, how much more rapport you have, and the way you listen to each

other more and more intently.”

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I would also recommend Jerome Finley’s “The Process” from his “T & R” manuscript to

use in these first stages. Hand each member of the couple a drawing pad and a black

marker. You do not want to become some sort of marriage counselor with this routine, so

we look for a couple that has a good relationship. This is the best case scenario. I am

also going to recommend creating, maintaining, and increasing the rapport between the

two participants.

Here is an ‘Art of Mental Machinery’ way to increase the rapport between the couple:

“Have you ever seen those games where you squeeze a handle and it rates how great of a

lover you are? You wrap your hand around a joystick and grip it as hard as possible.

Right now, I want the both of you to imagine a joystick in front of you and realize this

joystick is connected to how much you love each other…now squeeze that joystick as

hard as possible, shooting your love towards each other and up through the roof!”

I would maybe think of changing the word "joystick" to PADDLE. Consider why...

Note from Dale: I would also consider maybe changing PADDLE to “Handle” or

“Lever”.

Now, you are going to tell the couple the following:

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“You have now been centered, are at great ease, and have inner peace. Focus on these

thoughts and the relationship you have with your spouse. Concentrate on this, and stand

back to back. You may…feel a pulse of energy right now…emanating from your

partner! In a moment, I want you to draw a simple symbol or shape that represents all

these feelings coursing through both of you, a shape that symbolizes what you are feeling

at this very moment towards your partner.”

"Now that you've come into your center, a space of great ease and inner peace...NOW

you can STOP...and just START to focus entirely on these thoughts &/or FEELINGS you

have with your spouse...and... you know what? Go ahead and just stand back to

back...that's right...and AS YOU stand in such a way and feel your loved one supporting

you, each of you may (begin to) feel/NOTICE a pulse of energy growing between you

right now and how easily you can SENSE (notice, realize, observe = all unspecified

again!) that energy emanating from your partner...their PRESENCE (beside/behind

you)...BECAUSE...in a moment, NOT YET (creates expectation, tension, elicits

attention, etc) I want you to (OR "you'll both want to...X, Y, Z!) jot down a simple

drawing, shape or image that FULLY represents ALL of those feelings coursing through

both of you at this time...any shape or symbol that properly

symbolizes/signifies/represents what IT IS you're feeling at this time... (right now)."

After this set-up, I am hoping the drawings will match and will both be a “Heart”! If they

don’t match then you have an opportunity to give a reading based on the two shapes

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drawn by the couple. Point out how certain lines are the same and this indicates a great

sense of the other person’s boundaries, etc. Also, if the drawings don’t match look at all

the positive programming you’ve created for the relationship these two have together!

And here's your "out" - I actually think it will be stronger if they do NOT both draw a

heart!

I would do a few things here...

1). Each draws their symbol, holds it against their chest/heart and now turns to face their

significant other. When they feel "ready" (again, just let them do it - we're winging it

here, but in a safe way!) to look into their eyes, turn their drawing around and show it to

the other person.

This is nice framing regardless and if you "hit" both hearts OR both (whatever!) you can

stop there. That said, I really like the idea of taking TWO DIVERSE (different) symbols

and combining them. On a fresh piece of paper the man draws his wife's symbol/image

and SHE draws HIS (on the same piece of paper together).

It might even be better to combine the two symbols in a sort of sigil...each draws the

other's, either within or on top of/super-imposed over the other's.

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Both of them hold that NEW SYMBOL/COMBINED IMAGE in mind (with their

intentions for this relationship and best wishes/good will for each other) with a few

connected moments of eye gazing...and open it up (!)...get them to notice any changes,

any sensations, how they feel...what thoughts enter their mind and how that symbol just

seems to "come to life" within them...

They might hold hands, hug or even kiss...let the moment carry them away.

I would end by having the newly connected couple take this new picture/image and place

it in the bedroom or some area of their house they frequent to look at it every day for a

month...ANCHOR, ANCHOR, ANCHOR (!!!)...and each time they see it, whether

together or alone, to see their lover's face in their mind's eye and feel/reach out to them

with their heart and REMEMBER this experience...

"Come back and see me in a month!"

It might be fun, as talismans, to have the man carry the woman's individual symbol as a

reminder of her feelings during this experience...and for HER to do the same with

his...and for BOTH to focus as suggested on their combined drawing for a few moments

each day (3-5 times a day, especially before bed and upon waking for the day!) as they X,

Y, Z.

Give them homework!

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We don't even have to suggest WHAT this is supposed to do or anything that is supposed

to happen...everything is implied and assumed...definition DOES equal creation, but

we're not putting any defining limits on what or how is being created as a result of this

process and ritual.

How does that resonate with you?

EMERGING EMOTIONAL EMPATHY

“Emerging Emotional Empathy” is a device or process to create strong bonds between

two or more people utilizing techniques from “An ESP Couple” and “Emotional

Empathy”. You will create a bond between two people having them match eye-contact

and breathing. You can then go into a Drawing Test. Mention ahead of time that the

drawings may not match, otherwise there will be disappointment and it will look as if you

completely failed. Tell them that although the drawings may not match, the drawings of

each person reveal both things about themselves and things about their partner.

36) D & C: DIVIDE AND CONQUER

This is a variation on the Question and Answer Act, wherein you won’t be the only one

giving answers. Before the show begins, you will have contacted various members of the

audience. You will have asked them to write down something “inspirational, uplifting, or

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positive” from either their memories or from a quote that they know. They are to bring

this to the show with them.

You will also have your own quotes, sayings, uplifting and inspirational meanings

already in a collection bowl. It is best to subtly mark your messages when possible.

People will now ask questions, as in a standard Q & A Act. But instead of you being the

all-powerful conduit, you will be the interpreter. It is up to you take out one of the

meaningful messages and apply its message to the Question that has been asked. Of

course, you have some back-up answers, as mentioned above, to cover a situation that

might not be handled so well by the audience member’s contribution message. You will

collect billets with questions written on the billets. You will openly read the questions,

so you can also mis-read or falsify the Question in order to suit the answer. Have a glass

half full of water to dispose the Questions and Answers Billets into so no one knows

about the mis-read or false read.

This will make you have to really think on your feet in order to associate the Answer you

are given with the Question you have been asked. You can cheat somewhat, as

mentioned above, but I think you will find the challenge enjoyable. It will also give you

presentational fodder for Answers in a different Q & A Act.

In this presentation you are tapping into the global mind and seeing what comes up. This

can be very effective if done properly. It can seem rushed and unrelated if done poorly.

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It will take time to learn to interpret the audience answers into something useful for the

audience questions. I suggest writing down a bunch of questions that are generally asked

and then buying three or four books of quotes. Then ask yourself one of the questions

and open the Book of Quotes up to a random page and put your finger on a random line.

Now, attempt to relate this line to the question asked.

37) FRIXION SNOWMEN

You will have a melted snowman drawn on one card, with the top hat remaining. Use the

Out-To-Lunch Principle to restore the snowman back to his cheery un-melted self. The

top cards of the stack are also melted snowmen, that you drew with Frixion Pens and then

applied flame to in order to “vanish” the snowmen. Instruct your participants to take

home these cards (potentially your business cards) and stick them in the freezer to get a

special surprise in the morning. They will be delighted when the snowman is restored,

and they might just call you…who knows?

38) TORN SUBTLETY

This is a small subtlety for any Torn and Restored effect. I once witnessed a magician

performing such an effect, and he dropped part of the torn paper…and he didn’t bother to

pick it up. Yet, somehow, the thing restored itself with that paper still on the ground.

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There are two ideas this gave me. The first is simply to drop a piece of what you are

tearing and PICK IT UP to give a more innocent feel to your proceedings. The second

idea was to drop a switched in piece of paper. When you opened the torn paper, it would

have a hole in it, and the piece you dropped would fit inside that hole!

39) THE SIX DOLLAR MIRACLE

In Short: A bottle melts.

Presentation:

PRESENTATION ONE

The mentalist is at a party and there are some beer bottles lying around on a counter. The

mentalist asks everyone to concentrate on a bottle of Coors Light that rests on the front of

the countertop. The participants are asked to chant “Move…move…MOVE! MOVE!”

but nothing happens. “Oh well…(sigh)…sometimes these things just don’t work.”

Later on, during that same party, Jessica goes over to where the bottles are laying around,

and lets out a scream! A bottle of Bud Light, which is laying behind the other bottles, is

partially melted. It seems as if the chanting did something entirely different, but still

caused an effect. The mentalist is given great accolades by the participants and Jessica

keeps the bottle forever as a souvenir of this mystical moment.

