Luke Jermay - The Oracle Notes.en.Es

LAS NOTAS Orcale - Por Luke Jermay Una colección de técnicas para instantánea 'conocer' la mente de un extraño

PUBLICADO POR LUCAS Jermay - Primera edición 2011 © Todos los derechos de autor propiedad en su totalidad por Lucas Jermay - 1 de febrero de 2011

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TÉCNICAS:

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EL MUSEO CUENTA Un simple trifásico de Fórmula Para instante

'conocer' la mente de un extraño

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EL INSTANTE Orcale -

Tan real como se pone, una demostración sorprendente que deja a los espectadores con la idea de su propia vida proporcionada por los 'espíritus'.

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MARCADA PERSONALIDAD -

El complemento perfecto para el arsenal del mago. Un simple

but devastating method to ‘Know’ ‘Know’ a stranger instantly. instantly. Providing an astonishingly accurate reading of their prior month.

THE ORACLE NOTES - LUKE JERMAY

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INTRODUCTION Over the past few years the well accepted wisdom of mentalism being at it most strong when dealing with personal information has proven itself more true than I would have imagined possible as a child reading ‘The 13 Steps To Mentalism. ’ In my ‘theatrical’ performances I have focused largely on a people reading style

Q and A show. With most of the other demonstrations demonstrations within a 75 minute performance performance simply being there to build and support what I considered the major part of the show, the formal reading of minds in the Q and A sequence.

In presenting this show I soon soon found that nothing else can compare compare with it. So much so that the material I presented off stage in casual setting simply had to change. I was no longer able to perform a simple simple billet sequence revealing a single single thought. People had seen me onstage reading the minds of an entire audience, delving deeply into personal memories, discovering personal stories and walking in the collective pool of understanding with insightful insightful and massively detailed audience member member readings. It suddenly seemed very odd that now, off stage the insight I presented became so diluted from fr om that which I had presented onstage.

In this situation I began to collect and create an arsenal of performance material for casual settings that can fit alongside the theatrical theatrical performance of Q and A without without detracting from it. I should make one thing clear here; I do not perform in walk around settings.

The material I developed was casual in nature, in the sense that it was most often presented outside of a formal performance. Often demonstrated for people that had seen my stage performance at some some point and now confronted me in a social


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setting such as a lounge or nightclub. Out of enthusiasm for what they had seen they asked me to ‘read their mind.‘ I could have just made made an excuse but honestly that seems too flippant and rather rather than talk my way out of being as amazing as these people had already decided I was, I would rather live up to that. Quickly I was drawn to personal readings and way in which I might be able to present them as mind reading under fire and as they say ‘in the trenches’. Obviously I was not going to present a full blown reading in a casual setting, it simply would not work and most often it would not be appropriate to do so.

However I began to develop super quick and seemingly deeply insightful reading material. I also began to develop more pendulum work and general demonstrations in which people people read each others minds. These were all areas that in a casual casual situation appeared very real and yet in no way way took away from what had been seen seen onstage. They all supported the amazing Q and A act these people had seen.

The following idea’s and concepts concepts are those drawn from that arsenal arsenal of casual material. Enjoy but most important put these ideas to work. work. If they only exist in your mind then they are wasted, they only become worthwhile in your presenting them to another human.

Luke Jermay London, 2011


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THE MIND MUSEUM A Simple Three Phase Formula To Instantly ‘Know’ The Mind Of A Stranger

The ‘Mind Museum’ technique technique allows you to quickly hone in on two specific areas of interest in the mind of the person you are working with. It is very real in both look and feel. It is also scalable scalable in nature nature and while I will focus this essay on it’s use with a single person it is also possible to present this for a few people at once. I have done this for as many as 4 people at a time, after that I feel feel it is not well suited as the addition of any more people slows the sequence down and generally makes it lag too much.

As with many of my most cherished and most celebrated ideas it is utterly simple in concept and yet in execution it takes on a life of it’s own becoming very deceptive and useful. It also requires no preparation and can be done almost anywhere. Most often I would do this by grabbing a napkin from a bar or use the back of a business card card I have even done it using the notes application my iPhone! I later began to use my email application on my iPhone and at the conclusion would ask for the spectators email address to instantly send them the observations. While this seemed clever and hip it is not not the best way of doing this. Sadly typing on on an iPhone just look or feel as good as scribbling things very quickly on paper as if somehow possessed with psychic insight.

When you read this you will find it very simple. However bear in mind the impact this notion can have on a spectator when presented with conviction. conviction. I also believe that in order to make this work there are certain processes that are required prior to


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it being presented. I will make these more clear after we examine examine the idea it is basic form.

I have chosen to break this concept down into three simple simple stages. Put simply their are three things things that must be done in order to make this this work. You will find an over view view of each of these ‘phases’ ‘phases’ or ‘stages’ below and then each will be addressed in more detail afterward.

Imagine yourself in a bar, a person knows you are a mind reader and they ask you to tell them something about themselves. If you, were me, then you would be be doing exactly what I do which which is;

1. Form a connection with spectator ideally something that inspires the idea of a pool of projective understanding in the spectators spectators imagination. This might be something like like ‘The Connection’ which which follows or having them stare into an ink blot image while in their mind allowing their mind to hit a ‘neutral’ state in which which they are focusing on nothing but instead come to a relaxed state. Whatever works for you.

2. Next on a piece of paper write down a broken, fragmented sequence of words/ words/ phrases. Write down about 7 of these quickly scribbling them. This could also be an awesome automatic writing moment. moment. Above these scribble the words past, present and future and draw some arrows arr ows from these headings to areas of the paper.

3. Present this to the spectator/sitter but before letting them see what is written on the paper caution them: “These were the impressions that hit me. I wrote them all down as quickly as I could before they started to fade. We do not have time to explore all


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of these ideas right now in this moment however I will will happily talk over 2 of them with you. They are broken down into past, present and future. Things I realized from your mind relating relating to your past life experiences, the present way you think and feel and some things that I sense are important to to you about your future. So pick the two impressions that mean the most to you right now and we can explore the exact details that I perceived, as this (handing paper) is just psychic short hand.”

