Myke Phillips - Olivia.pdf

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Olivia MODERN MENTALISM BY BY

MYKE PHILLIPS

Edited By Preston Heller Ian(RA Ian(RASP) SP) Cheeth Che etham am Jon Randall Mike Vance Publis Pu blishe hed d By Haresign Press: Press: [email protected] Copyright © 2014 by Myke Phillips A11 rights reserved. This book or any por p ortion tion ther th ereo eoff may not be Reproduced or used in any manner whatsoever without the express written »‘rmiss »‘rmission ion of ihe publisher pub lisher except except for the use of o f brief quotations in a book revie review. w. Printed and bound in England 3 lly Haresign Press 2014















































































































































































Trusted by over 1 million members


OLIVIA By Myk ykee Phi Philllips

CONTENTS ‘Nothin No thing g is is imposs impossibl ible, e, the word wo rd its it se lf say says, s, ‘I ’m poss possib ible le.. ”

Audrey Audrey Hep burn FORE FO REW W ORD OR D (BY (BY PAUL ROFFMAN) ROFFMAN)

14

INTRO INT ROIJU IJUCT CTION ION (BY MYKE PH PHILL ILLIP IPS) S)

20

M -TES -T EST T (Effe (Effect) ct) This is a very easy and practical routine to perform onstage and is great for anyone wanting to add a standalone piece or an extra 15-minute mind-reading performance to their act.

24

WHY DO I HAVE TO WRITE WR ITE IT DOWN? (Thoughts) (Thoughts) Thoughts on having things written down.

34

A BOLD BILLE BIL LET T ROUTINE ROUT INE (Eff (Effec ect) t) A billet routine with a bold revelation tha t you can utilise utilise in your yo ur existing existing peek routines.

38

MIND MIND READING EXPERIENCE EXPE RIENCES S A day in the field.

60

A TWO-P TW O-PERS ERSON ON BILLE BIL LET T ROUTINE (Eff (Effec ect) t) A two-person billet routine with a bold revelation that you can utilise in your existing existing peek routines. ro utines.

64

RUBIK’S RUBIK’S STOOG STO OGE E Always be ready to create a miracle.

80

FBIXATI FBI XATION ON (Effect) ficmove a fear or phobia

81

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OLIVIABy Myk Mykee Phi Philllips JUST JU ST ME Getting to know me.

94

NAME NAME IN REVE RE VERSE RSE (Eff (Effec ect) t) A method me thod to show a hot billet blank on both b oth sides with a cheeky twist at the end.

96

DEAD O R ALIVE AL IVE (Effe (Effect) ct) A routine guaranteed to get you a call the next day.

106

IN AND OUT O F PHASES PHA SES Getting to know me.

114

( )UT O F TOUC TOU C H (Effe (Effect) ct) A dual-reality “out of this world” effect with no moves.

118

COIN LACE LA CED D (Effec (Effect) t) A dramatic dramatic coin-bend routine. routine.

126 126

!)i)9 !)i )93 3 (Effect) (Effect) \ practic practical al way way to have have a participant particip ant unlock your iPhone.

136 136

¡SWIT ¡SW ITCH CH (Effect (Effect)) \ very very simple way way to switch a list in or o r out ou t using your iPhone. iPhon e.

144 144

MINI) MINI) BEADING EXPER EX PERIEN IENCE CES S i day in the field.

150

BEG ALL (Effect) (Effect) 160 160 llcvcal any word deleted from a participant’s iPhone or reveal the e\acl details of a photo from a their phone that you couldn’t have possibly possibly seen before. 6





















































































OLIVIAByMyk ykeePhi Philllips TIME TIM E ¡SHIF ¡SH IFTE TED D (Eff (Effec ect) t) A PK-style PK-style effect using usi ng a Phone. P hone.

162

iMAGE (Effect) iMAGE 168 168 Predict a photo ph oto chosen by a participant and a nd prove prove it by showing showing that photo on your phone in any date you like. iCAN iCAN REMOTE REM OTE VIEW VI EW (Eff (Effec ect) t) A dual-reality dual-re ality remote-viewing effect effect..