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PRESENTATION TWO

“I am going to cause that bottle over there to melt. Watch Closely.” The mentalist

concentrates, but nothing is heard or seen. The mentalist then suggests that “Perhaps my

powers were too strong, please check the bottle behind that one,” and points in the

direction of one of the bottles. The bottle is melted.

Details: You will need to obtain a “flattened bottle”. A search on the internet sometimes

provides you with an Ebay link to such bottles.

In both cases presented above, the bottle is “shaded”. This is a move done by cheaters at

the Roulette table with poker chips. Bigger (and less valuable) stacks of chips hide the

smaller (more valuable) chips that are placed after the wheel is spun (I do not condone or

advise such actions whatsoever). In the cases of the two above presentations, you have

bottles hiding the bottle you have procured earlier in the week. This bottle is flattened,

and is melted or looks melted.

The pile of bottles or a bigger bottle of liquor can both be used to shade the melted bottle.

If done in your own home, then you simply place it there after the party has gone for a

while, amongst the other discarded bottles. If performing at someone else’s house, you

will have to be more discrete about switching in that melted bottle.

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SIX DOLLAR MIRACLE VARIATION BY ADAM WHITE

While having a gathering in his den, and possibly tossing a bit too much of the brew, the

mage announces he is going to attempt an experiment of bending the will of the universe

and causing something to happen that has never ever been attempted before.

Before him he sets one of the emptied bottles on the coffee table. He sits up from his

comfortable, plush couch and searches for a disposed cap from one of the many

consumed bottles of ale lying around him. After obtaining the thin, round, shining

doorway of oblivion, he places it ever so gently onto the top of the bottle.

“With only the power of my consciousness, I will proceed to will the cap from the bottle

with only the energy coming from my mind,” the magic user announces in a deep guttural

tone.

The magi sits up and concentrates on the bottle while the spectators watch.

Incredible strain is witnessed as veins in the temple of the mage start to bulge.

Suddenly, without explanation the bottle flies off the table towards the mage and onto the

floor. The magician curses his defeat, and apologizes profusely to his audience.

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As the magician goes to bring order to the mess he has created, it is very apparent

something has disturbed him. He doesn’t speak. He doesn’t move. As if he witnessed the

second coming itself, the man is silent.

He then slowly reaches down to the ground. The magician jerks back swearing in pain

and thrusting his fingers into his mouth. He tucks his hand into his sleeve and then using

his sleeve as a make-shift oven mitt retrieves the bottle from the floor.

“Oh my God. It’s still melting,” is all he can say as he cannot take his eyes off the bottle.

Everyone else sees what was once a pristine vessel for storing ale is warping and twisting

as if melting by intense invisible heat.

The magician cautiously reaches for the strange object with his other hand. Gently

tapping it with his finger tips, he notices it is now cool to the touch. He places the bottle

on the table before him and let’s the others soak into the moment.

Though no one notices the right corner of the magician’s lip rises ever so slightly in

satisfaction for his audience rewards him with gasps and wonderment, which is what he

was after in the first place.

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If he wasn’t after that small moment of time, why would he have taken the time to order a

melted bottle from online? Why would he have secretly placed the melted bottle that

matches the kind of beverage everyone would be consuming that night under the couch?

Why would he have taken the chance of being rude by lying on the couch so no one

would ruin his angles? Why would he have secretly placed a thread on the base of one of

the bottles with wax and been sure to use that one for the experiment? And why would he

have pulled the line, kicked the regular bottle under the couch and brought out the melted

bottle for everyone to see? Why would he have taken the time to do all the acting to give

the suggestion the bottle was still hot? Why would he slowly twist the bottle in his hand

while announce the bottle was still warping to give the audience the impression the bottle

was indeed twisting and melt? Why would he do all of that if it wasn’t for just that small

chance to give people a moment of astonishment?

Final Thoughts: Adam White and I both came up with ways to do this in a bar, but you

COULD get in trouble for introducing a foreign bottle into a bar if you were not careful.

So I recommend this to be a more informal piece, staged at your own house or a friend’s

residence. Of course, there will have to be bottles lying around.

There are also bottles you can get of such brands as Coca-Cola, and Pepsi, which are

glass and melted. These flattened soda bottles can be substituted if you want nothing to

do with beer bottles or are a minor!

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Credits: Adam White for the Second Presentation and thoughts, as well as ideas, on the

melting bottle. Morgan Strebler has a very visual bottle melting effect that you may

want to obtain. The above variations are suited more for a psychological presentation,

wherein people claim to have seen/heard/felt the bottle move rather than a visual

presentation.

40) THE CHARLATAN’S BOX

This was an idea inspired by the famous “Cabinets of Curiosities”.

I am going to get some RainX or other product to be able to breathe on the plastic lid and

have my name appear.

Here's what is in the box:

Upper left corner: Inspired by Brad Gordon, there are three red backed Eye Cards, three

blue backed Eye cards and three half blue/half red backed cards. Three cards are chosen--

the Hypnotic eye has been turned from a front of the card into the back of the card. A

reading ensues, as does some hypnotic fun.

Lower left corner: A deck of "Old Gypsy Fortune Telling" Cards. For Tarot style

readings, and some hypnotic fun. The card on top is 20) The Clouds; this reading can lead

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into or come out of a cloud busting or other sky related effect

Top middle: Skeleton keys for my "Heavily Haunted" hypnotic fun routine, as well since

there are three keys they may be handled like the I Ching and thrown on to a carpeted

floor or mat for a reading.

Middle Top Left: I don't have the Vitruvian Square by Grossberg but I understand it has a

system for reading with RPG dice--so there are RPG dice in this slot with two regular

dice. I plan on acquiring the Vitruvian Square in the near future.

Middle Bottom Left: Another eye--for more hypnotic fun and readings according to

which body part is chosen--All this as dressing for the old Color Cube!

Milddle Top Right: The Charlatan's Fortune Teller. This is a piece of "slum" magic that

you have someone put a quarter on the stand, and then the stand is covered. When

uncovered, you can reveal a disk that says "Thanks". Instead of Thanks, they get a brief

message!

Middle Bottom Right: 3 coins for I Ching and other assorted coins for hypnosis, my ONE

HOTTER COIN routine, and so on.

Middle Bottom: A cloth bag with a Question Mark on it. THe participant writes their

question as you look away...they put the question in the bag. You tell them the answer--

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without opening the bag. Also, can be applied to a color reading due to the "slum" trick

the bag came from: Three different colored blocks, with different edges for revealing

what color is in the bag. Give the sitter a label to write their question on; tell them the

color that will answer the question; have them put it in your bag w/o you looking. You

now divine the type of question, the color of the block, and answer the question!

Top Right: Cards for Center Tears, and other billet work; Also I will probably be putting

some ESP cards in this slot.

Bottom Right: A broken compass to confuse any evil spirits that might manifest! Of

course you can have the sitter choose a point on the broken compass such as North or

South and then something in the real North or South suddenly happens! Or give them a

reading about the direction they've chosen--and then something in the direction they

chose happens!

Major credit to Dr. Todd Landman. I saw some photos a while back of things he was

creating, and also a shout-out to Jerome Finley for his "Pocket I Ching" idea and Coin

Readings idea (and cloud busting)!

What I like about this current box is that I can use everything for readings and/or

suggestion or both at the same time.

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41) CAMP DRAGON

By Dale A. Hildebrandt with Adam White and Caleb Strange

WARNING!!!: What follows, if pulled off, could very well traumatize small children (or,

done properly, even traumatize a few adults). You risk many a lawsuit and possibly

worse by attempting this routine. This is offered as a thought exercise only. The

author(s), publisher(s), and all those involved in selling this book, assume no

responsibility for your actions and do not condone actually doing this routine. Again, this

is offered only as an exercise in thought.

Deep in the forest, some camp counselors start a camp titled “Camp Dragon”. Rumors

spread that an actual dragon lives near this camp, possibly taking campers as sacrifice

every so often. The legend continues to build while being officially denied. Some

children are actually sent to this “theme” camp.

Every morning, the children and counselors meet around a circle by a large tree. The

counselors warn about the dragon. Some of the children scoff. The children who are

scoffing, stop scoffing, when they hear a large splash come from the close by lake and

hear wings flapping. Some of the children begin to cower or cry, and ask to be sent home

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immediately. The camp has wisely adopted a “No Refund” policy. At night, the children

can hear the low grumblings of the dragon every so often, and sometimes the wings

beating as it flies across the night sky.

