Luke_Jermay_-_Vibrations.pdf

VIBRATIONS  A contemporary demonst ration ration of psychometr ic ic readings.

VIBRATIONS - LUKE JERMAY

Copyright 2016 (C) (C ) Luke Jermay, Jermay, All Rights Reserved. Reserve d.  A legal owners in possession of an or iginal iginal copy of this manuscript have the r ight ight to per f f orm these eff ect ects, presentati ons and methods in non-recorded, non-br oadca oadcast , live first person per f f ormance ings only. They are not permitt ed ed to teach, sell , r esell , lecture, manufacture, translate or  sett ing other wise wise use, demonst rate, rate, display or per f f orm the contents. The only author ised use is in the context

of live, first person per f f ormance. Any br oadca oadcast , narrowcast and any and a other uses are st rictly rictly withheld by the author and per mi mission for any other uses by anyone other than the author must be obtained in w riting riting first. Thank You. This co pyr ight ight is the intell ectual ectual pr o per ty ty of Michael Weber  and is used here with his expr ess per mi mission.

VIBRATIONS  A contemporary demonst ration ration of psychometr ic ic readings. CREATED AND WRITTEN BY

Luke Jermay FOREWORD

Max Mav en en EDITED BY

Tara Whitt ake aker  Mike Vance Vincent Hedan

www.JERMAY.com

PROTECTOR OF SECRETS Before we get lost in the glorious detail of what, how and why, it is important to properly understand that the demonstration contained in this volume is not simply a trick. Rather you hold in your hands a complete performance piece. Designed for and tried and tested in countless real-world performance. Please do not share this material in any way, with anyone. I have carried these secrets with me for many years. These are now your secrets to protect. It is a heavy  burden, but I have faith in your ability. ability. If you need further motivation, consider the cost of original material. A comedian will routinely pay as much as £500 for just three minutes of original material. Many of the consultants who currently operate within the mystery arts would charge upwards of £5000.00 to write an original script for a client. If nothing else, protect your financial investment  by keeping ya' mouth shut! Thank you.

FOREWORD Max Mav en en

FOREWORD - MAX MAVEN MAVEN I like the way Luke Jermay thinks. He’s  one of the few relatively young practitioners of mentalism who understands the value of studying and absorbing the past, and using that knowledge as a foundation on which to build new ideas for the future. This manuscript is a fine example. Back around 1885, a London-based medium and publisher named James Burns performed an engaging demonstration that involved using his apparent psychic skill to return personal objects to their owners. Unfortunately, we don’t  know the full details of this  performance, but it surely made an impression. In December 1894, A. E. Waite’s periodical The Unknown World ran an obituary that described Burns as “a  prominent and peculiar  personality from the front rank on Spiritualism [who] exercised exercised a very great and earnest influence….” Burns himself would undoubtedly have been astonished had he guessed the range of that influence — that that today, some 130 years after his performance was noted, that routine is still being performed.

Of course, now we know it under the title supplied by Theodore Annemann when he put the plot on the mentalism map, with a cunning method that he published in The Jinx in June 1935: “P   Psychometry.”  seudo- Psychometry.” Over time, it has become one of the fundamental effects in the field. Probably most of the notable mentalists of the past eighty years have explored it, and many have published their own versions and spinoffs. Some of these have added new elements; the majority have simply affixed minor cosmetic embellishments. What you’re about to read offers far more than that. Luke says that his goal was to develop a version to work in “theatrical  spaces.” “theatrical  spaces.” At this, he has truly succeeded. Unlike most, this routine has a solid structure: a compelling (and pleasingly concise) beginning, a thorough (and multi-phased) middle, and a coherent (and dramatically satisfying) ending. He has accomplished this by radically rethinking “Pseudo Psychometry”. There are vestiges of the original composition, but the presentation and method have been transformed, into something new and practical. In teaching this, he provides full details, including his own script. I urge you to study that carefully. Then discard it. It ’s not your voice; it’s  his. Figure out why this presentation works, and then go somewhere. If we’re  both lucky, some day I’ll  have the chance to experience where these ideas have taken you, and where you in turn have taken them. I look forward to meeting you there.

INTRODUCTION one of the greatest one-man psychic eff ect ects ev er conceiv ed. ed.

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INTRODUCTION I vividly remember, as a young magician with a fledgling interest in mentalism, the first time I encountered Annemann’s “Pseudo  Psychometry” in the pages of Practical Mental Magic. What stood out in my memory most, more than the premise or indeed the method, was the manner in which Annemann introduced the reader to what was about to come: “This  trick, to my mind, is one of the greatest one-man psychic effects ever conceived. It has all the elements necessary to make it   your most talked-about effect, and any performer with but a bit of   showmanship can’ t help but make a hit with it. If you are endowed with a goodly share of showmanship, this effect will create a  sensation and can be built up to be the feature feature attraction of your  show.  show. Last, but not least, the effect needs very little preparation, preparation, and it can succeed under the most exacting conditions. In short, we have before us an idea with unlimited scope. Another of those rare secrets wherein the method is nothing and the effect, from the audience viewpoint, is everything. Your audience will never tumble to the  simple detail that makes it possible. The enormity of what the  performer attempts completely overshadows the means by b y which it is accomplished.” - T heo heodor e A nnem nnemann, P r acti cti cal cal M ental ntal M ag i c 

High praise indeed. Praise that, as a young magician with a fledging interest in mentalism, not even in possession of meagre showmanship, seemed totally disproportionate to both the premise and method I had just read. I was, at that time in my understanding, unable to imagine any performance of the effect as published being as powerful as Annemann’s introduction had led me to expect.

Immaturely I turned the page in search of a new mystery to hold my wandering attention. In the years that followed, my understanding and foundational knowledge matured and expanded. I had transformed from a magician with a fledging interest in mentalism to a mentalist with an interest in magic, and along the way I had begun to develop modest skills of showmanship. I returned to Annemann’s “Pseudo  Psychometry” frequently. Annemann’s  words “one  of the greatest  one-man psychic effects ever conceived” were haunting and long lasting. Haunting and long lasting but still opaque and well beyond my, at the time, limited understanding of authentic performances of  psychic entertainment. At that time in my evolution as a performer I was not ready for something as sophisticated and subtle as “Pseudo Psychometry.” It seemed too frail a deception upon which to hang such a powerful claim. However I knew that someone as honest and insightful as Annemann would not make such a claim without serious thought and conviction. In an effort to understand Annemann’s  passion for the effect, I made it a personal goal to seek out as much information about the authentic practice of psychometry as well as subsequent additions, variations and improvements on “Pseudo Psychometry” “Pseudo Psychometry” as I possibly could. This journey led me to exploring the work of such luminaries as William Larsen, Sr., T.A. Waters, John Riggs, Michael Weber, Docc Hilford, Max Maven, Ormond McGill and many others. It also led me to dedicate large amounts of effort and time learning about, watching and studying practitioners of psychometry free from deceptive methods — the the type of people magicians call a ‘shut eye’. Most of the published material I encountered focused intensely on ingenious and deceptive methods for secretly learning which object