Of course you will be blazing ahead of me here and already realize that in having the spectator pick two of the ideas you ‘perceived’ about them you are actually asking them which of the ideas you presented them with are most accurate and interesting interesting to them. From this point onward it is very easy to begin your reading of this spectator by developing your insights into these areas.

In less than 3 minutes you have managed apparently with no questions asked, hone in on specific areas of interest and areas of concern in in the mind of the spectator. To all those watching and often to the spectator themselves all all of the notes on the paper will have a deep connection to the spectator. spectator. Asking them to pick the two they wish to explore does not register on any level as a question but yet seems like you are being helpful and ensuring they get the best mind reading experience you can provide under the circumstances you are in.

A pesar de que, como mentalistas pueden percibir esto como una pregunta formulada o como hits y no pierde ninguna persona normal. Para una persona normal, todo lo que haya grabado es un éxito, todo es importante, sin embargo el espectador es simplemente admitiendo que son las áreas más importantes para ellos en este momento. Voy a cubrir algunas adiciones muy traición a esto más adelante, lo que creará la sensación de que no sólo se haya podido recoger en las áreas generales escrito, sino también en las áreas que el espectador sería más interesa.

LA ORACLE NOTAS - Luke Jermay

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This idea, this concept is worth the price of this manuscript manuscript 1000 times over. Take a second to think about it. Think what this accomplishes in in next too no time. Think about how you you have saved many lines of wasted dialogue finding an area that is of real, intense interest to your spectator.

I firmly believe that these these types of techniques are worth their their weight in gold to a working performer. performer. I do not know if this is of any use to a professional psychic reader, since they will not often find themselves in a professional situation where time is a pressing factor and most often misses and vague beginnings are of little concern to either the psychic or the sitter in such such situations. However to the theatrical performer misses are of concern. Especially when you have a limited time frame and distracting distracting setting to work in. This concept allows me to hone in instantly on areas that are of interest and because of its efficiency and elegancy I hold it close to my heart.

Now we have taken a look behind the curtain, exposing the simple idea we will begin to layer additional deceptions onto this simple simple method to create a rock solid solid presentation of mind reading. reading. I will address each of the phases in turn.

1. THE CONNECTION:

This is something that I have been thinking about and applying to my work for many, many years. Recently the likes of my good friend Jerome Finley, who I predict will become a very important voice in mentalism, have published a few ideas on this topic also. At it’s most basic it is that we as performers need to bring an audience member to a specific altered state in which telepathy and mind reading is possible. This initially grew only from the theatrical impact I could instill instill prior to presenting a Q and A act by using an induction style script.


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However the more I used it the more I tweaked the script and began to see this as vital to the success of the routine. After having enjoy it as a stage stage presentation I began using using it in various ways in casual casual work.

This links into my earlier thinking on the ‘Old Witch Doctor’ principle principle which I wrote about in my earlier book ‘Building Blocks’ it it is more or less a ritual. ritual. A way for the spectator to transcend transcend to a heightened point in which they can become become a sender in a telepathic demonstration. First and foremost this is good good theatre, secondly it sends some strong and positive positive messages about the idea of mind mind reading. I do not want what I do to be seen by an audience audience as a simple task. task. I want to build the notion that mind mind reading is ‘special’ as much as possible. In having the spectator take part in some form of ritual we are building the impact of the final demonstration. This became very clear to me as a child. I would perform a Gary Kurtz variation variation of the Stanley Jak’s ‘Thought routine, in which a spectator was challenged to pick up on ‘Thought Projection’ routine, thoughts being sent to them via the performer.

They were to focus on a two digit number. In the first attempt the spectator would would get only one of the numbers correct. In the second attempt they would would get two of the numbers correct but the digits digits would not be in the correct order and then finally they would get the number accurately on their third attempt.

I never really liked the way this worked for an audience so soon began to play with changing it to make it hit home the way I had imagined imagined it might. I began instead of giving giving the spectator three chances to be be correct, but instead telling them that they would only be correct correct on their third attempt. I would scribble a number on a pad and place the brightly colored pencil behind my ear.


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I would then have guide them through a breathing exercise and have them settle on a number in their mind, I would then again have them use the breathing exercise and allow the number in mind to change this would be repeated a final time to bring a fresh, new number to their mind.

I would then reveal they were correct correct at receiving my thoughts. Suddenly the impact and reaction reaction went thru the roof. I still use that sequence to this day.

The major impacting change was was the fact that a process had been been added. A ritual for the spectator to follow and also the delaying of gratification. This is something something I use very very often in material. material. Allowing me to build to a reveal or moment in delaying the audiences desire for gratification only increases the sense of gratification when the moment arrives.

After having had such success with using the ritual style process in a simple swami writing trick I knew that this was a powerful and underdeveloped tool.

I began to apply it to other situations and eventually no longer as a supporting element within a trick but rather a feature element alone. Now when performing a personal reading I use a hyper developed version of these ideas that I call ‘connection’ it is based loosely on transformative NLP techniques but in all honestly it’s main purpose is to theatrically impact and ‘cleanse’ the mind of the spectator delaying their gratification and focusing focusing their attention with anticipation anticipation of what is to come. Consider it foreplay.

With this in mind here is the connection process I use for this specific reading sequence. It can however be applied to almost any small scale routine:


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THE SCRIPT:

Imagine we join the scene with the mind reader having ben approached by someone who has seen him work on stage and they have politely politely asked for him to tell tell them something about themselves. themselves. The performer responds:

“I would love to, I don’t ordinarily do these types of things in such a loud night club but you have an interesting energy about you so I think this might actually be more fun for me than it might be for you. Here is the problem, I can’t do this without you. Mind reading is not really a ‘trick’ it is not something that can be rushed. Before I can get to the interesting and unique things about you, which I already sense there are many I have to have you do something for me. Together we have to build a mind mind museum. It is like a collected pool of awareness that for a brief moment both you and I can live live inside of almost as if we were one person. Take a second to think about whether you are comfortable with the idea of that and with you and a nd I sharing that kind of intimacy right now, right here. Its not uncomfortable but it will require you to be open and creative creative in your thinking.”