The third morning that the children and counselors meet around the tree, they notice

something has changed. The tree is scorched, and blackened. The leaves and twigs

around the tree are crushed, as if something heavy had landed in that particular spot. The

dragon has been to the meeting spot, and his fiery breath has left a burnt tree! A couple

more children ask to be sent home. The camp counselors are very happy they adopted

that “No Refund” policy.

The next morning, what is left of the brave (or, quite possibly, the curiously stupid)

campers go on a hike with the counselors. As they get deeper into the forest, they see

large tracks...footprints. Footprints of the dragon! The counselors hurry the campers back

to the camp, just in case the dragon is too close.

That night, the camp counselors organize a campfire and tell some ghost stories. These

are typical camp ghost stories, not all that scary, not all that entertaining. The children

become a bit more fascinated, however, when they see fireballs shooting in the distant

night sky. The children are reminded to be in their cabins before nine at night. Some

more of the children ask to be sent home. The counselors congratulate themselves on the

“No Refund” policy.

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A few days pass with no dragon activity. Then, the camp counselors take the children on

a hike, down a different trail. A cave is found on this trail. There are bones scattered

around it, and the rocks are scorched. There is a smell of sulfur emanating from the cave.

The counselors rush the children back to camp, and try to entertain them with typical

camp craft projects. A child or two asks to be sent home. The “No Refund” policy is still

in full effect.

A couple nights pass with the sky lit up with fiery dragon breath, but other than there

seems to be little dragon activity. One night the campers see what appear to be bright, red

eyes off in the distant forest. The counselors rush them into their cabins, in case the

dragon is too close.

Then Timmy, one of the campers, sneaks out of his cabin after all the other kids are

asleep.

The next day the counselors ask where Timmy is, but nobody knows. The counselors take

the kids into the forest to search for Timmy, and they find hi backpack and a shoe.

The dragon has taken Timmy...possibly even ate Timmy. The counselors tell the kids,

“We told you to be in your cabins before nine.” The camp counselors are very glad

ecstatic even, over their “No Refund” policy.

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OPTIONAL EVEN #1: Instead of the dragon eating Timmy, a bunny is taken care of by

the campers. Then one night there is a terrible scream. The kids wake up and discover

tufts of bunny fur in the forest.

OPTIONAL EVENT #2: One of the camp counselors has been wearing a vial that

contains a dark blue substance around his neck. Whenever questioned about what it is, he

replies with dead seriousness, “Dragon blood”. The night after Timmy (or optionally the

bunny) is devoured by the dragon, the counselors tell the children that they may be able

to bring Timmy back using the dragon blood and a small magickal ritual. They bring out

a dark sheet and pour the dragon’s blood behind it. Suddenly, a shape in the sheet starts

to materialize. Timmy has been saved, but he is crying and the counselors quickly

separate him from the other children. Timmy is sent home, and the camp counselors are

very grateful for their “No Refund” policy.

OPTIONAL EVENT #3: One of the camp counselors goes on a mission to slay the

dragon. He comes back two days later, with meat from the dragon. The children and the

counselors feast upon the remains of the dragon.

OPTIONAL EVENT #4: Before the camp starts, the owner of the camp attempts to take

out an insurance policy on “real dragons” affecting the camp. If the insurance company

actually provides the policy, that is even better. Of course, the insurance company gets

mentioned when the camp counselors talk to the press about the camp. If no one is

willing to insure the camp against dragons, then the camp owner makes a big deal out of

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it. “Something serious could happen, but we’re not responsible. Please sign these

waivers.” The camp counselors tell the press, “There aren’t any such things as dragons,

but since these rumors started, we’ve been advised to take extra precautions, just in case.”

This was inspired by Caleb Strange’s ideas on how to accomplish a dragon sighting hoax.

Adam White and I discussed the creation of a dragon hoax. Adam came up with the idea

of having the dragon invade a small camp, in order to bring the thing down to a smaller

scale. His first idea was that if a whole, small, town went in it together they could

possibly create quite the tourist attraction. He then suggested the idea of having it happen

on a “smaller” scale inside a camp. Adam White and Caleb Strange came up with most of

the effects; my contribution is in making a routine out of them (with permission from

both Adam and Caleb).

One could use any type of camp. A medieval themed camp seems ideal. However, a

camp that has no theme makes the dragon appear much scarier, because it will seem more

realistic, instead of being brushed against the background as part of a fantasy theme. I’m

sure you’re wondering how it’s all done, so I will now detail the various methods.

One important aspect is to get the rumors started that there is a dragon near the camp.

Then deny such rumors as fervently as possible. The more the rumors are denied,

hopefully, the more this will reinforce that there may just be a dragon there and the camp

doesn’t want anybody to stop going to the camp, so they will, of course, deny such

things!

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The large splashes of water are caused by air tanks planted beneath the dark surface of

the lake. They are set off by one of the operators. Accomplishing this routine would take

a lot of resources, including a lot of manpower and know-how in various fields. The ided

of air tanks in the water was created by Adam White.

The sound of the beating wings is caused by speakers hidden deep inside the forest. A

small recording of something that sounds like wings beating will accomplish this task.

Amplify the recording, and it will seem like a large beast is flapping its wing in the

distance. You may want to use a sound sample of thunder, appropriately looped, for the

sound of beating wings.

The low grumbling of the dragon is also accomplished via the hidden sound system. The

sound system should be well hidden so that no campers accidentally discover it and ruin

the illusion. The idea of hiding speakers in the forest was brought to my attention by

Adam White.

The tree isn’t really scorched by dragon breath (well, I’m sure you knew that fact). The

tree is slightly singed with a blow torch. It takes a steady hand and a person who knows

what they are doing in order to only singe the tree and start a forest fire. Black spray paint

can help add to the illusion. A heavy box is thrown down on the twigs and leave to make

it appear that something heavy landed in that particular spot. Scorching the tree is the

invention of Caleb Strange. Throwing the heavy box down to break twigs is something I

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added. The footprints are created via the typical way. Large wooden sandals in the shape

of a dragon’s foot (or claw) are fashioned and worn by one of the counselors.

The counselor walks around one trail, then takes off the feet and walks back to the camp

using another trail. A forked trail is best for this stunt. The idea of adding footprints was

developed by Caleb Strange. The idea of using a forked trail to get back to camp was

mentioned by Adam White.

The fireballs in the night sky are accomplished by a system of pyrotechnics, far, far away

from the camp. An experienced pyro-technicican operates the pyro and has a fire safety

crew on hand. Adam White thought of having fireballs appear in the night sky.

The bones by the cave are acquired from one of the few stores which sell bones to people.

Alternatively, perhaps the counselors have gone deer hunting and saved back some bones

for this particular feat. The rocks are burnt using a blow torch, operated by an

experienced person who won’t set the whole place on fire. The smell of sulfur is caused

by stink bombs that been set off inside the cave. These ideas were created by Caleb

Strange.

The bright, red, dragon eyes seen deep in the forest are actually the headlights of a jeep

that belongs to one of the camp counselors. The headlights are temporarily covered in red

saran wrap to cause two, glowing red eyes. The counselor does not drive with the

headlights covered! The jeep is driven to the edge of the forest when the campers are

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busy with something else. Alternatively, the jeep is already there before the campers

show up from the other side of the forest for camp. The headlights are covered after the

jeep is put in park. The lights are then switched on and off to cause blinking eyes to be

seen. The saran wrap is removed before the counselor drives the jeep back to its

destination.

Timmy, the disappearing child, is actually a plant or stooge. He is the child or nephew of

one of the camp counselors. Timmy is “in” on the whole thing. He sneaks out of the

cabin at night after he is sure everyone is asleep. He is then driven home that night by one

of the camp counselors. The idea of Timmy disappearing can be credited to Adam White.

You can have a bunny disappear, instead of little Timmy. In this case, you simply take

the rabbit to a different location at night when all the campers are asleep, and then deposit

some tufts of rabbit fur around the edge of the forest. This was inspired by Caleb Strange

and Tony “Doc” Shiels.

You can, if you choose, bring Timmy back to life using the vial of dragon’s blood. The

re-appearance should be caused by the simplest of illusions. Described above is the

illusion where two counselors would walk out with a large blanket between them.Timmy

would be walking in front of one of the counselors, but behind the curtain. The two

counselors then fold the sheet in half, and switch places to show the sheet empty. (Not

that they actually need to show anything empty). Timmy just stands behind the folded

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sheet. The sheet is then thrown around Timmy and he “materializes”. This is much like a

giant version of a silk acquittal move to make a coin appear.

The dragon meat is actually deer meat or buffalo meat or some other large animal. Tell

them that dragon tastes like chicken!