 belonged to which person and all seemed to share a similar passion to Annemann, echoing “Pseudo Psychometry” as “one of the greatest  one-man psychic effects ever conceived.” It was thanks to the time spent watching and studying those people who sincerely practiced psychometry that I finally matured fully and  began to understand why Annemann’s bold declaration might well be true. While most of the material I had come into contact with, from the worlds of mentalism and magic, focused on clever ways to return the objects, it was in watching deception-free psychometry demonstrations that I saw that all the power of the demonstration rests in the readings that the performer produces. In this time I never once saw a sincere practitioner hand even a single object back to its owner. owner. Instead, these sincere practitioners simply ‘sensed’ information from an object, provided a reading, and then openly asked for the owner of the object to make themselves known and to have their object returned. Rarely did the psychometrist even ask the owner to, in any way, acknowledge whether their reading was accurate. These experiences, combined with my fondness for Richard Webster’s  Psychometry A-Z system, inspired me to abandon all of the marked containers, marked envelopes, marked bags and clever methods for handing back the objects to their owners and instead to focus entirely on demonstrations more like those I had seen offered  by sincere ‘shut -eye’ practitioners. Indeed, this was the way in which I presented demonstrations of psychometry for a few years thereafter. In my performances that followed this minor evolution in my relationship with “Pseudo Psychometry” “Pseudo Psychometry”, I focused all my efforts on  providing entertaining, interesting and fun readings which, in and of themselves, had huge entertainment value. This performance experience solidified my belief that returning the objects to their owners was a mistake. John Riggs performed a feat of staggering

 prediction when I read his book Psychic Pselections , I found my feelings summarised and explained with a clarity and insightfulness for which I could only wish. Riggs speculates that when working the for lack of a better term —‘returning objects’  approach, for a  — for modern audience, comprised of people who are most likely totally unaware of any new-age theory, they see: “The  performer has objects gathered in containers. Containers are mixed. Performer goes through some kind of psycho-babble.  Performer returns returns objects to owners. Conclusion: Containers are marked.” - J ohn R i ggs, gg s, Psyc Psychic Psele Pseleccti ons

I largely agree with Riggs’  theory and believe the entire section of his theories on performing psychometry for modern audiences in Psychic Pselections is fantastic and well worth seeking out. My agreement with John is not only theoretical but also borne of  personal performance experience. Your Your experience may well be different, however, viewed through the filter of my own personal  performance experiences, John’s  words ring very true and they, together with my experiences of watching sincere demonstrations, were the impetus for me to stop returning all the objects to their owners. While this simple ‘readings-only’  approach taught me many vital lessons, it did not provide the kind of theatrical structure and drama for which I was searching. This approach, simply holding an object and providing a reading, is incredibly powerful at the right time in the right place. I often do exactly and only this in a one-on-one situation. I imagine this approach is perfect for psychic parties and such events, although I personally have no experience of such situations. However, for my performances set in theatrical spaces, it lacked drama and structure. I set out to use the lessons I had learned on the

 journey to create a routine suitable for my commercial theatrical  performances. I set out to create a routine to be presented in platform and stage settings, for audiences who largely would comprise of people unaware of new-age thinking and most likely would never have heard the word psychometry before, that would allow me to produce the drama and theatrical structure I craved while also incorporating the direct and intense focus on entertaining, sensational and astonishingly accurate readings. I will leave it up to you to decide whether or not I have succeeded in my goals. What follows in this manuscript is a professional stand-up routine which produces the drama, structure, texture and pace professional  performers need, combined with amazingly accurate readings complete with stunningly specific details and information; all without complex memory work, difficult reading systems or preshow work. All of this might just make it “one  of the greatest one-man  psychic effects ever conceived.”

Luke Jermay

THE EFFECT  A pr ofessional full y scripted per f f ormance piece.

A NOTE ON PRESENTATION While I have chosen to include my full performance script and  staging; I highly doubt anyone other than myself will wish to present  present  the routine in the exact manner described. My performance script is  something that suits me. I have every confidence in your ability to create create something that will suit you. Feel free free to use as much or as little of my included script as you wish. My script leans toward the ‘mysterious’  mode   mode of mentalism. It handles the topic of psychometry as if it were real. This is a personal choice, however, I understand many favour a less mysterious approach to mentalism. There is no reason this routine can not be adapted and changed to suit such  presentational  presentational modes. Psychometry offers an excellent vehicle for a ‘Sherlock  Holmes’  ‘Sherlock  Holmes’   style demonstration of reasoning and deduction; and with a little adaptation to the script you could easily produce a  stunning demonstration of such logical deduction in which the  performer seemingly offers staggeringly accurate insight about an objects owner, via the clues left on the object itself.

THE EFFECT The performer stands centre stage next to a tall table, on top of o f which rests a bowl of water illuminated with a focused spotlight from directly above. Slightly forward and to the left is a lower table, on top of which rests an opaque black bag. The stage is lit in a warm wash. Soft modern unobtrusive instrumental music accompanies the  performer as he begins: “Psychometry  is the ability to read energy and vibrations from inanimate objects. The word stems from the Greek words, ‘psyche’,  pertaining to the soul, and ‘metron’, meaning ‘a measure’, defining ‘psychometry’  as   as the ability to measure the soul of things. Just as a needle rubbed across a magnet retains some of the magnetism, objects retain the energy of their owners. My job is to read that  ’  ’  vibration and then to interpret energy by sensing an object  s interpret what I  feel to learn things about the object and its owner .”

The performer moves forward, forward, picking up the opaque black bag as he goes, and the music picks up pace as he continues: “I  would   would like everyone to take a moment to think about what objects  you have with you right now. now. I would like you to think about those objects, and if you have an object that you have owned for more than one month, which can fit in your hand, hold it in your closed fist and  stand up, being careful not to allow anyone to see what this object is.  I do not have time to work with everyone this evening, however, however, I will  work with several of you to demonstrate this unusual, and rarely  seen, intuitive skill.”

The performer leaves the stage and approaches someone in the audience who is standing with an object hidden in their closed hand.

He holds the bag open, high in the air, and addresses the standing audience member: “Please  place your closed fist into the bag and drop your item, whatever it might be, inside without letting anyone see what it is.”