176.

¡BIRTHDA ¡BI RTHDAY Y (Effect) (Effect) A practical practical method for a direct dire ct revelation of a participant’ partic ipant’ss Birthday/Star Sign.

188 188

TO PROVE OR NOT TO PROVE (Concept) (Concept) My thoughts though ts on what lengths any serious serious performe perf ormerr should go to create a deceptive show.

196

MAKING MAKIN G A STATEME STA TEMENT NT (A cold-re cold -readi ading ng system system)) 200 200 The simplest simplest cold-reading c old-reading system system to memorise or o r create your own own cold readings. PRE-S PR E-SHO HOW W DRAMA DRAMA (Thoughts on pre-show) My thoughts on pre-show.

208 208

STORY STOR Y T ELL EL L E R (Effe (Effect ct)) 212 A routine with a practical practical pre-show method m ethod to read a participant’ partic ipant’ss mind. ps,ACAAN ps,ACAAN (Effe (Effect ct))

218 218































































































OLIVIAByMyk MykeePhi Philllips ¡MEMORI ¡MEM ORIES ES (Effec (Effect) t) A beautiful effect effect with a very very clever clever handlin han dling g of o f an old princi pri nciple ple..

226 226

DO UBLE DOUB LE PSYCHE PSYC HE (Effe (Effect ct)) A revelation revelation of two two thoug tho ughtht-of of cards. cards.

242 242

MIND MIND READING EXPERI EXP ERIENC ENCES ES A day in the field.

252 252

THE RIFFL RI FFLE E SHE FFLE FF LE CODE (Prin (Princi cipl ple) e) Covertly Covertly signal signal any card to your yo ur accomplice accom plice by b y simply simply shuffling.

256

PO ST-IT POSTIT DUPE DUP E Effect Me Metho thod d (ireate an impression device with a single Post-it note.

260 260

NO DESI D ESIRE RE (letting to know me.

268 268

I IIE

SEARCHLIGH SEARC HLIGHT T PRINCIPLE PRIN CIPLE (Princi (Principle ple)) \ principle principle to reve reveal al the exac exactt letter of o f which your parti pa rticip cipan antt is thinking thin king..

280 280

SEARCH SEA RCHLIG LIGHT HT BOOK TEST TE ST (Eff (Effec ect) t) My approa app roach ch to a book test tes t that th at uses any book and a nd is very hold.

282 282

NIK

FING FINGER/

(Principle)

288































































































OLIVIAByMyk MykeePhi Philllips MVKE’S MVKE’S LOCA LO CATO TOR R CARD (Effect) (Effect) A utility gimmick gimmick that tha t allows allows you to locate any peeked-at peeked -at card with almost no sleight of hand. Can be used for a book book test, too.

290

MIND READ! NG EXPER EX PERIEN IENCES CES A day in the th e field. field.

302 302

88 MP MPH H (Effect) (Effect) From Fro m a shuffle shuffled d pack you are able able to find the three thr ee mates of a card selected selected sight unseen.

306 306

DO N'T RE AN ARSE DON'T A word to “The Magician.” Magician.”

318 318

PSYCH PSY CHOL OLOGI OGICA CAL L SNAP (Eff (Effec ect) t) A game game of Snap with w ith your mind.

320 320

MIND MIND READING EXPER EX PERIEN IENCES CES A day in the field.

332

NERVOUS ABOUT PERFORM PER FORMING ING A chapter on how to deal with nerves about the prospect of performing.

336 336

PASS-CA PASS -CARD RD (Effe (Effect) ct) Four cards create a 1 in 10,000 code that creates another 1 in 10,000 code that genuinely unlocks your iPhone.

346 346

THOU TH OUGH GH I -OF -O F CARD (Effect) (Effect)

360 360































































































OLIVIABy Myk ykee Phil hillips GOOD HITS HIT S A day in the field.