42) FALSE FAITH SERVED MEDIUM RARE

“May you live in interesting times.”—Chinese proverb

“FALSE FAITH SERVED MEDIUM RARE” was inspired by Camp Dragon (Dale A.

Hildebrandt with Adam White and Caleb Strange) as well as “FAITH HEALER” by Luke

Jermay, and the works of Kenton Knepper, Jerome Finley, Phil Farber, and Luca Volpe.

For Full Credits, see “Full Credits” at the end of this section.

WARNING: THE FOLLOWING IS MEANT ONLY AS ENTERTAINMENT. THIS

IS POWERFUL MOJO AND COULD CAUSE SERIOUS HARM. PROCEED WITH

EXTREME CAUTION

The following event/demonstration has its theatrical roots in “Camp Dragon”. Whereas

Camp Dragon was a mere thought exercise, “FALSE FAITH SERVED MEDIUM

RARE” is entirely possible, given that you have enough money to produce. I honestly

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doubt anyone will ever perform the whole “FALSE FAITH SERVED MEDIUM RARE”

‘routine’, but that they will, instead, take pieces, bits, and parts out of it and use those in

other settings, other events, other demonstrations, and with other routines. “FALSE

FAITH SERVED MEDIUM RARE” is, in my opinion, even more dangerous than “Camp

Dragon”. This is because “FALSE FAITH SERVED MEDIUM RARE” deals with

processes and demonstrations that people can believe in more easily than the average

person believes in Dragons. Many people believe in the reality of faith healers and

mediums, but not as many believe in Dragons. Also, everything in “FALSE FAITH

SERVED MEDIUM RARE” is modular. You can take pieces in or out and mix them up

to suit your needs/wants.

In order to put on the full show of “FALSE FAITH SERVED MEDIUM RARE”, you

will need to make several large purchases and employ several people. Of course, I can

see an up-and-coming performer doing just bits and pieces from “FALSE FAITH

SERVED MEDIUM RARE” and saving back all the money they will make just from

those smaller performances. Once the money is saved up, they could perform ‘FALSE

FAITH SERVED MEDIUM RARE”.

Since we are speaking about expenses, let me mention ahead of time just a few of those

expenses:

8 to 12 Wheelchairs, possibly more!

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3 to 4 of the largest video screens you can obtain

4 to 6 assistants for on-stage as well as collecting billets and the such

1 hidden assistant using…

The electronic transmitter for your electronic earpiece

A full gospel choir

Several Impression Devices

A faith healer robe for yourself, black t-shirts and pants for the 4 to 6 assistants openly

helping you out, and robes of slightly different color for the gospel choir

Plenty of Prayer Rugs, Lourdes Water, Mustard Seed Coins, and other items for Back of

Room and Upselling

And that’s just the start of it! The interesting twist in “FALSE FAITH SERVED

MEDIUM RARE” is that you will come clean about being a lying, cheating, and

advantage-taker in the beginning, middle, and end. However, despite warnings,

disclaimers, and dismissals, you are going to have to live with the fact that if you perform

this material, then there will be people who believe in the “Powers” whether you want

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them to or not. The second interesting twist is that you offer a REAL BLESSING at the

end of the show/demonstration. This is appreciated as an encore by most of the audience,

and treated reverently by the believers.

The three pieces that most inspired this work are “Faith Healer” by Luke Jermay, “PIO”

by Jerome Finley, and “How to Be a Megalomaniac” + “How to Be a Megalomaniac

TOO!” VHS Tapes by Phil Farber. The fourth major inspiration was a tale about my

grandfather meeting a faith healer as a child. (See “Grandpa’s Tale” near the end of this

section). We are going to go on a journey now, a trip into the fake with the destination

being real.

“The Gospel Choir”

The Gospel Choir should sing uplifting tunes for 20 to 30 minutes in order to help whip

up frenzy in the audience before your appearance on stage. This helps set expectations

and makes you look even more legitimate

“The Wheels on the Chair Go Round and Round”

When people first start coming into the place where you are demonstrating, you will offer

some of them seats in a wheelchair in the front. Some of them will be entirely healthy,

others may have just crutches or canes. After everybody has been packed into the area,

you will use these “instant stooges” to have them get out of the wheelchairs and be able

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to move better than before! This is why you require 8 to 12 wheelchairs, or possibly

more.

“Wheel Power Reframed”

WHEEL POWER REFRAMED AND EXPANDED

This brings new life to an old stunt, causing a powerful feeling of empathy on the part of

the participant!

The mentalist demonstrates an exercise in empathy. Before anyone volunteers for said

experiment, the mentalist mentions it will be “disturbing and unsettling, but will allow

you to experience empathy in a new and astounding way.”

“Some people become so empathic through this demonstration that they cry, others laugh

nervously, and still others simply stare out into space until the trance is broken.”

On the stage the mentalist has been working on there is a wheelchair. An appropriate

volunteer, one who doesn’t mind an emotional rollercoaster ride, is chosen. The spotlight

goes to blue lighting and is directed at the wheelchair.

The volunteer is requested to have a seat in the wheelchair. The mentalist then explains,

“As a young adult, I had a relative who was confined to a wheelchair. I had sympathy for

her, but no real empathy. That is, until a strange country doctor stopped by the house one

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day. What I am about to show is what he showed me. He called it an Experiment in

Empathy.”

The mentalist holds his index finger on the forehead of the seated volunteer,

approximately where the third-eye Chakra would be found. Right before touching the

volunteer, the mentalist says, “When I touch you, you may feel a flood of emotions, and

some of the greatest empathy rolling throughout your body.” While touching the

volunteer, the mentalist says, “The more you try to get out of this chair, the more you

realize you are stuck. The more you realize you are stuck, the more empathy you have

for other individuals. As I take away my finger you will feel a heaviness leaving your

body, and your body returning to its normal state, with a greater empathy for all

humankind.”

The mentalist releases his finger and the volunteer is able to stand up. This is, of course,

a new dressing for a rather old stunt/effect. When you have a person sit up straight in a

chair, with their arms on the arm rests, and their feet firmly planted, you will be able to

keep them in that position by holding your index finger on their forehead, in the

approximate location of the third-eye chakra, between and slightly above the eyes.

It is the empathy theme here, and the wording, that makes this into something really

special and emotional for the volunteer. Also, the structure of the wheelchair and the

way people tend to sit in wheelchairs, allows the set-up for the finger trick to be done by

the volunteer themselves most of the time. In other words, you won’t have to re-position

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the volunteer’s arms or ask them to sit up straight, as they will automatically do these

things when put in a wheelchair.

A note from Paolo Cavalli in blue font: The first thing I would add to your wheelchair

stunt would be first covertly or overtly anchor some confusion or even better - if feasible

- effect wise, to anchor feeling of insecurity, instability, loss of muscular strength... all

STACKED on the "third eye" point.

So that when you touch that point, later - for the stunt, you also trigger the set anchors

making really difficult for the person to counter your force.

Trust me. I see that stunt failing twice in my long career (ok, not too much but it

happened) ... so I would stack the deck (and the anchors... lol) in my favor.

In order to stack these anchors is a basic overt manner, I say “The strange doctor said

this” and put my finger on the third eye chakra, center of forehead, “is where all your

insecurities start,” remove finger and put back as saying, “all your instabilities,” remove

finger and put finger back saying, “all your fears,” remove finger and put finger back, “all

your worries,” remove finger and put finger back yet again, “all your weaknesses

originate,” and then stick them to the wheelchair.

WHEEL POWER REFRAMED

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This utilizes the concept of “The Wheels On The Chair Go Round and Round”. By using

the primary method in “Wheel Power”, you can stick people into the wheelchairs, while

invoking God and the Holy Trinity and then shout “STAND!” as you remove your finger.

It will look as if your touch has cured them from being in a wheelchair—a wheelchair

they didn’t need in the first place, but nobody needs to know that!

WHEEL POWER EXPANDED

In this Expanded Version of Wheel Power, you will hold down two people and a third

will be able to stand. “The Lord God commands thee…through the Spirit of the Holy

Trinity..Stand!” Of course, it looks like the two people you were holding down are

standing because you touched them and gave them the Holy Spirit’s power of healing.

The third participant in a wheelchair stays seated because of a Dunninger type ploy. You

will tell them, in a stage whisper, “Please don’t stand until the other two stand or they

might feel left out.”

“Extensive Pre-Show Playlist”

For this portion, you will need your assistants to roam around the audience before the

show. Some of the assistants will have Impression Devices to capture thoughts and

questions from audience members, and they will leave the sheet written on with the

audience member. Others will be collecting billets for a Question and Answer type act.