The spectator follows the  performer’s  instructions and places their object into the bag. The performer repeats this process with three more spectators in the audience. He has each of these spectators remain standing at their seats. When he has gathered four objects inside the bag, he continues to hold the bag high in the air, so as not to be able to peek inside, and returns to the stage. He removes his  jacket and rolls up his shirt sleeves, and the music slows in pace and the stage light transitions to a single spot illuminating the performer standing centre stage with the bowl of water to his left and the bag containing the objects on the lower table to the right. He continues: “When I was thirteen years old, I was standing and talking with a  girl I did not know well called Emily. Emily. As we chatted she removed removed her watch, to set it to the correct time, and accidentally dropped it. I reached down and picked her watch up. The moment I came into contact with her watch a horrible image filled my mind. I saw vividly a woman with blonde hair lying on a carpet stained with blood. It   shocked me in its instant and frightening vividness. I handed the watch back to Emily, who, sensing something was wrong, asked if I was ok. I explained what I had seen. She immediately walked away. I did not talk to Emily ever again. Any time we would be in the same room, she would leave. Several months later I discovered that the watch Emily was wearing had not always been hers. It once belonged to her sister. Her sister, who had blonde hair, had died when she fell down the stairs and hit her head on the floor. She had been discovered later…on  the blood-stained carpet. It was the first  experience I had with psychometry — a sharp and unwanted awakening to an unusual skill. In the years that followed I would 

have other experiences, usually when holding old objects with lots of  history. At this time I had never heard the word psychometry and I  probably would have laughed off any such idea. However, However, as these experiences grew more constant and more vivid I could no longer ignore them. I spoke with a friend who knew about all kinds of newage things and he told me about psychometry psychometry.. For months afterwards afterwards  I would visit antique shops and practice with objects full of stories.  Now,  Now, years later, later, I can most times get at least something from almost  any object. Sometimes I get more information than other times. Sometimes it comes quickly and vividly and sometimes slowly and  faintly,  faintly, but I almost always get something. I do not know, know, nor can I  promise,  promise, what will happen tonight, but I hope to learn some interesting things about those people who have been kind enough to lend me their possessions for our demonstration. If you did lend me one of your possessions, from this point onward, do not give anything away; keep a poker face until I ask you to do otherwise. I want this  process  process to be free free from any outside influence. Please do not try to help me; often in doing so, it makes it much more difficult. Just listen carefully carefully to the things that come to me.”

The performer washes his hands in the water as he continues: “It  is  is important that first you remove any energy you have picked up  from handling other objects objects during the day.”

The performer removes a folded, crisp white handkerchief and places it flat on his now-extended right palm. He continues: “Let’   s begin…”

The performer reaches reaches into the bag with his left hand and removes an object. He places this object; a closed silver locket, onto the white folded handkerchief and holds his left hand above the object for a moment. He takes a deep breath in, and then pauses and closes his

eyes. Standing in silence for a moment, his left hand, held above the object, shakes slightly. Suddenly he exhales and continues: “This  is a great object to get started with. A very nice old silver locket. It has lots of energy but lots of mixtures of energy. This is an object that has been owned by many people, however, each of these  people have a common connection. I sense that this object has been  passed down from one generation to the next within your family. family. I can sense there is something inside this object. I can sense  photographs. A woman with glasses and a man with a beard. beard. Your Your  grandparents.  grandparents. It was your grandmother that gave this object to  you…”

The performer looks into the audience at those spectators standing and asks: “Is it ok for me to look inside?…”

The performer pauses and continues: “I  can  can see you nodding. Thank you.”

The performer then hands the locket to someone in the front row and addresses them directly: “I  can   can sense that inside of this locket are two photographs: one of a woman with glasses and one of a man with a beard. Can you open the locket and tell everyone what is inside?”

Astonishingly, the performer is 100% accurate. He retrieves the object and then continues: “Your grandmother, grandmother, named either Janie or Janet, gave you this locket and right now her advice would be well remembered remembered.. I can see that you are going through major life changes in your professional 

life at the moment. She used to say to you, ‘One  step at a time.’  I think right now this is exactly what you need to hear. One step at a time… I wish you the best with your promotion.”  promotion.”

The performer places this item onto the table next to the bag and then washes his hands in the water as he continues: “To “To this day I do not know if Emily thought I was playing some kind of horrible prank on her. I don’ t know if she even remembers it, but  the experience weighs heavy on my mind. For a while I tried to only tell people the good things that came to me…that  didn  didn’ t work. Then I tried to only tell them the bad things. That didn ’ t work. Now I just   say exactly what I feel. One day maybe Emily will be in one of my audiences and she might finally understand what happened on that  ’  ’  continue…” day. Let  s

The performer reaches into the bag and removes another object; this time lipstick. The performer places it on the folded white handkerchief and holds his left hand close to the object and inhales, closing his eyes. After a moment his left hand shakes, he exhales and he excitedly continues: “This is fantastic. I must admit I am surprised. When I get something like this, normally I do not get anything particularly strong as the object itself doesn’ t have all that much history. However, the energy here comes from someone who is naturally intuitive. They have a  strong  strong unique energ energy. y. So strong strong I can try something I have only ever done two times before…”

The performer excitedly leaves the stage; he approaches the first standing spectator and continues: “Please  hold my hand for a moment. I need to match the energy I  feel right here in the lipstick, with the  person… Do not tell me if this

is yours or not, just hold my hand for a moment and let me feel your energy…”

The performer holds the spectator’s  hand for a moment. He then continues: “No, it is not you…”

The performer moves to the second standing spectator and repeats the same thing. Almost the instant the performer contacts the spectator’s hand he excitedly continues: “Y es! es! This is the energy. It is a match! This is yours, correct!?”

The spectator confirms this is indeed their object and the performer thanks them and has them sit down. He leads in a round of applause and returns to the stage. He washes his hands and continues: “That  very  very rarely happens. I am pleased that happened. I find this to ’  ’  good be very much a process; it becomes stronger as I go on. So it  s ’  ’  continue…” to get such a boost with something like that. Let  s

The performer reaches into the bag and removes another object; a folded $2 bill. He places this onto the handkerchief and holds his left hand above it, closes his eyes and inhales. After a moment he exhales and opens his eyes, continuing: “I  have  have a friend who has a $2 bill he carries in his wallet as a ‘good luck charm’.  I am not sure why you carry this, but if it is for good luck, I fear it will not be enough. I have something from you. I can  see that right now this is one of the most challenging periods of your life. Things have started to move in directions you have been fearing  for some time. However, However, I cannot honestly say that I am surprised. I will not go into too much detail. I will will just suggest that you take take

action now and remove the person with the initials H.K. from your life.”

The room is stunned by the sudden change of mood along with the specificity of the reading, and the performer once again washes his hands. He continues: “I   am feeling confident and warmed up. For the final object I will  not even touch it. I will simply sense what I can from it, without even removing it from the bag. Just the energy. No clues from the way the object looks, no visual distractions, just the energy energy.. One of you is still  waiting for your reading, reading, and now is your time.”