The spectator responds they are happy to build a mind museum and the performer continues:

“Great, well we are going to build a mind museum right now. I call it a museum as it is a place that you can display all of the interesting things about you in. However the most interesting thing about this is that unlike a normal museum it doesn’t just archive the past, your past but it also constantly adds in the present moment and most amazingly it peers into the future. Your future. To do this I need you to trust me, and follow what I tell you to do. Do not question any of the things I tell you to do simply do them. I promise this will not be weird or difficult in fact it will be rather nostalgic. I need to make psychical contact with you in order to connect together.”


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The performer reaches out and grips both the hands of the spectator he then continues:

“Now allow your eyes to slowly and gently close. Remain totally aware of everything happening happening around around you, this is not hypnosis or anything like that just a moment in which you can reflect upon how unique you really are. I want you to think back to your earliest earliest memory. memory. The very first first thing you can remember. remember. Imagine you you are a guide in this mind museum taking a group of interested tourists around.

The tour begins right there there are the start with your earliest earliest memory. Even if this is a faint memory it is ok. Just see that in your mind, now take a deep breath in and hold that breath.....now let it out and as you do find yourself transported to a new area of the museum. You have walked thru the early years of your life teaching the tourists all about it and telling them all of your stories.

Now you are at the day you passed your driving test. Remember that feeling, how happy you were. Another deep breath in hold....when you breath out find yourself transported to the memory of losing your virginity...and let that breath out....now one more time a deep breath in and as that breath is released your transported only now you are at the very end of the museum with the group you have already guided in rich detail thru the unique exhibits until you find yourself looking at the present, this this moment right here and right now with me. Slowly open up your eyes.”

The spectator opens their eyes to find the performer still with his his eyes closed. He takes one deep breath in and releases it and then opens opens his eyes. He continues:

“You have many interesting stories. I always find a museum more interesting when the tour guide really cares about the exhibits. exhibits. Thank you for giving giving me that little tour. tour. Right


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now you have created a pool of collective insight insight into your life. I spent a moment or two inside inside of that while you created it. I now want to to delve inside one more time. Please place your hand on my heart and hold hold it there.”

El espectador coloca su mano sobre el corazón intérpretes y cierra los ojos. Con los ojos cerrados durante unos segundos que respira profundamente antes de abrir los ojos, que ahora parecen tener lágrimas en ellos. Luego agarra la mano del espectador y sacarlo de su corazón lo mantiene con gusto por un momento mientras se mantiene el contacto visual. Ahora el artista y el espectador se conectan y listo para la telepatía. En este punto, el artista coloca un trozo de papel en un cerca de la superficie y luego sigue conectado al espectador sosteniendo su mano se cierra los ojos y garabatea un ayuno en el papel de algunos detalles.

2. Las impresiones escrito:

Estos son realmente el menos importante de todos los elementos en juego con este concepto. En verdad que son simplemente súper cortos 'lecturas en frío', sin embargo las decisiones de lo que está por escribirse vale nota. Muchas de estas ideas se inspiran en los contenidos con

manuscrito - lo que me gustó mucho. Kenton Knepper de 'Lectura 'Lectura de la mente' manuscrito

Estos serán en gran medida se basan en las áreas que siente que debería abordar con la persona que está trabajando, muy raro será que va a utilizar el mismo mensaje escrito cada vez. Sin embargo, para mayor abundamiento he construido una lista que iba a utilizar debería por alguna razón me siento ninguna conexión con el espectador que estoy trabajando con.

¿Debo tener repente ni idea de cómo mirar a una persona e iniciar una lectura que me gustaría llegar a más lugares como sea posible en las áreas más comunes de


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‘Dynamite general interest. The reader will be well advised advised to dig out their copy of George Anderson’s ‘Dynamite

to brush up on common demographics. demographics. The key is to offer a set of written messages that are Mentalism’ to already tailored to the person you you are working with. I do not have the scope within within this essay to detail the the hows and why of this, and it has already been covered perfectly by authors before me.

So let just take a look at a simple and easy to use ‘general list’ above this list are the words past, present and future, this simply allows our spectator to connect these phrases to more specific times in their life as they wish. Guided with the connection process earlier this is a seamless manner to boost the chances of these ideas connecting in the spectators life at some point.

• Distance, fear apart? • Doctor, 2nd • Focused learning, growth • Cold feet. Spark? • Job sucks • Progress work • Money issues

The above list follows the the classic areas of interest interest in the minds of 99% of people. people. However it covers these areas in a way that is symbolic or hidden. People can read into these as they see fit based on specific things happening happening in their life at that moment moment in time. We have covered (in order) travel, health, health, education, sex, career, ambitions ambitions and Money. Allowing the ‘poetry of cold cold reading’ to take affect the the spectator fill find their meaning meaning within these short phrases. phrases. From here you are able to hit the ground running.


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3. PRESENTING THE PAPER:

Now we come to the fun bit! Handing our ‘impressions’ ‘impressions’ to the person we are working working with. Please look at the scripting one more time:

“These were the impressions that hit me. You may have to help me make sense of some of them however I think I understand them. I wrote them all down as quickly as I could before they started to fade. fade. We do not have time to explore all of these ideas right now in this moment however I will happily talk over 2 of them with you. They are broken down into past, present and future. Things I realized from your mind relating to your past life life experiences, the present way you think and feel and some things that I sense are important to you about your future. So pick the two impressions that mean the most to you right now and we can explore the exact details that I perceived, as this (handing paper) is just psychic short hand.”