You will also have your assistants listening to the audience before they come into the

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show for anything that you might use later, the way that some Talk-To-The-Dead

Mediums get their information.

“As Above So Below: The Collapsing Anchor”

I first learned about this technique from Phil Farber in his “How to Be a Megalomaniac”

VHS tapes. Every time the performer mentions “God”, “Jeuss”, “The Holy Trinity”,

“The Holy Ghost”, or “The Spirit” he raises one or both arms to the sky as if reaching

towards Heaven itself. When the performer speaks of ills, sins, and such, the performer

pushes his arms out towards the audience. You now have two very powerful anchors.

You have the upwards “God” anchor and the towards “human” anchor.

Invite someone on stage, use some suggestibility tests if necessary, and then “collapse the

God and human anchors”. In order to achieve a collapse of anchors raise your arms

skyward and say something along the lines “In the name of God, Jesus, and The Holy

Ghost” and immediately push towards on the spectator’s forehead while shouting

“HEAL! CAST OUT THESE DEMONS!”. Often the person you used the collapsing

anchor will fall down, which is you need a couple of assistants to catch them—you don’t

want to have someone land hard on their head on the stage.

“The Collapsing Anchor and Different Belief Systems”

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The system of “FALSE FAITH SERVED MEDIUM RARE” is geared toward the

Judeochristian faith. This is because this faith has believers that think of God being

either one person or a trinity and living in the direction of the sky. That is living

upwards. These prior associations help you to collapse anchors more easily.

“MASSIVE MISSIVES: Providing a reading to everyone in one fell swoop”

This piece was heavily influenced by Sydney Omarr’s book “Answers in the

Sky…Almost: Confessions of an Astrologer”. You will have the audience members

reduce their birth day, birth month, and birth year down to a single digit. So, for

example, if they were born on October 10, 1970, you would 1+0+1+0+1+9+7+0 and get

the result 19, which reduces to 10, which in turn reduces to 1. You will give

numerological readings for each number from 1 to 9.

It is beyond the scope of this manuscript to teach you all about numerology, but you can

find some very useful resources written for shuteyes at almost any bookstore. This piece

allows everyone to get a reading, should be uplifting, and should give the people readings

that are encouraging and healing. You an also associate each number with an injury,

sickness, or health problem and throw those associations out there since you are being a

kind of Faith Healer.

“A Kind of Faith Healer”

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When asked what you are, the proper response for framing this routine is to say “I’m a

kind of Faith Healer. I receive powers from above, as well as answers to questions

merely thought of, and deliver an impactful, meaningful time to share with other people.”

“Levitation”

I recommend a subtle levitation effect, where people will be more like “Did he/they just

levitate or not?” Also see “The Thirteenth Levitation” in this section.

“Messages From Spirits & The Deceased”

Remember, you have gathered questions and other information through your assistants

and through the ear receiver which lets the transmitter let you know things that appear

outside your own awareness. You can really go to town here and pull out all the stops.

“Not everyone will receive a message, but those who do will feel blessed. If you don’t

receive a message, look for a sign in the next few days!” Now you’ve set up a

transderivational search for them to find a sign in something.

“The Ash Cross”

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Have a person hold onto either a rosary or a cross. Collapse the anchors. Take back the

rosary or cross. On the back of the participant’s hand, there will be ashes. Tell them they

have been truly blessed.

“Healings (Trickery at hand)”

This is the old Psychic Surgery bit. You can find more information in James Randi’s

“The Faith Healers” and further on in this manuscript, you can read “The Aura Knife”.

“Hurling the Hurlings”

This is an idea inspired by Burling Hull’s “Hurling the Headlines” and some Jerome

Finley’s “Battleship” in his book “Psychic Directions” and Luke Jermay’s “Touching on

Hoy”. Instead of hurling headlines you are going to hurl sicknesses, losses of loved ones,

and so forth. Since you’re playing the part of a Faith Healer/Medium it is only natural

that you would know such things. Hurl out things like “I feel the sense of a loved one

lost recently”, “I am feeling lower back pain”, and other generalized statements of your

choice.

“Hurling the Healings”

This is for all the people who don’t make it up on stage or don’t get picked in their seat to

participate in a healing. “Those of you who haven’t participated now, I am sending out

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healing energies. You will feel these energies in many different ways. Some people

swallow when they feel these energies. Some people want to stand up and dance. Others

simply feel a certain calm coming over them…NOW!”

“Stigmata”

There are many Stigmata effects on the market. If you choose to include Visible

Stigmata in the act, then remember that you will have blood pouring from your hands, so

you will want this to be one of, if not the, last things you do.

“Video Screens”

The video screens are used for a two-fold purpose. When people are coming in, if you

have the footage, there should be video of you healing other people and answering

questions, etc. to set up the expectancy and set the frame for you are going to do. The

other purpose is that you can project what you are currently doing so the whole audience

can see without having to crane their necks.

“Three Times Fake”

At the beginning of your demonstration, you will say “I am (NAME) and I am a fake” ala

David Hoy. During the middle of the program, the words “YOU ARE BEING LIED

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TO” appear on the video monitors. And at the end, you say, “I make no special claims,

anybody wishing to go to the lengths I have could easily recreate this fakery.”

“Aura or Aura: Teach the Aura”

THE THIRTEENTH LEVIATION VARIATION ONE

In Short: A person is hypnotized into believing they levitated. Then, evidence shows

they just may have, indeed, floated!

Presentation: This levitation is a “Paper Balls Over The Head” kind of levitation and

relies on Neurolinguistics for full benefit. I refer to this as a “linguistic levitation”.

You will want several spectators around the person you are going to help levitate. You

need these spectators as witnesses to prove that you did not simply lift the participant in

the air through physical means. The participant will have to close their eyes at a key

point in the levitation.

“I am about to help you levitate in the air. Most people feel that they are levitating three

to five feet. Some people feel they float even higher than this. In order to activate this

levitation I will have to open your crown chakra.

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Have the participant stand in front of you, with their back facing you. Have them lift

their arms halfway by their sides. Press down on their head with both of your hands.

“Now, if you say yourself starting to levitate, you wouldn’t believe it…and you really

have to believe in order for this to work. Don’t worry, the rest of the audience will make

sure that I don’t simply lift you up…You will feel as if you are levitating due to a sort of

trance I have created by opening the chakras…but it is important to keep your eyes

closed until you float back down!”

Then have them close their eyes as you take your hands off their head, and then push up

on each of their arms with each of your hands. They will feel like they are floating.

Now quickly tell them, “You can begin to float…and now you can feel yourself

descending. Have you stopped floating yet?”

When they answer, “Yes,” tell them to open their eyes.

Details: By saying “Have you stopped floating yet?” I imply that they have been

floating for a while with the word “yet”. You will also know they have felt they have

stopped floating when they begin to open their eyes! So pay attention to their eyelids!

A touch from Oliver Meech, shared here with his permission. “It would be cool to add

some kind of 'proof' that they levitated. Perhaps you could adapt a Cards Across

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presentation: have them sit on 10 cards then, while they are supposedly levitating, you

say that you are inserting 3 extra cards under them. They float back down and open their

eyes. Now they count their cards and there are 13. This should surprise the audience who

know that they haven't lifted off the cards at any time.”

Final Thoughts: This can also be presented as astral traveling of the aetheric body or the

aura being manipulated.

Credits: I found this stunt as a practical joke in the book “The Practical Joker’s

Handbook” by John Dinneen on page 13. By applying certain linguistic trickery and a

mystical context I have turned this into a “linguistic levitation” in a Paper Balls Over The

Head moment. Slydini originated “Paper Balls Over The Head” and was a direct

inspiration for the framing of this effect. Sometimes, other people will want to feel this

floating/levitating feeling and you can create it for them as well.

AURA OR AURA (SOMEWHAT UPDATED)

(An updated piece)

First, I will give the original “Aura or Aura” techniques in the following text (most of this

text is reprinted from “Risk & Reward”). In the Updates Section, I will show you how to

explore the Aura even more; and even include ways to smell and taste the Aura.

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The spectator is instructed to hold out their left palm, as if to do the beginning of a karate

chop. The magician doesn’t say as if to do a karate chop, but instead demonstrates the

posture of the spectator. The right hand’s fingers should point directly at the palm of the

left hand. Separate your hands by about a foot. Have the spectator do the same thing

with their hands; that is, have the spectator separate their hands by about a foot as well.