The performer places his hand above the final object inside of the  black opaque bag. He closes his eyes and inhales. After a moment he exhales and continues: “I  can   can sense you are a naturally caring person. I can sense that if I were to talk to your friends they would all consider you to be a good listener. However, I can also sense that you have problems saying no to your friends. I can see that you need to improve on this. Learn to  say no; sometimes you put others too far above yourself. You You are always there to listen to their problems but you do not have that   same support in return. return. Learn to create create more time for yourself and not to feel guilty about it.”

The performer scoops up all of the objects and places them all back into the bag. He then continues as he places the bag into the low table, which he moves to stage left at the very front of the platform: “Thank  you   you for allowing me to use your objects. Please collect what  is yours at the end of our time together this evening…but   now the moment of truth. If my impressions were correct, if what I learned 

about both you and your objects was indeed correct,  please…sit… down…”

Amazingly, all of the standing spectators sit down, indicating the  performer’s  performer’s impressions were accurate.

THE METHOD  A r adical adical new a ppr oach oach to a rarely seen classic.

THE METHOD Before we move into the details of the method and the script, I want to take a moment to draw your attention to the structure of this routine. Anyone who has performed, or even thought about  performing, psychometry will have undoubtedly faced issues with structuring the demonstration. Indeed, the traditional Annemann routine has very little variety and is structured in a totally linear fashion. The traditional routine also provides a large problem since it does not build in its impossibility; providing no real climax. It is a demonstration built upon repetition without a clearly defined conclusion. I wanted to overcome this liner structure and to introduce additional elements of variety throughout. By introducing this variety it  becomes possible to produce a building sense of impossibil impossibility, ity, leading to a clear climax. With this in mind I decided to include, once and only once, a return of an object to its owner. By including this we are given a change of  pace, a change of shape in the performance and also an element of variety. My chosen climax is connected with the method I have created, however, I think and I hope you agree, the simple idea of leaving the object inside of the bag, and not looking at it, produces a high level of impossibility while also introducing something new, providing variety which goes a long way to eliminate some of the issues of repetition with variation. I hope you will agree that these elements have allowed me to overcome the repetitive and linear nature of the traditional routine and instead to produce a routine in which variety and impossibility

are hand in hand with the primary focus of providing amazing, accurate, sensational and entertaining readings, including specific information the performer could not possibly know via any logical means.

THE TOOLBOX This routine will make use of a collection of both physical and verbal methods. In this section I will introduce each of these elements  before we later look at them in the flow of performance performance alongside the scripting that is vital to their success.

CONNECTED SENSATIONAL INFORMATION The most radical methodological addition in my psychometry routine and I believe a brand-new addition to the toolbox of “Pseudo  — and  Psychometry” methodology — is is the adaptation of the classic “Sensational  Answer” “Sensational   Answer”, most often seen in performances of the “Question and Answers” act, to the premise of psychometry. The “Sensational  Answer” “Sensational  Answer” is something I have explored in depth within my previously published effects, “Touching on  Hoy” and “Touching on  Divination”, as well as in a myriad of unpublished routines, demonstrations and effects. In a traditional Questions and Answers act, the “Sensational   Answer” is, in my opinion, a simple, brilliant and bold concept. The  performer simply offers offers an entertaining, specific and normally sensational or shocking answer to a question, but cautions the person apparently focused on the question not to identify themselves so as not to potentially embarrass themselves in front of the group. Of course, no one in the audience is focused on this question; the caution is simply a way for the performer to justify no one confirming, connecting or otherwise acknowledging his answer. The  performer is talking to no one. He is essentially reading the mind and  predicting the future of an invisible man. It is the kind of idea that only really reveals its true power in realworld performance. When you first read this, it is easy to dismiss it. However, I can attest to its power from my own performances of not only the family of “Touching on…” effects effects that I have developed, but also in my own “Questions and  Answers” act, in which I use two sensational answers. I believe this is a classic idea that is as great for modern audiences as it was for audiences of yesteryear and one that is deeply under used and under explored by most modern mentalists.

The only weakness of the “Sensational  Answer”  Answer” is that the audience member does not identify themselves or in any way connect themselves to the sensational information which is revealed by the  performer,  performer, and therefore there is no real confirmation of whether this information is accurate or inaccurate. In the performance of a traditional Questions and Answers act, this is not really a big concern; ordinarily such “Sensational  Answers”  Answers” are lightly peppered over the course of a longer series of answers, which are connected to specific audience members and often serve simply to lift the routine when the performer needs to add something a little sensational into the mix during a run of tame questions and answers. Indeed, part of its strength is in the very fact the answer itself remains unclaimed, leaving the audience wondering to whom among them the shocking information is connected. I suspect it is this perceived weakness that has caused most to only  Answer” within the context of a consider the use of a “Sensational  Answer” full-blown “Questions  and  Answers” act. However, in my effects “Touching on  Hoy” and “Touching on  Divination”, I introduced a method that allowed the performer to seemingly connect information to individuals, which in truth was not connected to any individuals in any way. These methods allowed you to not only read the mind of an invisible man, but to give this invisible man a real, living, breathing, moving body on the stage. From this method, I have developed many different uses for what I now think of as “Connected   Sensational   Information.” “Connected   Sensational  Information” requires a slightly adjusted mindset to the traditional “Sensational  Answers” “Sensational  Answers”, and while this might be obvious to most, it is worth taking a moment to point out why this is so. With a traditional “Sensational   Answer” the information offered by the performer will never be connected to any

specific spectator in any way. The audience is left with no way of knowing for whom the information was intended. This is part of its  brilliance; the audience begins wondering who among them is cheating on their partner or who is about to come out of the closet or other such sensational revelations. A good “Sensational  Answer”  Answer” is often a little bit like an episode of Jerry Springer summed up in a short, sharp and snappy verbal revelation. “Connected   Sensational  Information” requires more tact and diplomacy when it comes to content. Since you will produce the illusion of this information being connected to specific people in the audience — or or in the case of this routine, the illusion of this information being connected to one person from within a small group of those in the audience — it it is not suggested or wise to take this too far. Use your judgement to inform you as to what is too much for the room for which you are working. Think ‘semi’-sensational and not full-blown Jerry Springer sensational!

METHOD This routine relies as much on its script as its physical method to  produce a successful performance. performance. The actual physical method is very, very simple. In my opinion it is, staggeringly, more simple in  performance than even the traditional use of marked containers. However, it will require a shift in your mental state about the methods employed as well as a proper understanding of why the script is composed in the way it is and a full mastery of the delivery of the script to properly produce the desired illusion. This approach relies upon and introduces what, to my knowledge, is a brand-new addition to the toolbox of known methods of “Pseudo  Psychometry”. We will begin our exploration of the method with this new concept, which, with our previous examination of “Sensational   Answers” firmly in mind, will provide you with a solid starting point to understand the conceptual structure of my method and this new approach.