This script will force the spectator to select two of the areas areas they find the most interesting. interesting. I often hand them the pen and have them check check these areas, I then can casually look look at which they tick and and at the moment of them finishing turn my eyes away so when they turn to face me I can say:

“Now before you tell me those most important let me tell you the ones that came thru with the most vibrance to me.”

I now simply state the two I have seen checked on the list. If I do not do this I will simply have them tell me the areas and then respond:

“Exactly those that came thru with the most vibrance. You are an excellent museum host!”


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From here you reading can skyrocket. skyrocket. In a very short amount of time you you have connected with the spectator, build massive intrigue within them about their unique qualities and their mind museum and then also demonstrated your ability to know them, now it is time for you to offer your insight into those areas they are most interested interested in. You will provide provide them with a focused, on point point and smart reading. reading. That is for you to do, and for another book. For the moment I will allow you you to apply your own methods for providing personal readings to this frame work knowing that it will instantly allow you to present readings that will be improved 100%. This is the type of material with which legends legends are made. Use it well.


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THE INSTANT ORCALE As real as it gets, an amazin g demonstration that leaves the audience with insight into their own life provided by the spirits.

The term instant oracle is one I have chosen to borrow from L. G. Tindall who in his wonderful manuscript first brought the term to my attention. attention. While these style interactive interactive fortune tellers had ‘Quantum Lottery’ first been something I have been not only fond of in the past but also still a collector of in the present I had not come across such an insightful terminology for them until reading Tindall’s work.

Like all I have come into contact with from L. G. Tindall ‘Quantum Lottery’ is is well worth tracking down and giving some serious attention.

Indeed the entire

manuscript is dedicated to some very clever uses for ‘Instant Oracle’ devices and how one might use them in the context of an actual reading.

While I found this approach fun and interesting to read it is not what I feel is the best use of the instant oracle style devices. devices. I do not wish to remove the role of ‘the skilled’ reader in the course of a reading and therefore try to avoid the use of such instant oracle devices without some additional layer of support from a live person. Before we jump ahead of ourselves ourselves I should first take a moment moment to make it clear what an instant oracle actually is.

I like to think of an instant oracle as an independent, interactive, easy to operate system of a lay-person providing themselves with with some form of reading. Most often these come in the the form of novelty items and I truly believe this is their best use. Examples of these would be fortune cookies, autonomy machines machines providing


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forecasts of the future and on some levels the horoscope readings magazines found in stores world-wide.

In essence these divination devices require no special knowledge or training to operate and are easy and quick to use, with an emphasis being placed on the novelty and ‘fun factor’ rather than on the impact of the effect.

What follows is a simple, but fun object that can be used as an instant oracle style device but requires the use of a ‘trained’ person to direct direct the actions of their audience audience in order for it to be operated. At first read that may seem counter intuitive since we defined such oracles as easy to operate. In my opinion the fact that no training is needed leaves the audience with the feeling they are playing with a toy instead of experiencing something special. special. By creating the instant oracle in the way I have in this manuscript you move around that issue while presenting an interesting story that can lead into larger, more person routines based on the fortune telling premise.

You will see in the routine r outine provided we begin by using the oracle device as a ‘game’ played in a parlor setting and then use the natural ideomotor action to transform the routine into what in some ways resembles a spirit bell and finally the performer is able to offer a genuine answer to a question held in the mind of an audience member. Some word term this style as as bizarre or storytelling magick. magick. Personally I dislike the K, so I tend to think of this as a fun distraction amidst heavier more serious routines.

I personally have made use of this routine within a séance setting as a routine to establish figures from history and various facts about them. It is a fun distraction and an an excellent lead into a pendulum pendulum routine, which is indeed exactly how I have


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hecho uso en actuaciones ambiente informal o cerrar. También es una excelente adición a su o fi cina o mesa de café como el objeto en sí mismo genera la conversación de los invitados que perfectamente natural abre la puerta a que la demostración de sus poderes mentales en el acto. Piense en ello como un abridor de conversación a un mini desfile conducido por su huésped / espectador.

EFECTO:

El artista introduce una botella de vino vacía. En la etiqueta del vino lee 'Alexander Private Reserve' por por debajo de esta hay una instrucción impresa para el consumidor; 'Centrarse en el peso dentro de la botella, visualizarlo en movimiento. El número de veces que el peso golpea el borde del vidrio revelará su

m o c . m c Inside the bottle, suspended from the cork hangs a metal chain with a brass ‘tear drop’ attached. o i c g . . l a i Mentalists and meta-psychical types will instantly recognize this as a simple yet elegant pendulum. a m a g m n i h @ c c i 2 g 5 . a w m w e w l o v t o

futuro '.

The performer next removes a card which reads; ‘Focus on the weight. See it moving. Cause it to move and look up the number of times the weight touches the sides of the bottle for your future reading.’

Beneath this is printed a list li st of 20 such future readings.

With the bottle set in the centre of the table and the reading card set beside it the performer begins.

“My grand mother would not allow playing cards into her home. While I never met her, she died before I was born. I remember being perplexed by this when my mother told me about it


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as a child. Apparently my grand mother viewed playing cards as the ‘tools ‘tools of the devil’ I’m not sure if my grandfather had some serious gambling addiction that was swept under the carpet or if she was just a highly superstitious person. However she truly believed this. My mother thought thought this was insane and nothing more than a silly folk tale. However we all hold onto our own superstitions superstitions for whatever reason’s reason’s we have. Its interesting considering my mothers perspective on my grandmothers choice, since my mother literally hit the roof when as a child I found a Ouija board in a thrift store.

She said that ‘you shouldn’t mess with things like that’ and destroyed it. I took her at her word and didn’t question her opinion. After all until the age of 5 it seems everything you are told by an adult is gospel. Logical reasoning has no place in that. Years later I discovered that the Ouija Ouija board was actually designed as a board

m o c . m c o i c . l a g a i . m m a n g i h @ c c i 2 g 5 . a w m w e w l o v t o

game! Not the work of the devil but instead the work of the Parker Brothers who manufactured and sold it as a form of entertainment! I found this fascinating. In front of us right now is another one of those games, this one however dates back far further than the Ouija board.