Tell the spectator to slowly move their hand; very slowly so as not to brush air against the

palm, and tell the participant they will feel a slight sensation. The sensation might be a

tingling or a warm feeling, but there will be a sensation. The spectator will look at you

amazed after they feel the sensation. This is taught in some metaphysical circles as a

demonstration of feeling one’s own aura.

“You have felt your own aura, and you now know that auras exist. No, I am going to

teach you to see auras. Focus your eyes on the wall in front of you. Now, let your eyes

widen their vision, so that your vision encompasses the whole wall without moving your

eyes. Let your eyes slightly defocus, in other words. Now look at an object [or your

hand or a person] with this mode of vision and you will see a faint aura. That is how you

see auras.” Simply follow these instructions, and your audience will be seeing auras. So

will you. Give it a shot.

Next, you can demonstrate to the entire audience how they can feel the vibrations of their

auras. Have them hold their arms out in front of them, palms down. Then have them

intone the world “OM”. They will feel a vibration in their palms. I’m not exactly sure

what the scientific explanations are behind this, but I do know that it’s great fun and an

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easy way to “prove” the “vibration” of an “aura”. You can find this method taught in a

couple of metaphysical books. These three items when put together make for a great,

convincing proof of auras.

I don’t know the exact explanations for these things. I simply know that these

demonstrations work and that they are useful when applied properly.

STRANGE SENSATIONS

After reading this, Caleb Strange was kind enough to send me the following:

Aura or Aura: a dazzling borealis of wonders. I love this! Blurs the usual line between

performer and audience. I’ve been having great fun with this. One thing I’ve found is

that it is possible to stir the pointing fingers, and a corresponding movement is felt in the

other palm. T his feels very spooky, if you, as the volunteer, have your eyes closed, and

the performer places his/her pointing hand flat against yours (knuckle to knuckle), then

stirs silently and slowly. Creepy and intimate.

Now, this stirring could lead to something Jermay’s A Twisted Palm [found in “7

Deceptions”], where the movements of the performer’s hand above the palm are felt as

well as seen. However, more interesting is that I’ve found your aura effects one and two

can be combined. Start off with feeling the aura. Then stir. Then have them see the aura

of the hand. Then stir, so that the aura is seen to move even as this movement is felt.

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Finally, this is a theatrical detail, but for the ‘entire audience feeling the aura OM bit’,

then I would have everybody standing to begin with, but tell people to sit when they feel

the effect. That way, dozens of these private effects are experienced more generally—

“Oh, crikey! George has sat down now! What on earth is going on here?” (Actually, I

think this is one of the challenges of suggestion magic. How to make one person’s

internal experiences external and visible to many.) Anyway, this sitting-down when you

feel your aura is coercively persuasive, and acts itself, as a powerful suggestion.

“THIS SWAY’

I shall provide three “sway tests”. The first two involve physically touching the

participant. The third test has you simply motioning and the participant following your

pull. The first two tests are from “Body Magic” by John Fisher, with updates and tips

from me. The third test is a standard aura test in the occult field. You can find one

example in “How to See and Read the Aura” by Ted Andrews. I have, of course, put a

spin on this aura pull by adding in some suggestion and also the conditioning of the first

two physical sway tests.

SWAY ONE

“I’m going to put my index fingers on two points of what is known as the Triple Warmer

in Energy Work. I want you to relax as much possible. Put all your weight on your

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heels, relaxing more and more. Now, let your arms dangle at your sides. Close your eyes

and lift your head up and back. Imagine that you are falling…falling…falling…when

you fall I will catch you.” The participant then falls into your arms after you remove

your index fingers.

This is an effect from Body Magic by John Fisher dressed up with suggestion and tied

into an Energy Work framework. From behind the participant, you put both index fingers

on the back of the shoulder blades of the participant. Proceed with the above script, and

the participant will fall backwards into your arms—be sure to catch them. Part of the

suggestion that helps this work more often is “when you fall” implying that they are

going to fall, it is only a matter of time. When presenting this demonstration it is

important to imply the Energy Work being done and the suggestions are to emphasized so

that it doesn’t look as if they are falling only because you ask them to fall. It must be

implanted into their minds that suggestion combined with Energy Work is the cause for

the fall.

SWAY TWO

“Now, I’m going to hold what is known as a Neurovascular Point in Energy Work. I

want you to rest your weight on your toes and let your arms relax to your sides. I will

press the point and you will let your head drop forwards…with your eyes closed. Now, I

want you to feel the sensation of falling…just as before…and when you fall you will be

caught.” The participant then falls forward and you dutifully catch them.

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This time you only need to hold one point, putting your fingers of your right hand on the

left temple of the participant’s forehead. If you follow the above scripting, the person

will fall or slump over, and you must be sure to be ready to catch them. This is another

dressed up physical “stunt” from Body Magic . Next, things will get even more

interesting.

SWAY THREE

This is the first of the two non-touch methods for making a person sway; they may even

slump or fall over depending on how deep you have conditioned them to behave in the

previous Sway Tests. You will be standing behind the participant this time; the same

participant from Sway One and Sway Two. Actually, it will look as if you are

completely behind them from the side, but you can (optionally) be in their peripheral

vision. When you are first starting and first experimenting, get as close as possible to the

participant without touching them. Now, you will make gestures as if you are pushing

forward and then backward, rapidly do these gestures then slowly slow down the rate of

pushing and pulling—this will emphasize the effect more as the participant sways

forward even the slightest fraction, and sways back even the slightest fraction . “I will be

pushing and pulling you without touching you. I will be influencing your aura. Accept

this suggestion; you have seen how the Energy Fields can be redirected in the previous

two tests; now allow yourself…your body…to sway…in motion with my pushing and

pulling as you feel it now. Swaying you back and forth…almost unconsciously.” Again

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be prepared to catch the person! The words in italics are embedded commands.

SWAY FOUR

This is a piece that I figured out while describing Sway Two and Sway Three. In Sway

Two, you put your fingers on a temple of the forehead and have the person fall. In Sway

Three, you don’t have to touch the person to get them to sway…and on rare occasions

Sway Three will have the person falling too. In Sway Two, you have set up a very

effective anchor. At the beginning of the Sway Two instructions, explain, “Every time I

touch your Neurovascular Point in this manner, you will fall down.” You are anchoring

the experience of touching the point on the forehead with the physical reaction of falling

down.

Run through Sway Two a couple of times and then you can go to Sway Three for a bit of

a pattern interrupt. Then go back to Sway Two, but do not touch the point on the

forehead. Simply reach towards the point and push down in the air as close as you can

get to the participant without touching them. Properly done, many people will fall over at

this point and it your responsibility to catch them. This is similar to some techniques

used by faith healers. Here we are framing it as Energy Work. We are setting examples

and conditioning the participant until we no longer have to actually make physical

contact.

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SWAY FIVE

While talking about “Swaying”, I would be remiss not to mention this ideomotor sway

effect. This effect has been around a long time, but I have rarely seen it performed and it

takes a lot of guts.

You will need a few people—enough to make a circle around one person when holding

hands in the circle. One person will be sent out of the room, while the rest of the

participants choose a “target person” for the out-of-room participant to guess. The party

present in the room is told to think of only the Target Person and nothing else—just keep

silently repeating the Target Person’s name.

The out-of-room participant is brought back into the room. This participant is put in

middle of the circle of people. The circle of people hold hands with each other, but the

participant is in the middle of the circle. “Just let your unconscious go and let your body

sway towards the chosen person, your unconscious will pick up on little cues and details

from our body language.” Eventually (in most cases) the participant sways toward or

even falls toward the Target Person .

SWAY SIX: HUMANDULUMS

Ever wanted to demonstrate pendulum work, but forgot your pendulum and/or there is

nothing around to use as a pendulum? Well, I have great ‘news’ for you!

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Humandulums is an impromptu method to solve this problem. This will leave an

astounding effect on your audience demonstrating your supreme control over almost

anyone! This is an extension of “SWAY FIVE”. You will be using humans as

pendulums. Specifically, you will be using “ideomotor response” disguised as “energy

testing”. Earlier you learned about “Central Meridian One Arm Strength Test” in the

section labeled “THREE PHASE MODULAR ENERY TESTING”. It is a simple

manner to apply this arm energy test as a substitute for pendulum work.