JERMAY’S  SENSATIONAL PSYCHOMETRY At this point you probably have a big question in mind. How on earth can the “Sensational  Answer”  Answer” be applied to psychometry? Since in a demonstration of psychometry the spectators offer personal objects to the performer, which the performer then uses to produce his readings, any information that is revealed when a specific object is in  play obviously belongs belongs to a specific person. person. The answer  and specifically what I believe to be one of my original  — and additions to the toolbox of psychometry methods — is is the covert introduction of objects which do not  belong to anyone in the audience! I will repeat this: The covert introduction of objects which do not   belong to anyone in the audience! audience! This is a simple but radical change in approach and one of which I am very proud. I feel it really is an elegant, bold and sophisticated concept that, despite its simplicity, will give you so much power in  performance. Like the traditional “Sensational  Answer” “Sensational  Answer”, this is a concept that is easily dismissed when first read. However, I hope in the description of the effect you have imagined it in full performance and can see the  power of this approach. I call this concept “Jermay’   s Sensational   Psychometry”, because I am terrible at thinking of cool-sounding names for the techniques I create. The big secret to “Jermay’   s Sensational  Psychometry” in short is: You will secretly introduce objects that you own into play. Since these objects do not belong to anyone in the audience, you have now created as many invisible people as objects that have been secretly

introduced. These invisible people, just as in my routines “Touching on  Hoy” and “Touching on  Divination”, will accept any information you offer since they are only a figment of your own imagination. This allows you to produce staggeringly detailed readings with information that is so specific it is mind blowing for an audience. With this simple but powerful idea you have now created a situation in which you can offer a reading which is entertaining, semisensational and high energy about anything you want! All with no cold reading, no preshow work, no difficult reading systems or memory work. We will soon explore in more depth the subtleties and the manner in which we will construct an altered reality in the minds of those watching to fully exploit and enjoy the potential provided in “Jermay’   s Sensational  Psychometry” as well as exactly how I covertly introduce my own objects into play during the course of the routine. With this understood we can now look at the method as a whole, in  broad terms, before moving into the specifics of the scripting and delivery of the physical actions.

METHOD OVERVIEW While this routine is certainly a radical departure from the Annemann Annemann approach, it does have one thing in common with it: its method is really rather simple but the impact it creates is vast. For those who have followed my work in the past you will probably have spotted, astonishingly, that this routine is yet another of my personal explorations of the “General  Card” which I first shared with the mentalism community in my effect “Touching on  Hoy”. In the years since I published “Touching on  Hoy” I have continued to develop and explore the core methodology in many different guises. Here it is applied to the effect of psychometry while combined with another very simple secret to produce a very deceptive approach. Required:

To perform this routine you will need some simple objects, the first of which is a simple two-way forcing/change bag. I personally use a  bag that I made; since no other person than you will handle the bag, this can be very simple in its construction. It is simply a bag with two compartments inside. The bag itself should be made from an opaque  black or very dark-blue material. It goes without saying that the use of a traditional ‘one-handed change  bag’ would be a mistake here! If you are unable to make such a bag yourself, and feel that it would impossible for you to learn how to, there are many marketed solutions available. Most of these marketed versions are intended to  be used as forcing bags, and therefore actually have more features than are going to be needed in the performance of this routine. I can’t stress enough how simple this bag is. There is nothing clever about it; it is simply a bag with two compartments inside. Resist the temptation to over-complicate this. There is no need. No one but you will ever handle or look inside the bag; there is no need to make it anything more. As a professional performer I strive for such

simplicity in the props I use. With this simplicity there is nothing to go wrong, malfunction, break or behave in strange ways during the  performance. These days I favour a fabric bag for this task, as it lasts a long time and looks attractive without calling undue attention to itself. However, in my early versions of this routine I did make such a bag from ‘lunch- bag’  bag’ style paper sacks. If this appeals to you, it is very simple to make a two-way bag in this style. You will also require a locket, inside of which is a picture of a woman wearing glasses and a man with a beard. I acquired the locket I use on eBay and then simply printed suitable photographs found from a quick image search on the internet and placed them inside. You will also require a $2 bill. Again, I found this on eBay. These two items will be covertly introduced within the performance for “Jermay’   s Sensational Psychometry” techniques. You can, of course, exchange the locket and the $2 bill for any other objects you wish, and indeed I encourage you to collect a series of suitable objects to interchange in repeat performances. However, for the purpose of explanation and getting the routine on its feet, I suggest you use the locket and banknote as I have described. Once you begin to get a feel for how you will perform the routine, you can seek out other suitable items that will allow for the same level of efficiency in both method and effect. The only real requirement from a methodological perspective is that these objects are not both made of metal or any material that, if they contact each other during  performance, will make noise. A metal object and a paper-based paper-based object are perfect, as they will not ‘talk’ even if they do contact one another. I will leave it up to you if you wish to make use of the additional  presentational aspects as described. All additional items such as the white folded handkerchief and bowl filled with water are optional and I cannot imagine anyone wanting to use the exact same

 presentational aspects as I have chosen as it is unlikely that they will fit others as they do me. Preparation:

To prepare for performance you will place the closed locket, with the photographs inside, into one of the compartments of the bag. You will also place into this same compartment the $2 banknote. We will call this compartment A. The other compartment in the bag is left empty and we will call this compartment B. With the bag ‘loaded’  with the objects, fold it in half and place it onto the table you will use for performance. Methodological Overview:

We will later address the scripting for the performance by  breaking it down and examining each aspect of it. However, However, first I will explain the ‘actions’ that form the core method upon which the script builds in performance. Begin by having audience members think about the objects they have with them and having those people who have an object which they have owned for more than one month, which can fit into their hand, remove the object and hide it in their fist. Next have these people stand up. Approach the first spectator and have them place their closed fist into the bag and drop their item inside. During this you are opening the  bag to compartment B, which previously was empty. empty. You now approach the second spectator and have them place their item into the bag; however, in the action of approaching them, transfer the bag from one hand to another and, in this action, open compartment A for the spectator to place their object inside. Now approach a third spectator, again transferring the bag from hand to hand, and in the

 process open compartment B for the spectator to place their item inside. Finally, approach a fourth spectator and have them place their item into compartment B of the bag. At this point in time the bag is as follows: compartment A has inside it the locket and $2 bill as well as some other object which belongs to the second spectator you approached. Compartment B contains the other three objects belonging to the other three spectators. Once the objects have been gathered inside of the bag, return to the stage with it, opening it to compartment A as you place it onto the  performance table. Reach into the bag and remove the locket. Handle Handle it fairly and openly. This object does not actually belong to any of the standing spectators. However, the audience does not know this, nor do the standing spectators. Every one of the standing spectators assumes this object belongs to one of the other people standing. Since you have cautioned the audience members to keep their objects hidden, no one should know what objects were placed into the bag other than those who placed their object inside themselves. When you have gathered all of the objects, you will caution the standing spectators not to “give  anything away”  and to “keep  a poker face”  from this  point onward. We will examine exactly how and why these instructions are given when we examine the performance script. This concept allows the performer to reveal any information they wish since it does not belong to anyone! This is essentially the core method from my effects “Touching on  Hoy” and “Touching on  Divination”; you are able to present a very detailed reading without fear of failure. Since the locket has the photographs inside, you will use this to your advantage and turn this into further astonishing revelations of intuitive information. Reveal that you ‘sense’  photos inside the locket, and continue to explain who these people are and