366 366

PSYCH()L PSYCH()L()G ()GICA ICAL L IMPOSSIBLE IMPOSSIB LE CARD CARD LOCATION (Effect/Method) A very bold but deceptive method to locate any card freely chosen whilst your you r back is turned. turned .

370 370

ADVICE FROM OTHER OTH ER PERFORMER PERFO RMERS S A little rant.

386 386

A C()1 N BEND (Effect) A practical coin-bend routine.

388

KUROTS-MYKE KUROT S-MYKE (Effec (Effect) t) \ complete 20-minute act act..

392

BEING BEING CHEEKY CHE EKY Revers Reversing ing the effect effect on the t he performer.

400

STOP STO P WATCHING ME \ day in the field.

404 404

MV KE PH PHIL IL LI PS STRE ST REET ET SH SHO O W SCRI SC RIPT PT If von want to perform mentalism in the streets, here h ere is my script. Take what you like.

408

\ N< >TE FROM FROM AD ADY Y LLO LL OYD \ friend.

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OLIVIABy Myk Mykee Phil Phillips A NOTE NOTE FROM SALAH AAZEDINE AAZEDINE A friend. OLIVIA (A bedtime story)































































































































































































OLIVIAByMyk MykeePhi Philllips

FO F O R E W O R D By Paul Roffman “You cou co u ldn't ldn 't erase erase the past. pa st. You cou c ouldn ldn't 't even even change it. B u t somet sometime imess life life o ffered ffere d you yo u the the opp o pportunity ortunity to to p u t it righ rightt. ” Ann Brashares































































































OLIVIAByMyk ykeePhi Philllips

FO F O R E W O R D By Pa ul Roffman “You cou couldn ldn't 't erase the past. pa st. You cou c ouldn ldn't 't even even change it. it. Bu B u t sometime sometimess life life offered you the opportunit opportunityy to p u t it righ right. t. ” Ann Brashares

The first time I met Myke was early on in my magical journey. We were at the Lond Lo ndon on socie society ty of magicia magicians ns and he was was there ther e with































































































OLIVIA LIVIABy Myk ykee Phi Philllips The development to reach the arena that is mentalism came through learning the magic fundamentals. We were part of the next generation genera tion to see magi magicc as a feas feasible ible career and entertainm ente rtainment, ent, not something some thing that th at was was stil stilll from a generation of o f working men’ men ’s clubs or or old-fashioned old-f ashioned,, top t op hat, stage stage illusionists. New Acts like David David Blaine Blaine and Penn P enn and Teller started the ball ball rolling rolling again again and then the onslaught onslaug ht of Derren Brown Brown which was was to to influence anyone who had h ad an intere in terest st in taking magi magicc furth fu rther er into this seemingly seemingly psycho psychologi logical cal world of o f mentalism. mentalism. Of course, course, all all of these performers used classi classicc material, material, but bu t managed to instil an interest inter est to look further. Also Also one thing we both understood was that, especially with Penn and Teller and Derren Brown, the theatre was the important part. I come from a background as a performer. I have been an actor as long as I can rememb rem ember er and spent spen t three thre e years years at Mount Mountvie view w Theatre School in London. Lon don. Through Thro ugh acting I rediscovered magi magicc and its potenti pot ential. al. I, unlik u nlikee many m any ment m entalist alists, s, am no n o t caught cau ght up in the semantics as to whether it is magic, mind magic, mind reading, or mentalism. mentalism. F or me they th ey are all face facets ts of o f the same same being, just flavoured flavoured differently. Myke also knew that th at a fundam fun damental ental underst und erstand anding ing of o f the elements of o f magic magic would giv give one the th e core strength and abili ability ty to to perform anything necessary to to facilita facilitate te the overall effect, be it close-up or on stage. From a commercial standpoi stand point nt magic magic performers performe rs need ne ed to be versatile versatile creatures as they































































