You can also condition a person to sway forward at the sight or sound of a certain phrase

and sway backwards on the sight or sound of a different command using hypnotic/NLP

conditioning techniques. Have the person sway forward each time you show the word

“LOVE” on an index card. As they sway forward make a slight motion with your other

hand towards yourself. Now ask the person to sway backward each time they see the

word “HATE” on an index card, with a subtle pushing of back of your hand. Now, show

them the LOVE/HATE cards in different orders, and for the final test tell the participant

you will merely think of one of the emotions and they are to let their unconscious decided

on which way their body shall sway. Look at one of the index cards but don’t show it. If

the person sways forward show the card and it will say “LOVE”. You should be

concentrating on the emotional content of the word LOVE throughout the routine every

time you show the LOVE card; just as you should be focusing on the emotional content

of the HATE card each time. Of course, if things don’t go your way for some reason,

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you have the opportunity to do a top change which allows you an out because you do not

show the face of the card until after the person sways.

SWAY SEVEN: FAITH HEALERS

I’ve saved one of my favorite “Sway Tests” for last. This is based on the work of faith

healers who claim to be “real”—whether they are or not is not the subject of this writing.

But there are some interesting techniques you can use to duplicate the feats of these faith

healers. You will find some great techniques talked about on “How to Be A

Megalomaniac” by Phil Farber (VHS, I believe it has now been converted to DVD).

Essentially you will “collapse anchors” to achieve knocking down an adult human with

the power of a simple touch. There is also a more violent method that is sometimes

employed—either with the simple touch method or in lieu of the simple touch when the

touch method doesn’t work.

I will be using some “theological” terms such as God and sinners in my example, but you

can easily replace God with “The Force”, “The Universe”, or perhaps for humorous touch

“Flying Spaghetti Monster”. Each time the faith healer refers to God in a profoundly

deep “preacher’s voice” he raises his arm and hand palm up as if reaching up to

“Heaven”. Each time the faith healer refers to “sinners” or “hell”, the palm is pointed

towards the congregation or even towards a certain member of the congregation. Now a

member from the congregation/audience is brought up. One anchor has been set for

“God” and the other anchor has been set for “sinners”. The faith healer “collapses” these

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anchors by reaching up and then in a fast motion coming down with his hand on to the

forehead of the participant. This creates a collapsed anchor condition and with the a

preconceived notion that the member should fall down, this collapsing anchor further

cements the outcome.

The second method is that many times faith healers hit a pressure point on the forehead.

This guarantees the fall of the person, even blacking them out, but is quite dangerous and

IS NOT RECOMMENDED IN ANY SHAPE OR FORM. Knocking people out by

hitting them in a nerve/pressure point IS NOT ENTERTAINMENT, IT IS ASSAULT!

ON THE SUBJECT OF “FAITH HEALING”

Here is a little body stunt that you can create semi-miracles with when presented with the

right circumstances. This is a natural way to clear your sinuses. Of course, if you

instruct someone else on how to do this you may be prosecuted for practicing medicine

without a license so tread carefully. You put the index finger of your dominant hand on

the center of your forehead, in between your eyebrows, and press down hard for thirty

seconds. After thirty seconds, as you take away your finger, you push the tip of your

tongue on to the roof of your mouth. Alternate these two actions a few times or even for

thirty seconds to a couple of minutes and you will feel your sinuses begin to drain. This

works by rocking the vomer bone back and forth.

THE INVISILBE ROSE INDUCTION AND ROUTINE

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I cannot believe I am tipping this here; if this is all you got out of this write-up, you

would have been well rewarded. This could well have been its own manuscript. This

induction and routine(s) is a real game-changer in the correct hands. I’ve provided the

Macro Rose Room, the Invisible Rose Induction, The Rose Game (which can be tied into

the Invisible Rose Induction or used separately), The Rose Chain Multiple Inductions,

The Invisible Rose Routine, The Rose Anchor (Scent/Physical/Emotional), and even The

Rose Bloom Closer. What do Roses have to do with Auras? Well, people often claim to

smell the scent of roses during energy demonstrations and other demonstrations; the scent

of the rose is sometimes thought to be an entity communicating with someone present in

the room, and the scent of the aura can be defined as the scent of roses because as Kenton

Knepper has pointed out: Definition=Creation. According to Ted Andrews, in esoteric

Christianity, the chakras were referred to as “roses of light.” This routine was inspired by

a man referred to as Steve P in the book “The Game” by Neil Strauss, as well as by some

occult influences, and the kicker ending is heavily, heavily inspired by Caleb Strange.

Basically, I wanted to re-create a rapid thirty-second induction I read about Steve P

performing (he used a paper rose) combined with the concept of the scent of roses

invading a room, and then I determined it would be best to go full-blast, all-out and

provide you everything for an incredible, yet modular, rose induction and routines.

MACRO ROSE ROOM

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Effect: Nearly the entire audience feels the presence of a spirit(s) and smells the scent of

roses.

For this to work, the mood and atmosphere must be set appropriately. After a few well-

placed subtle effects, you can go into “Macro Rose Room”.

“I feel a presence in this room, if you hold still and breath deeply, you may feel the

presence and now I want you to imagine you are in a rose garden, full of roses upon

roses, rose after rose, and you reach out and pick up one of these roses…hold it up to

your nose…and let the scent actually become real…now…as you smell the rose.” The

italics are embedded commands.

This technique will allow almost everybody to smell the scent of a rose. You are

combining touching the rose with smelling the rose which can be seen as a form of

synesthesia. This effect is best performed after already “showing your credentials” by

performing material in the same vein as this, such as mentalism or psychic entertainment.

You can also have the audience stand and then sit when they smell the scent of roses,

which will act as indirect peer pressure, a tactic I first learned from Caleb Strange.

Notice who sits down the easiest and has the easiest time in being able to smell the roses

and you will have found the perfect subject for the next phase!

THE INVISIBLE ROSE INDUCTION

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An invisible rose is smelled by a participant, who then goes into trance. This can be

utilized as an almost-instant induction. This is even more powerful when you select a

subject that followed your directions and commands and was successful at processing

those directions in the “Macro Rose Room”. This time, however, we have a little more to

go on then just suggestion. We are going to cheat a bit and use an “invisible prop”!

We shall assume the name of the participant we have chosen for this demonstration is

Anna. “Anna, I’d like to try a little demonstration with you…something fun that…you’ll

remember for the rest of your life. Now, you were able to smell the imaginary roses in

the imaginary rose garden and it all seemed so real, correct? Now, I have an invisible

rose, right here, in my hand. I’m going to hold it up to your face and you’re going to go

into a deep trance, the stronger the scent of the rose, the more deep you will go into

trance…just smell the rose, yes, that’s good, and let yourself go down…deeper and

deeper…and now…sleep!” The embedded commands are in italics; however the

scripting can also be viewed as very direct in its overtone for those who don’t like

embedded commands. There is an upswing or downswing depending on you preference

when you get to the underlined, italicized word “sleep” in the scripting. What about the

“invisible prop” that I mentioned earlier? Well, you are going to guarantee success that

Anna will at least smell the scent of a rose. Soak a cotton ball in rose-scented oil and put

it into a thumb tip. When it comes time to do this portion of the modular-phase routine,

you will have slipped your thumb momentarily into the thumb tip inside your jacket—the

best time to do this is while you are performing “Macro Rose Room”. Now, you have the

scent of a rose on your thumb, so when you bring your hand up Anna’s face, she

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REALLY DOES SMELL THE SCENT OF ROSES! There is no denying this point, and

if she REALLY SMELLS the rose, then when you direct her, Anna must REALLY GO

INTO TRANCE! This is similar to the “Ball & Tube” advice given by Docc Hilford. It

is also similar to pacing realities from the practices of hypnosis and Neurolinguistic

Programming. You are also utilizing FRACTIONATION when you combine this

induction with the “Macro Rose Room”. You have put Anna in one trance about roses,

and now you are bringing her back out of that trance and putting her right back into

another trance related to roses. You are also stacking a reality—if you smell the rose(s),

you will go into trance!

THE ROSE GAME

“Effect”: A psychological test/profile combined with a variation on the “Invisible Rose

Induction”.

Presentation: You give a rose to a participant and describe that this rose will be used to

perform a psychological profile/reading. On a piece of paper you have a circle divided

into sections such as “Wealth”, “Love”, “Health”, “Manifestation”, “Intuition” and other

such items. The person is instructed to close their eyes and let the rose fall from about

three to four feet above the circle. Wherever the rose flower part drops there is a reading

given, but as the rose drops you also say “As the rose drops you can drop into a trance at

any moment…even now”.

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ROSE PETAL PENDULUM

In this idea, a hidden rose is found through the use of a witness pendulum. A witness

pendulum is a pendulum with a chamber that you put objects into. In this case a rose

petal is put in the witness pendulum, and as the volunteer’s back is turned another

volunteer hides a rose in one of four containers. The first volunteer turns back, calibrates

the witness pendulum appropriately, and then finds the rose. You get the pendulum to

swing correctly by focusing your own energy and ideomotor responses through the wrist

or shoulder of the first participant as you know where the rose is located.