even give them their names. We will examine the exact language I use in my script in the next section. Place the locket onto the table. Reach into the bag and now remove whatever object is inside of compartment A which is not the $2 bill. This object was placed into this compartment of the bag by the second spectator. I now return this item to the second spectator, apparently matching the energy of the object to the energy of the spectator. We will examine the exact language I use in my script in the next section. Handing back the object sandwiched between two detailed readings is a powerful convincer that these objects are really those which were placed into the bag. It allows you to further conceal the truth of the deception and to strengthen the idea that the readings that come before and after this moment are astonishingly accurate.  Now reach into compartment A of the bag and remove the $2 bill. Give a reading that is surprising in tone and offers big sensational value. Place this item next to the locket. Continue by explaining to the audience that you are feeling “warmed up”  and will try something “special” with the last object. You will attempt to read the information without even taking the object out of the bag. We will examine my exact approach to this in the script section which follows. At this point the audience believes the bag contains one final object. In truth, it contains three objects, all of which belong to the three standing spectators. Address the audience as a whole and explain that there is one person from those standing who is still waiting for their reading, and that this is their time. At this point in time all three of the spectators believe they are the one person who is awaiting their reading, since they believe that the  previous objects removed from the bag belong to the other two

spectators standing. To conclude, give a generic but interesting reading that can apply to all three of the audience members standing. Scoop up the locket and the $2 bill and place them into compartment A. Open the bag to compartment B and fold over the top of the bag, essentially ‘locking’  the bag into this condition. Place the bag with the mouth open onto a side table. Explain to the standing audience members that they should collect whatever is theirs at the end of the  performance and finally have the standing audience members confirm your intuitive impressions by sitting down if you were accurate, in much the same manner as you would if performing either my effects “Touching Touching on Hoy” or a “Tossed -Out -Out Deck” routine. You have successfully performed a truly miraculous demonstration of psychometry. Allow the method overview to really sink into your mind. The approach is simple but bold and unusual. The real success of the performance rests in the script and delivery, which we will examine in depth shortly. However, before we do so it is vital you fully understand the mechanical actions of the routine. These actions are not in any way difficult and will cause no problems for you in  performance.

SCRIPT EXAMINATION At this point, you have pretty much all of the information you need to get out and work the routine. However, over the years I have added several small, subtle points to the scripting I use which I  believe increases the deceptiveness and also helps overcome several logistical problems with performance. In this section we will examine the script to highlight those aspects. I will simply annotate the script. I hope that by including this section, you will not have to make the same mistakes as I did in my early performances and will instead have the very best chance of putting this routine to work in your own performances with the minimum of problem solving to make it work for you. “Psychometry  is the ability to read energy and vibrations from inanimate objects. The word stems from the Greek words, ‘psyche’,  pertaining to the soul, and ‘metron’, meaning ‘a measure’, defining ‘psychometry’  as   as the ability to measure the soul of things. Just as a needle rubbed across a magnet retains some of the magnetism, objects retain the energy of their owners. My job is to read that  ’  ’  vibration and then to interpret energy by sensing an object  s interpret what I  feel to learn things about the object and its owner .”

Here at the very outset of the performance script I am attempting to clearly explain the premise of psychometry as easily as possible. It is vital the routine has some initial setup since most people in the audience will never have heard about psychometry and most of them will have no idea about such new-age concepts. Without setting up what we are about to do, the audience will simply remain confused about what is to follow. A simple, short, but clear setup is all that is needed.

“I  would   would like everyone to take a moment to think about what objects  you have with you right now. now. I would like you to think about those objects, and if you have an object that you have owned for more than one month, which can fit in your hand, hold it in your closed fist and  stand up, being careful not to allow anyone to see what this object is.  I do not have time to work with everyone this evening, however, however, I will  work with several of you to demonstrate this unusual and rarely seen intuitive skill.”

This single piece of scripting has changed in many ways over the years of performance. The goal is to get to the collection of suitable objects as quickly and easily as possible, while also trying to ensure that the objects themselves have something interesting about them. By including the request that the objects have to have been owned for more than one month, we are cutting out all of the most boring things, such as receipts, napkins and pocket change. In many  performances of traditional psychomet psychometry, ry, a large problem with a modern audience is that most people seem to carry exactly the same objects around with them. Very few audience members seem to have interesting and unusual items. Thanks to the method at work within my routine this is not an issue since only one borrowed object will ever actually be seen. This simple scripting will ensure you will receive suitable objects and the method at work will prevent you ever having to deal with four of the same objects in a row. “Please  place your closed fist into the bag and drop your item, whatever it might be, inside without letting anyone see what it is.”

I use this language here to ensure that the room is clear on the simple fact that I am not looking at the objects when they are collected. While in my routine I only return one of the objects, it is still important for the impact of this moment to underline the simple fact that I could not know to whom each object belongs. This simple language will also prevent anyone from being able to look around the

room, and seeing which objects the spectators are offering, making it impossible for them to later realise that the objects being used to  produce readings readings are not actually actually borrowed objects. “When  I was thirteen years old, I was standing and talking with a  girl I did not know well called Emily. Emily. As we chatted she removed removed her watch, to set it to the correct time, and accidentally dropped it. I reached down and picked her watch up. The moment I came into contact with her watch a horrible image filled my mind. I saw vividly a woman with blonde hair lying on a carpet stained with blood. It   shocked me in its instant and frightening vividness. I handed the watch back to Emily, who, sensing something was wrong, asked if I was ok. I explained what I had seen. She immediately walked away. I did not talk to Emily ever again. Any time we would be in the same room, she would leave. Several months later I discovered that the watch Emily was wearing had not always been hers. It once belonged to her sister. Her sister, who had blonde hair, had died when she fell down the stairs and hit her head on the floor. She had been discovered later…on  the blood-stained carpet. It was the first  experience I had with psychometry — a sharp and unwanted awakening to an unusual skill. In the years that followed I would have other experiences, usually when holding old objects with lots of  history. At this time I had never heard the word psychometry and I  probably would have laughed off any such idea. However, However, as these experiences grew more constant and more vivid I could no longer ignore them. I spoke with a friend who knew about all kinds of newage things and he told me about psychometry psychometry.. For months afterwards afterwards  I would visit antique shops and practice with objects full of stories.  Now,  Now, years later I can most times get at least something from almost  any object. Sometimes I get more information than other times. Sometimes it comes quickly and vividly and sometimes slowly and  faintly,  faintly, but I almost always get something. I do not know, know, nor can I  promise,  promise, what will happen tonight, but I hope to learn some interesting things about those people who have been kind enough to

lend me their possessions for our demonstration. If you did lend me one of your possessions, from this point onward, do not give anything away; keep a poker face until I ask you to do otherwise. I want this  process  process to be free free from any outside influence. Please do not try to help me; often in doing so, it makes it much more difficult. Just listen carefully carefully to the things that come to me.”