Now I will confess the one in front of us is made from modern materials, I actually have not been able to find an existing original of the game. game. However the game, the rules rules and the outcomes are as fun, interesting and and too some supernatural supernatural and spooky as they were when the game was introduced. introduced. Every time I show someone this I wonder what I might ‘ban’ from my household when I have children and what they might think of my own superstitions!”

The performer passes the bottle to a few spectators to take a look at. It is seen to be unusual in nature but free from any apparent trickery. The performer explains:

“Suspended inside the bottle is a weight. Some people think that the bottle traps a spirit inside inside and this spirit controls the weight allow us the living to form a kind of two way


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conversation with the dead. I know its exciting isn’t it…Other people tend to think that the weight moves due to something called the ideomotor response. However to be honest I don’t care what makes it move. I just care that it does and that it makes me happy while I play the game. Sometimes believing in something even if we do not instantly think its true can be a fun way to see things from a different perspective.”

The performer places the bottle back centre of the table and picks up the card with the readings printed on it. He continues:

“This is how the game was played. played. You would think of a problem or an issue or a question that you might might want the spirits to advice advice you on. on. You then held the bottle bottle by the neck and allowed your your mind to become blank. blank. The

m o c . m c o i c . l a g a i . m m a n g i htator and @ The performer hands the bottle to a spectator spec hold it by the neck. Loosely gripping c cindicated that they hold i 2 g asks the spectator to focus on a question that might 5 it between their first finger and thumb. thum b. The a performer might . w m be of interest to the spectator and then then e to allow their mind. After a short while the weight sure sure enough w v w o contacts the side side of the glass. glass. Lets us imagine imagine the weight makes makes contact 3 times. The third reading l o t printed on the card is read out loud. loud. The performer asks the spectator if this makes sense to them in weight would eventually move move and hit the sides of the bottle. The number of times the weight weight hit the sides of the

bottle was said to correspond to a message on this card, this message being the one the spirits wished you to take into consideration in relation to your question posed to them.”

relation to their thought thought of question. The spectator confirms confirms that it indeed indeed does. The performer continues:

“Now honestly I am not really convinced that what we just did has anything to do with spirits. I think its probably because your arm gets tired holding the bottle in that uncomfortable fashion and causes the weight to hit the side of the bottle and if we read all of


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the things on this card, well they are kind of vague like horoscope readings; ‘as a child you were much shorter’ that kind of thing. However if it were really a case of spirits spirits being able to communicate communicate inside of a wine bottle then there may be a better way for us to test that.”

The performer instructs everyone present to place their hands on the table with their fingertips extended and touching the surface of the table table in a circular fashion around the bottle. He continues:

“We are going to each ask the spirits, in this case I think it was Jack Daniels, a question that can be answered with either a yes or a no. It is important that we all know the answer to this this question for example I might ask the question ‘is my name Luke’ or ‘do I have dark hair’ if the weight were to move by itself, even thou now it rests on

m o c . m c o i c . l a g a i . m m a n g i h @ c c i 2 g 5 . a w m w e w l o v o t Sure enough each participant asks the ‘spirits’ a question and the weight despite sitting inside of sealed

the centre of the table and not in someone’s tired arm. Then maybe, just maybe we have something interesting on our hands and maybe we can make a cameo appearance on A & E’s ‘ghost hunters’ if not, well it was fun anyway. The way the spirits communicate is simple, if the answer is no, they just keep quite.

I suppose its kind of like ‘don’t say anything unless you have

something nice to say’ in the afterlife. If the answer is yes then the weight moves moves inside of the bottle. Sometimes it hits the edge and sometimes it does not, however the movement is what indicates a yes.”

bottle, with no one touching it answer each question correctly. Finally without the spectators hands in contact with the table the performer asks asks the spirits if they would like to continue, they they indicate no. The performer with a smile in his eye concludes:

“I think its best not to pressure them into anything. anything. There is nothing worse and an over reaching reaching medium guide. It’s like having a pushy parent.”


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OBSERVATIONS

I have always liked the fun that is connected with a spirit bell, however personally I do not care for the funky electronic methods we have seen recently becoming becoming popular. I for a while really enjoyed the classic method of using a crystal bell tied to a wooden ruler. However the issue I always always had with this was the introduction of what is frankly frankly an insane looking object. object. No one on earth has any idea why another human being would tie a bell to a wooden ruler. It is just weird.

I have also always held a soft spot for pendulum material, as I have never really forgotten just how amazed I was when I first experienced experienced the weight move at my mental command. It seemed like real magic to me.

As I began to extend my understanding of the pendulum I have been constantly amazed by its effectiveness and nothing is more impressive to me that the classic suspended pendulum inside of a bottle. However this too runs into the same problem as the crystal bell bell tied to a ruler. What on earth is it? I soon came to the conclusion that justifying this objects existence was at the heart of using it to achieve a spirit bell type routine.

The story I have developed around this is strictly for that that purpose. We will examine the scripting scripting first to explain why I have made the choices I have made, in the hope that it might be of interest to you.

I feel the problem of odd, unusual looking items is one that we face often and thus explaining how and why I decided to get around this problem in the context of this routine might be useful when you come to face this issue again in the future in another routine.