THE ROSE KEY MANIFESTATION

A quick idea: A key visualized inside a rose materializes in the séance room and is then

found to be under control of hidden forces. (Haunted Key presentation)

THE ROSE CHAIN MULTIPLE INDUCTIONS

This is how to induce multiple people who are standing in a circle to become hypnotized

by the scent of roses. Mention the scent of roses permeating the room, and sniff a bit

loudly. You may want a stooge to say that they are starting to smell the roses. Once

everybody is smelling roses, put them under via your favorite induction.

THE INVISIBLE ROSE ROUTINE

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This is my routine involving an invisible rose that soon turns visible, and allows for a

reading to be done. You will use suggestion to get a participant to smell a rose as in

previous sections. Next, you will use any suitable rose production method. Then, by the

way they react to the rose you will give a reading. If they take the rose from your hand

this tells you a lot. If they are afraid of the thorns or fearless of the thorns you get a lot of

information. Basically, you will be doing some warm/hot reading based on how they

react to their imaginary rose becoming real. Finally, you will give them positive

suggestions about how their inner visions can be manifested given enough will power,

determination and action.

THE ROSE ANCHOR

Another quick idea: Anchor the participant(s)’s psychological states and hypnotic

responses to an invisible rose, paper rose, or real rose—as you see fit.

THE ROSE BLOOM CLOSER

Inspired by Caleb Strange, a séance type manifestation of rose petals occurs after the

induction(s). You can either have a single rose manifest at the door of the séance, or you

can get some helpers to create the Fortean phenomenon of raining rose petals ala Caleb

Strange in his book “Garden of the Strange” starting on page 107 titled “A Rose Without

Thorns”.

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Final Thoughts: For the Macro Rose effect you might want to also mention that other

members in the audience may smell jasmine flowers and others can smell cigar smoke.

Cigars, jasmine, and roses are the top three scents for spirit manifestation. I personally

have a spirit manifestation that smells like chewing tobacco but that story is for a whole

different place and time.

THE AURA KNIFE

Ever wondered how to combine the Color Changing Knife, Aura Cleansing, and Psychic

Surgery? No? Well, I have!

In the Aura Knife, you bring out a pocket knife from a nice cloth bag. The knife is white

on both sides. You explain that the knife will never enter the body of the psychic surgery

participant—that this knife is there merely to gain its etheric double. You scan it across a

participant to cleanse their Aura in preparation for Psychic Surgery. The knife turns blue

on both sides which are a good omen, you explain, as it indicates a sign of healing.

(WARNING: THIS IS FOR ENTERTAINMENT PURPOSES ONLY) You put the

knife back in the cloth bag and have a second participant hold the cloth bag above the

midsection and/or heart chakra of the psychic surgery participant. Here, you can perform

the standard psychic surgery routine with the bladder full of chicken guts. You wipe your

hands clean on a nice white towel and then you instruct the participant holding the bag to

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check out the knife. The knife now has a bloody thumbprint on one side and a bloody

fingerprint of the index finger on the other side—you have, of course, switched the bags

and performed a variation of the Color Changing Knife combining it with some Aura

Cleansing and a bit of Psychic Surgery.

This has been a somewhat updated piece of “Aura or Aura” which originally appeared in

the manuscript “Risk & Reward”. There are still quite a few avenues I have yet to

explore which will appear in a future manuscript, but what I have added so far should

keep you busy for a little while.

“Negative Arm / Positive Outreach”

Effect: A person stands with their right arm outstretched in front of them and then turns

their arm sideways. The person is positioned so that they are one arm’s length away from

a doorframe. The person is then asked to touch the doorframe, which they easily do. The

mentalist then has the person put their right hand on their own shoulder and rub their

elbow vigorously. As the rubbing of the elbow is being done, the rest of the audience is

asked to think and project negative thoughts towards the person who is rubbing their

elbow. The elbow rubbing is done for around thirty to forty seconds. When the person,

has now been negatively charged by the audience, attempts to touch the door again, they

find that somehow, inexplicably, their right arm is now shorter and will not reach the

doorframe!

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Method: I still don’t understand why, exactly, this works. I do know that you cannot

expect a 100 percent hit rate, but there is around a 75 to 80 percent success rate in my

experience. Just follow the instructions in the Effect section, and it will work most of the

time. It seems to work best when the person’s feet are together, they are exactly an arm’s

length away from the doorframe so only their middle finger touches the door, and they

are not double-jointed.

A subtlety you might want to try is making a chalk mark on the doorframe so the person

puts their finger on the same spot each time.

Credits: “Party Games and Rotten Tricks” by John Dinneen on page 20 has a

description of “The Short Arm”. I added in having the audience project negative

thoughts and throw those negative thoughts towards the volunteer to make this a better

piece of theatre and also to fit it into an “Energy Testing”-style premise of performance.

“Sir Newt: Re-growing the Arm”

Jerome Finley has a powerful routine called “Growing Limbs” that you can use to grow

the participant’s arm back to normal in the previous routine.

“A REAL BLESSING”

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After delivering your final line about not being real, you say “I shall give you all a Real

Blessing tonight. Breathe in through your nose and out through your mouth on a three

count for each breath. Imagine that your aura around your head is tingling and

expanding. NOW, feel the blessing descend upon you and look for them in the near

future.”

“Grandpa’s Tale”

When my Grandfather was a young child, a faith healer rolled through his town. My

grandfather thought the faith healer was a fake and a conman. That is, until the faith

healer had dinner with my grandfather and his family. The faith healer looked at my

grandfather and said, “You don’t believe me, do you? Well, pick up your fork.” My

father tried and tried to pick up the fork, but just couldn’t do it. This tale was told to me

by my grandmother many times. There are some things that you just cannot explain.

“FULL CREDITS FOR FALSE FAITH SERVED MEDIUM RARE”

The following are credits for the Faith Healing portions of the above routine:

“Faith Healer” and “Building Blocks” by Luke Jermay

“Psychic Directions” and “Psycho-Spiritual Magic” by Jerome Finley

“How to Be a Megalomaniac” and “How to Be a Megalomaniac TOO” VHS tapes by

Phil Farber

“The Faith Healers” by James Randi

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43) THE $387.00 GHOST FROM eBAY

“Did you know eBay implemented a policy to prevent people from selling more

‘haunted’ or ‘ghost’ items on their service? Fortunately, I found this on eBay before that

policy was put into effect. This is a Ghost. His name is Henry. I was the winning bidder

with $387.00 USD coming out of my pocket. I always wondered why they called it

“winner” instead of “highest bidder”. Either way, I think I’ve come out on top. You see

Henry the Ghost exists. He doesn’t do much. He just sort of rests on his side. Not a very

proper ghost, eh? But I paid a good amount of money. I won the auction! Did I mention

it cost me $387.00 USD? Some people don’t believe in my eBay story or in Henry the

Ghost. But Henry usually proves them wrong. You just have to know how to coax him

into doing something. Henry prefers the hand of a beautiful woman. Henry was quite the

womanizer when he was alive and being dead hasn’t much affected that aspect of his

personality. Be careful with him, I did mention it cost me $387.00 USD didn’t I?” The

bottle that has been lying on its side on the performer’s palm is put into the palm of a

beautiful young lady. The bottle is pushed down, but it mysteriously rights itself and

stays standing. The bottle is pushed down again. It refuses to stay down. “Henry’s tired

after such a workout,” claims the performer. The performer displays his hand and puts

the bottle in his hand. The bottle stays on its side—and this time there is no gimmick

involved or to be found!

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You may have guessed by now that this a presentation framework for the Imp Bottle. An

Imp Bottle is included with every purchase of the first print run of “Sacred Tricks”. The

first part of the story, where the bottle rests on its side in your hand, utilizes the gimmick,

which is a small cylindrical weight. As you meet the eyes of your audience, you steal out

the gimmick. Ditch the gimmick in a pocket as soon as possible. There is a way to hold

the Imp Bottle so it rests/lies on your hand! Now, I may have rediscovered the wheel

here, but this was found out in a performance situation. Hold your hand out with all five

fingers splayed and stretching them backwards as far as possible. When you put the Imp

Bottle on your hand you will be able to rest it on its side! And if you close your fingers

slowly enough in a cramped enough way, the bottle will stay resting on its side. How’s

that for some super-fun super-sneakiness?