This part of the script is important for a few reasons. The first is that the story serves as an interesting gateway into another world beyond the actual demonstration itself. The story will form something of a small narrative during the performance and will give the effect a little bit of a personal connection to the performer and produce a small emotional reaction and connection for the audience outside of the effect itself. In the final part of this scripting I am preparing the audience to listen to the readings, and also managing the expectations of these readings. This will help with the method since the final ‘universal’  reading is not as specific or shocking as the others. Manage expectations early and this will massively improve the response to the universal reading. “It  is  is important that first you remove any energy you have picked up  from handling other objects objects during the day.”

This is nothing more than presentation. However, However, I do believe that by creating a visual ritual associated with the readings, the audience,  providing the performer sticks to the ritual with conviction, is given something not only visual but also intellectual. By including this ritualistic behaviour it actually increases the feeling of authenticity for the audience. “This  is a great object to get started with. A very nice old silver locket. It has lots of energy but lots of mixtures of energy. This is an object that has been owned by many people, however, each of these  people have a common connection. I sense that this object has been

 passed down from one generation to the next within your family. family. I can sense there is something inside this object. I can sense  photographs. A woman with glasses and a man with a beard. beard. Your Your  grandparents.  grandparents. It was your grandmother that gave this object to  you…”

Here I am simply revealing information about the locket itself. I have chosen to do this on the first reading/object since I believe this is what most audience members would imagine the skill of  psychometry to look like. Indeed, in ‘tests’  of psychometry this is often exactly what happens. An old object with history is given to be read, and then the accuracy of that history is checked against the impression of the reader. We will now begin to move from the factual to the personal, but first we will get a simple but powerful moment of  proof. “Is it ok for me to look inside?…”

The performer pauses and continues: “I  can  can see you nodding. Thank you.”

This is a moment that has fooled many, many, well-versed mentalists. It is bold but simple. I simply talk to no one in particular as I look into the audience. I pretend to see someone nodding and thank this invisible person. I know this reads as something that will not work, however, in performance this is something so subtle but so  bold that it becomes becomes devastatingly effecti effective. ve. “I  can   can sense that inside of this locket are two photographs: one of a woman with glasses and one of a man with a beard. Can you open the locket and tell everyone what is inside?”

This is an especially satisfying moment within the routine. The reaction to this is very strong, and the reaction will only increase as

you will begin to reveal more information, transitioning from information about the object to personal information about the object’s connection to the audience member. Part of the satisfaction comes from the efficiency of the method. Using the “Jermay Sensation  Psychometry” technique, you really have no work to do here aside from delivering the information in a way that is compelling and theatrical. Savour the reaction you will receive. You have kicked off the routine with a stunning display that completely fulfils the initial claim. Your audience will simply be stunned at this  point. “Your grandmother, grandmother, named either Janie or Janet, gave you this locket and right now her advice would be well remembered remembered.. I can see that you are going through major life changes in your professional  life at the moment. She used to say to you, ‘One  step at a time.’  I think right now this is exactly what you need to hear. One step at a time… I wish you the best with your promotion.”  promotion.”

The important aspect of the scripting above is in its transition from information about the object to information about the object’s connection to the audience member, and then finally a piece of information which is connected to the spectator’s life but seemingly has no real connection to the object itself. In many ways this simple structure provides multiple moments of amazement and will leave the audience dumbfounded. With this strong moment in the air I return to the narrative string which was set up early in the routine: “To “To this day I do not know if Emily thought I was playing some kind of horrible prank on her. I don’ t know if she even remembers it, but  the experience weighs heavy on my mind. For a while I tried to only tell people the good things that came to me…that  didn  didn’ t work. Then I tried to only tell them the bad things. That didn ’ t work. Now I just   say exactly what I feel. One day maybe Emily will be in one of my

audiences and she might finally understand what happened on that  ’  ’  continue…” day. Let  s

This narrative serves as something on which to hang the routine aside from itself. It also produces an interesting moment within the ritual of washing the hands which has now been established. By combining the ritual with the narrative we are always moving the routine forward and avoiding any moments of direct repetition. Now we will introduce another aspect of variety: “This is fantastic. I must admit I am surprised. When I get something like this, normally I do not get anything particularly strong as the object itself doesn’ t have all that much history. However, the energy here comes from someone who is naturally intuitive. They have a  strong  strong unique energ energy. y. So strong strong I can try something I have only ever done two times before…”

It is important that the performer communicates genuine excitement at the apparent unusualness of the energy being strong enough for him to attempt what will follow. Part of making the return of the object a powerful moment within the routine is in the performer treating it as if it is something very special and rare. By doing this, the impact is increased and a moment that normally would not hit hard will do exactly that. Treat this as a special moment in the delivery of the script and the audience will respond to it as such. However, do not rush to return the object to the audience member. For modern audiences this moment needs some more clarification to connect with the premise. To do this, spend some time examining the energy of the standing spectators. My internal script during this moment is that I am looking to match the energy of the object to the energy of the spectator. I hold their hands and in my head I attempt some difficult mathematics! By doing this, the audience sees that I am ‘working something out’ and I do not need to act. It is a simple

trick but one that really helps communicate your apparent ‘matching’ of the energy to the object without the need for acting. “Please  hold my hand for a moment. I need to match the energy I  feel right here here in the lipstick, with the  person… Do not tell me if this is yours or not, just hold my hand for a moment and let me feel your energy…”

The performer holds the spectator’s  hand for a moment. He then continues: “No, it is not you…”

The performer moves to the second standing spectator and repeats the same thing. Almost the instant the performer contacts the spectator’s hand he excitedly continues: “Y es! es! This is the energy. It is a match! This is yours, correct!?”