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OPENING SCRIPTING

The scripting begins:

“My grand mother would not allow playing cards into her home. While I never met her, she died before I was born. I remember being perplexed by this when my mother told me about it as a child. Apparently my grand mother viewed playing cards as the ‘tools of the devil’ I am not sure if my grandfather had some serious gambling addiction that was swept under the carpet or if she was just a highly superstitious person. However she truly believed this. My mother thought this was insane and nothing more than a silly folk tale. However we all hold onto our own superstitions for whatever reason’s we have. Its interesting considering my mothers perspective on my grandmothers choice, since my mother literally hit the roof when as a child I found a Ouija board in a thrift store. She said that ‘you shouldn’t mess with with things like that’ and destroyed it. I took her at her word and didn’t question her opinion. After all until the age of 5 it seems everything you are told by an adult is gospel. Logical reasoning has no place in that. Years later I discovered that the Ouija board was actually designed as a board game! Not the work of the devil but instead the work of the Parker Brothers who manufactured and sold it as a form of entertainment! I found this fascinating. In front of us right now is another one of those games, this one however dates back far further than the Ouija board. Now I will confess the one in front of us is made from modern materials, I actually have not been able to find an existing original of the game. However the game, the rules and the outcomes are as fun, interesting and too some supernatural and spooky as they were when the game was introduced. Every time I show someone this I wonder what I might ‘ban’ from from my household when I have children and what they might think of my own superstitions!”

Esta sección de scripting sirve como una introducción general a la rutina, pero juega un papel mucho más importante en todo el fin de justificar el objeto de nuestra audiencia. Nosotros


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empezar por hablar de nuestro auto de la extensión y de sí mismo en la familia. Nuestro objetivo con esta apertura para conectar con el público con un tema general y universalmente aceptado. Infancia. Una vez que los hemos invertido en este concepto podemos empezar a empujar aún más a aceptar nuestra forma de pensar. A continuación introducimos la noción de la superstición y lo echó en el papel del 'tonto' esto es realmente sólo para conducir la historia hacia adelante también nos proporcionó el lujo de introducir elementos que se acumulan en su naturaleza inusual, desde naipes nos movemos a una más inusual pero igualmente bien conocido objeto. El tablero de Ouija. Introducimos esto como un juego de mesa, esto es después de todo un objeto extraño aspecto, y es sólo debido a su vínculo con tantas películas y libros que hemos llegado a aceptar al instante. By placing this as a once ‘unusual’ ‘unusual’ or misunderstood object when we finally come to introduce the spirit bell set up it suddenly doesn’t seem as unusual as it might have done without this small introduction and scripting. Our object now has an ‘universe’ ‘universe’ in which it makes sense and is is therefore easier for our audience to accept as being ‘real’ as they now have a logical place to file this in their mind.

From this point onward the routine plays out pretty much as described and reading the illustrative description will provide you with the scripting required.

METHOD:

Of course the first thing one need do is construct construct the spirit bell/bottle. It is a simple simple matter. Find yourself a clear wine bottle. Next drink the wine and wash the bottle removing the label from the the front of the bottle. I suggest doing this after you have drunk the contents of the bottle, there is a much higher likelihood you will forget you ever did it and therefore be pleasantly surprised when you awaken to find the hard work already finished. While your at it maybe you you could vacuum the house house and do the dishes for a super duper duper morning surprise.


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Next take a pendulum, if you like me wish to have the pendulum answer in the final phase without the spectators contacting the table this pendulum must have a specific specific quality. The pendulum itself must be magnetic and the chain not.

I

actually made my own from supplies supplies purchased at a craft craft store. A weight attracted to a magnet, a brass brass chain and a bead where all that I required. Take the cork from the bottle and puncture puncture a hole through its center.

While it helps for this to be exact it is not vital. I then thread the chain which is around 3.5 inches long through the cork and attached the pendulum pendulum to it, this will hang hang suspended inside of the bottle. bottle. Finally glue the bead in place on the exposed end of the chain, locking locking it on top of the cork. Suspend the cork within the bottle and seal the the entire thing up by placing the the cork into the neck of the bottle. bottle. You are now all set with your spirit bell.

The final touches to the bottle are simple;

stick the label included in this

manuscript to the front where the original label used to be and finally print the list of readings r eadings also included in this manuscript.

If you wish to have the pendulum move at the conclusion without contacting the table you will need a powerful ‘PK’ magnet attached to your knee, allowing you to bring it to the underside of the table top, which when there with a side ways motion will cause the pendulum within the bottle to move.

While this is possible during the entire routine I prefer using the naturally occurring ideomotor response for the large part of the routine. However it is also reassuring reassuring to have a back up ‘insurance’ ‘insurance’ waiting and ready should one need it.


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PHASE ONE:

The first phase of the routine is actually little more than a decoy from fr om the real method and is placed within the routine to allow us to further build the impossibility of the pendulum moving within the bottle.

Begin by having the spectator spectator grip the neck of the bottle between between their first finger and thumb. After a small amount of time their their arm will grow tired which will cause the pendulum to move. move. This is not really impressive and indeed itit is not meant to be. Take note of the number of times the pendulum pendulum contacts the inside edges of the bottle and look up this reading on the list provided.

This is more to establish the prop than anything else. It does however, as mentioned further the impossible nature of the second phase.

PHASE TWO:

I am sure you are already much ahead ahead of me on this one. Have the bottle placed into the centre of the table and explain that the pendulum answers questions with movement indicating yes and stillness indicating no. Have the group place their fingertips fingertips firmly on top of the table. Their palms should should not rest on the table but rather only the tips of each finger of both hands.

From this point onward apply the standard ‘suggestive’ language one would with any pendulum routine and ensure that the audience only ask questions that everyone know the answer to and you will find, too my constant amazement that the pendulum will indeed answer the questions correctly.


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PHASE THREE:

The final phase is a neat touch touch for those who know about ideomotor ideomotor action. The pendulum moves with no contact to the table. As already mentioned this is created by the sideways motion of you knee/leg, knee/leg, which conceals a powerful PK magnet. The pendulum will contact the glass indicating to all that the spirits have just like Elvis ‘left the building’.


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MARKED PERSONALITY The perfect addition addition to the magician’s arsenal. A simple

but devastating method to ‘Know’ ‘Know’ a stranger instantly. instantly. Providing an astonishingly accurate reading of their prior month.

I first published this item in my booklet which accompanied my DVD release ‘Emotional Intelligence’ it has remained largely unexplored unexplored since then. then. I love this concept and use use it very, very very often. I am including including it in this manuscript as a bonus item in the hope it might catch the eye of the reading and bring it to the attention of more people who are looking for simple methods to ‘Know’ strangers.

The performer begins by shuffling a deck of cards casually as he talks about the various links between a humble deck of playing cards and tools used in the past to divine and tell fortunes. fortunes. The performer explains that cards were once thought of as ‘the devils bible’ as their link to the supernatural was so strong in the minds of the general public that some would not even allow playing cards in their homes.

The performer expresses his own personal disbelief that there is anything supernatural at all about a deck of cards however he does propose a test driven by psychology rather than by the supernatural with them. The performer explains that in years years gone past people would have a ‘lucky’ card. This was based on what features they felt they connected connected with in the cards themselves. themselves. The clubs were said to represented represented work or schooling the hearts were thought to represented love and romantic relationships the spades represented health and well being and the diamonds wealth and income.


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For someone to work out their lucky card they would remove one of each suit and rate it between one and ten on how they felt they scored scored with their past personal life in the prior three months. The highest scoring card, the one they felt most accurately scored their past three months would become their ‘lucky’ card.

The performer hands the deck to the spectator and asks that they spread through the cards and remove a club which he reminds them represents work or school scoring how they feel this connected to this characteristic. This is repeated with the hearts, spades and the diamonds. Only the spectator spectator who places them facedown onto the table knows the cards and their personal scoring based on their experiences over the past three months.

The performer then explains that before they continue and work out the spectator’s lucky card he wants to take a guess about what it might might be. The performer removes a business card and writes something on its its blank side and places it writing down on the table.

The performer then explains that he has certain impressions about the spectator and begins revealing information about the spectator that that he could not possibly have known. Finally he pushes the business card still with its writing hidden toward the spectator and turns the tabled playing cards face-up to reveal the highest card being the 9 of diamonds.

The prediction is checked and the performers impressions about the spectator were totally accurate with his prediction reading:


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‘Your lucky by nature but your lucky card wil l be a high diamond either the 9 or 10 and you are drawn to the diamond suit.’

OPENING OBSERVATIONS:

I am sure that at this point within this manuscript you are way ahead of me on the principles that underpin this routine. It combines my ‘leading ‘leading reading’ concept with classic cold reading reading but affords the performer with a huge amount of information about about the spectator. Each of the suits is assigned assigned as being a certain certain area that people are naturally interested interested in. These suits are then scored scored based on how positively the spectator feels about the area in the past 3 months. Simply by looking looking at the face of the cards you will will be clued in on how the spectators past three months have treated them in each area.

Ahora en mi rutina decidí guardar el secreto cartas de juego (al parecer) y el enfoque elaborado lejos de ellos con la inclusión de una predicción al final. Esta construcción significa que la rutina tiene una secuencia fuego fuerte y segura- a caer de nuevo con o sin la lectura en frío en apoyo de la rutina formal, sin embargo, con el concepto de lectura que lleva combinado que son capaces de revelar la información precisa de manera alarmante. Quiero mencionar que se puede, por supuesto adaptar esta rutina para fi cio a sí mismo en cualquier número de maneras.

No es necesario utilizar el 'últimos tres meses' como el lapso de tiempo de los espectadores que califican. Se podría literalmente hacer esto sobre cualquier lapso de tiempo que deseen. Yo recomendaría dando al espectador al menos un mes para anotar un período de tiempo más largo le dará más información en un sentido general que le ayudará ángulo de sus lecturas.


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También puede cambiar las repeticiones 'traje' a cualquier cosa usted quiere. Hago uso de las categorías anteriores, pero que también pueden modificarse para adaptarse a cualquier preferencia personal.

While this routine has a sense of a tarot card lay out to it, with the spread face down selected cards being lined up upon the table I make the personal choice to point out how this is not supernatural on any level during the routine. I make use of the ‘in years gone by people would select select their lucky card’ as nothing nothing more than a manner to justify the removal of the four cards that will lead my reading later and do not dwell on it any further. The routine could go in any direction you so desired however however I would recommend staying away from the supernatural approach for reasons so plentiful it would be impossible for me to list them here.

METHOD:

This routine will require you are able to reveal which four cards have been removed from the deck. I personally feel the most efficient and suited method for this routine is the use of a marked deck. It allows a casual handling of the cards and all the information is presented to you throughout the entire reading sequence as the cards are spread face down in front of you to read the marks eliminating any need to remember the selected cards. I recommend you make use of this method also – however any number of methods are available should you wish to not use a marked deck.

The method for this routine as with all cold reading exists in the ether rather than in the sleight of hand. You will begin by shuffling the deck and explaining that each of the suits represents a different element I use the following system:


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• Clubs – Work/School • Hearts – Love/Relationships • Spades - Health/Well Being • Diamonds – Wealth/Income

Next explain to your spectator that you want them to find out their own personal lucky card by scoring each of the suits based on their previous experiences over the past three months. Make it clear to them that the scoring system is is based on 1 – 10 and 1 is the worst and 10 the best. Hand the deck to the spectator and have them remove four cards as they see fit.

As the cards are removed from the deck and placed facedown on the table note each of them reading the marking system on their backs. backs. There is no need to remember the cards at this point you are simply looking for the highest value that is removed from the deck.

When the spectator has removed all four card and you know which card is scored most positively (and therefore which area the spectator has the best luck with in the prior three months) note it and explain:

“Before we find out what your lucky card is I want to take a guess based on what I have observed about you thus far”

Remove a business card from from your pocket and on its blank blank surface record a prediction. I always include the value of the card removed and one card higher


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than it. This is a subtle moment moment that allows me to take credit credit for the prediction and also allows allows me to include a line that will often hit that is as close to real r eal mind reading as one can get – I will cover this later in the explanation but for the moment let us imagine the spectator has removed r emoved the 9 of diamonds as the highest card of the four spread face-down face-down on the table. Your prediction would read something something like:

‘Your lucky by nature but your lucky card wil l be a high diamond either the 9 or 10 and you are drawn to the diamond suit.’