Thanks to the manner in which the routine has been structured, we get to communicate the concept of ‘matching energy’ but do not have to do this over and over again. One of the great features of this routine is the fact that we have the luxury of making it play out in the exact manner we wish. By placing the ‘matching energy’  in the second position, you have once again overcome any issues with repetition and lagging pace. By returning the object, you only strengthen the bold deception of covertly introducing your own objects into play. This is a great logical disconnect and one that really helps create a bold and sophisticated deception. After returning the object, return to the stage and again wash your hands as the ritual has established and continue: “That  very  very rarely happens. I am pleased that happened. I find this to ’  ’  good be very much a process; it becomes stronger as I go on. So it  s ’  ’  continue…” to get such a boost with something like that. Let  s

Again, here express to the audience that what just happened is both rare and special. If you treat the return of the object as such, it will be  better responded to by the audience. Now reach into the bag and remove the $2 bill and continue: “I  have  have a friend who has a $2 bill he carries in his wallet as a ‘good luck charm’.  I am not sure why you carry this, but if it is for good luck, I fear it will not be enough. I have something from you. I can  see that right now this is one of the most challenging periods of your life. Things have started to move in directions you have been fearing  for some time. However, However, I cannot honestly say that I am surprised. I will not go into too much detail. I will just suggest that you take action now and remove the person with the initials H.K. from your life.”

The room is stunned by the sudden change of mood along with the specificity of the reading. Apply your own judgement here as the ‘semi’-sensational information should be based on the room in which you find yourself working. It is important, however, to pick content that is in some way shocking and different from the first reading. Since this is not connected to any one person, everyone standing will imagine that it is intended for someone else; similarly, those people who are with them in the audience will not think it is aimed at them. This is a subtle but important aspect of the “Jermay  Sensational   Psychometry” technique. Once you have delivered some ‘semi’sensational reading you will continue by setting up the concluding reading. By setting it up in advance, you will take what might be a weak moment in the routine and transform it into what I believe is a logical and increasingly amazing climax. “I   am feeling confident and warmed up. For the final object I will  not even touch it. I will simply sense what I can from it, without even removing it from the bag. Just the energy. No clues from the way the

object looks, no visual distractions, just the energy energy.. One of you is still  waiting for your reading, reading, and now is your time.”

To the audience this is a logical next step in the process. It seems more impossible and, thanks to the script you have used to set this up, they understand this is a challenge and something that is more difficult for you than the previous readings. In truth this is the way in which we will produce a universal reading, since everyone standing  believes their object, and only their object, is inside the bag and therefore this is their reading. “I  can   can sense you are a naturally caring person. I can sense that if I were to talk to your friends they would all consider you to be a good listener. However, I can also sense that you have problems saying no to your friends. I can see that you need to improve on this. Learn to  say no; sometimes you put others too far above yourself. You You are always there to listen to their problems but you do not have that   same support in return. return. Learn to create create more time for yourself and not to feel guilty about it.”

At this point you will need to produce a reading that will work for all three of the audience members that are standing. The reading above has served me very well for this. I have yet to meet a person who would disagree with these statements about themselves. Never forget the power of flattery! Regardless of whether this is true, people like to believe this about themselves. By sticking to this type of content, you can produce suitable universal readings aside from this one.  Notice that this reading is shorter and not as detailed; this is partly due to the fact that the method demands such, but this is justified in the performance by setting up this final object as being “a challenge” that is “more difficult” than simply looking at, or holding, the object.  person’s  thinking This climax also serves to destroy any skeptical  person’s about getting clues from the objects themselves.

Finally, scoop up all of the objects and place them all back into the  bag. Place the bag onto the low table, and place it to the front of the stage to the left. “Thank  you   you for allowing me to use your objects. Please collect what  is yours at the end of our time together this evening…but   now the moment of truth. If my impressions were correct, if what I learned about both you and your objects was indeed correct,  please…sit… down…”

All the spectators will sit, due to the universal reading that has been offered. If you wish, rather than leaving the objects for collection at the end of the routine, you can walk around the room with the objects in the bag and have audience members remove their object from the  bag. I personally favour the manner in which I have explained in the script and have never had any issues with it. I prefer this option since it does not slow down the pace of the routines that will follow. If you happen to work with an assistant it would be great to have them walk to the spectators to return the objects from within the bag as you continue the show.

CREDITS I st and and aloft on the shoulde rs of giants.

CREDITS While this routine has been influenced by the giants that have come  before; it stands alone in terms of its core methodology introducing a new and exciting technique to the premise. This new technique is  based upon my original work “Touching On Hoy” and “Touching  On  On  Divination” which I was able to adapt and modify to produce a demonstration of psychometry. With this said, the principle which underlies “ Jermay s ’  Sensational  Psychometry” does have strong links to the classic card effect “The General Card.” While there are several early versions of “The  General Card” they all stuck to a similar idea: a single card was forced on four or five  people. Later, Later, this card and several others were shown to each spectator in turn, and each verified that his card was among the group. Then the force card was removed from the fan and shown  privately to each spectator spectator.. The card was snapped before it was shown to the next person, giving the audience the impression that the card was being magically changed into each person's selection. A version of this trick appeared in an unpublished manuscript known as Sloane 424, c. 1600s, p. 159 of the Pieper translation. The translation was printed in Gibecière, Vol. 5 No. 2, Summer 2010, pg. 141-172. The earliest version to hit the published page appears to be in EdmeGilles Guyot’s  Nouvelles récréations physiques et mathématiques, 1769, p. 4 of the Hugard translation. Another trick was briefly described between the end of the 17th century and first quarter of the 18th, in Nuova maniera d'imparare molte forti di giochi by un Giouine virtuoso (a virtuous Boy),  published in Italy and discovered by Gianni Pasqua. A one-way forcing deck, with five indifferent cards was used to force the same card on six spectators, who are asked not to show their card to others

around them. The five indifferent cards and one force card are taken from the pack, named and displayed, to conclude the effect. RECOMMENDED READING

 Richard  Richard Webs Webste ter, r, Psychometry A-Z 

Webster offers a fine approach and system for producing  psychometric readings. This is suggested reading as it will allow allow you to develop an ability to offer generic psychometric readings easily and quickly. This skill can be used within “Vibrations” but also as a stand alone demonstration should someone ask you to give them a reading after they have seen you perform “Vibrations” in a formal show.  John Riggs, Psychic Pselections

John Riggs shares a fantastic set of theories and presentational concepts for the performance of psychometry for modern audiences. I highly recommend recommend reading this insightful information information to better better equip yourself for performance. Ted Ted Andrews, Andrews, How To Develop and Use Psychometry Psycho metry

A release aimed at the general public; this book will help you understand the sincere practice of psychometry and will arm you with much information about the topic.

FINAL FI NAL WORD WORD Now with a heavy heart, heart, it is time for us to part.

FINAL FINAL WORD WORD I hope you enjoy this routine as much as I do. I believe “Jermay’   s Sensational  Psychometry” is a new approach and addition to the methods of “Pseudo  Psychometry” that will allow you a new level of creative freedom in your performances. I am very proud of this routine and I present it here with the great hope that you will bring it to life in your own performances, generating the fantastic reactions it has produced in my performances for my audiences.

CONTACT inf [email protected] @lukejermay w .jermay.com .jermay.com

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