I personally pre-write the whole prediction on the business card leaving only the values and suits blank to be filled in during the performance. performance. This allows me to reduce the dead time during performance as well well as ensure that I do not write the prediction sloppily due to the pressure of having to move the routine along reducing the clarity of the writing and potentially making it difficult for my spectator to read. I recommend you do this also.

With the prediction written I place this writing side down onto the table and often place some ‘heavy’ object on it to seemingly isolate it and reduce the thought that I might be able to switch it or add something to it.

I do not make any reference to these potential explanations however I do think it is a good idea to eliminate them without referencing them in this manner just do not over stress this moment during the presentation. Simply take an item such as a glass and place place it on the prediction and move move onwards.


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Right now on the table in front of you you have four marked cards. Each card represents a different area of the spectators past three months and how positively they feel about each area. This is a huge amount of information to lead your reading. Let us imagine that the four removed removed cards are:

• 3 of Clubs • 7 of Hearts • 6 of Spades • 9 of Diamonds

This spread of cards will lead us in our reading to angel it in the following manner:

- The 3 of clubs (representing (representing work or schooling) tells tells us that the spectator spectator is unhappy with their previous three months in either their job or school (judge this on their age) and therefore we will make our reading reflect this.

- The 5 of hearts show us that they are more or less less positive on they’re past three months love and romantic relationships.

- The 6 of spades spades (health) tells us that they have had no major major health issues are feeling generally well.

- The 9 of diamonds (wealth/income) (wealth/income) tell us they are very happy with their income and wealth over the past three months.


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This is a massive amount amount of information to gear your reading toward staring you right in the face. face. It would be impossible with this amount of knowledge and the techniques we have already covered to not perform a stunningly accurate reading on the spectator.

With the above spread I might make neither a reading that is delivered as follows remember this is aimed at being a supporting element to an already strong routine and therefore it is not the only focus of the sequence nor the reading. Pay attention to how the reading is geared slowly to link full circle to the ‘lucky’ card to bring a sense of completion and logic to the original removing of the four cards.

“Before we move forward to see what your lucky card is I would like to make some observations about how I sense your previous few months have been for you. I get the impression that on the whole your time has been well balanced. There have been no major upsets or surprises and you are in generally good health.

This leads me to think that you’re the kind of person your friends turn to for advice and I sense that might be a source of pressure for you. Possibly this is having its affect on your work life. I get the impression that of all of the areas we have spoken about your work life is something that feels like it could be improved right not.

Yo diría que tiene el tipo de personalidad que hace que se sufre de visión de túnel a veces y por lo tanto su enfoque ha sido en otros elementos de la tarde. Dicho esto yo piensa que ha tenido no hay problemas de dinero y en general están contentos con sus ingresos durante los últimos meses - esto podría ser cierto que re fl eje qué su sensación de descontento con su vida de trabajo en este momento. Me gustaría pensar que usted está sufriendo de una sensación de estar encerrado en


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su trabajo, pero con ganas de encontrar más recompensa en ella y desde ella sin embargo, el ingreso hace cuestionar dejando algo que es confiable y estable.

Tenemos la tendencia de toda la caída de la hierba falta es siempre más verde en el otro lado y creo que usted tiene esta firmemente en mente cuando se piensa en dejar su trabajo. También es probable que esté pasando por un relativamente fuerte sentido de volver a descubrir qué es lo que amas en la vida y quiere hacer que un aparte de su trabajo “.

Observe cómo todo lo que estoy haciendo es alimentar a la información que tengo frente a mí en la forma de las cartas marcadas directamente al espectador, estoy sin embargo hacer algunas suposiciones lógicas sobre las conexiones entre las tarjetas y las entalladuras para atar todo junto. No voy a poner fin a la lectura con una revelación de la 'carta de la suerte' que tiene un fi nal momento en él que va a impresionar.

“Yo diría que mi primera impresión sobre su tarjeta de suerte tenía razón. ¿Cuál fue su carta de la suerte?”

The spectator explains their lucky card was the 9 of diamonds and the performer turns his prediction over and displays it. He continues:

“Now I also got the impression that you are the type of person who will always be overly critical of yourself and if you were really honest is it not more accurate accurate that your time was scored scored at a 10 rather than a 9? Don’t worry about being boastful no one is going to think that of you.”


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The spectator will agree with you you without doubt. This is a flattery technique technique that is hidden under a ‘tell ‘tell the truth’ style induction. The performer finishes the routine with one final reveal that he could could not possibly have known.


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BIBLIOGRAPHY, CREDITS AND SUGGESTIONS: Jerome Finley - ‘The Process’, T & R - “Jerome is a close friend and someone who is blazing his own path.

I highly

recommend all of his works. In his release ‘T & R’ he details an interesting script that could easily be used in replacement for my ‘Connection’ scripting.

Luke Jermay ‘ Building Blocks - Old Witch Doctor’ - “ I I wrote this book. It is to my knowledge the book that began began the now ever so popular popular use of suggestion as reliable methods in mentalism.”

Gary Kurtz - ‘Thought Projection, The Ultimate Chair Prediction’ - “Gary Kurtz was a good magician, he became an even better mentalist. In this manuscript as a bonus item is the Stanley Jak’s variation I reference, the original appearing in ‘The 13 Steps To Mentalism’. Worth a look if it is your type type of thing.”

George Anderson, ‘Dynamite Mentalism’ - “A mind blowing step forward, well ahead of it’s time and now we are still only just starting to catch up with it.”

Kenton Knepper - ‘Mind Reading were interesting - “Kenton and ‘The Secret School’ published a collection of ideas. In my mind these were and inspiring. Most will miss what is important about this manuscript however for the brave brave it is worth study.”

L. G. Tindall - ‘Quantum Lottery’ - “A great and interesting take on the Instant Oracle concept. This version works totally in the hands of a spectator without the need for a reader/performer.”


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Luke Jermay - The Oracle Notes.en.Es

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