OLIVIABy Myk Mykee Phil hillips As in a booked booked half-h h alf-hour our show needing needin g to be cut c ut to fiftee fifteen n minutes becaus bec ausee the th e event eve nt has h as run ru n over or o r the th e guests are too drunk dru nk,, etc., sometimes one realises that one has to change an effect on the fly, as the audience is completely completely wrong for what you are doing. doing. Good examples examples are book tests, or more convoluted feats of mind min d reading for crowds with very short attention spans, or the chance that an effect effect with a long narrative wil willl be interrup inte rrupted, ted, destroying the rhythm. Now rhythm rhyth m segues nicely to a time Myke yke and an d I were in Marbella, Spain, planning plann ing on performing cups and balls balls in the street. street. We rehears reh earsed ed endlessly endlessly at a t my Da Dad’ d’ss house and fina finall lly y took it out ou t for a road test. (I think we also performed the cut and restored rope. It was exhilarating to perform something new and actually make money from it.) Now, Now, what wh at has ha s this t his to do with w ith mentalism? mentalism ? Everything! These Th ese effects effects are both visual and theatrical. They rely on strong structure and a good narrative arc. This sort of fundamental was perfect to add to the arsenal as a performer. What really informs and helps you develop as a mentalist is the ability to draw on many different arts and to take take parts of their th eir colours into your act. act. Myke’s true calling has been developing stage pieces and creating icall effe s with a hin ica h intt of the f the mind. m ind. The

































































































OLIVIA LIVIABy Myk Mykee Phi Philllips All those other experiences are what gives him a worldliness. He has alw always ays pushed pus hed forward forward in areas that th at have challenged him the most. From giggin gigging g for private private parties and corporate c orporate events events to being a street stree t performer, perform er, Myke has pushed pu shed himself himse lf forwar forward. d. I had h ad the pleasure of helping he lping film film some some videos videos for his hugely successful release, iUnlockYourMind. This mentalism App on the iPhone is something most mo st working working magici magicians ans and mentalists have in their the ir repertoire. repertoire. Myke is is a great grea t example example of o f self-education self-educ ation and determin deter mination ation in life. life. If you work work hard and focus focus on something with true passion and commitment, anything is possible. This collection of works is a typical Myke production. It has been held up u p many times times,, not n ot because he hasn ha sn’’t been bee n working working on it, it, bu t becaus bec ausee every time he finishes it, a new ne w idea id ea pops pop s into int o his head he ad and an d he feels feels the need nee d to add it into this tome. Or, for example, example, if the































































































OLIVIABy Myk ykee Phi Philllips































































































OLIVIAByMyk ykeePhi Philllips

INT IN TR O D UCTION TION “M y m ind in d is is a botto bottoml mles esss w ell o f creative ideas. ”































































































OLIVIA LIVIABy Myk ykee Phil hillips

IN T R O D U C T I O N My M *‘ y mind is a bot botto toml mles esss well well o f creative ideas. ” Hello. My name is Myke Phillips and Pm a Mind Reader/ Psychological Illusionist from London. I have been studying this splendid art and performing it in London Lo ndon for about abo ut 10 years years.. But I wasn’t always a Mind Reader, and that is why, in this volume, some of the effec effects ts that tha t appea ap pearr are from a mental magi magicc angle, angle, with these thes e coming from my earlier days as a “Magician”. In this book you will find effects and subtleties I have used and wanted to share with you for a long time. time. I have have also also peppered pepp ered the book boo k with shor sh ortt storie s toriess between betw een the th e effects so you can get to know me both as a performer and genuine human being. I also placed an inspirational quote at the the start of each effec effect, t, experience, experience, or anecdote. I also placed an affirma affirmation tion at the th e end e nd of each section section.. Whether you choose to read these, and take in their meaning, is entirely up to you. I have found them helpful and inspiring and































































































OLIVI LIVIAByMyk ykeePhi Philllips Eventually Eventually I created some effects effects for performers to use to fool fool other oth er perfor pe rforme mers, rs, especially whe w hen n the t hey y would have thes th esee meetings. meetings . I ’ve included three thre e of these card effects effects in this book for you to use if you wish wi sh,, b ut most m ost of the book is is centred around aroun d my true passi passion on:: perfo pe rform rming ing for lay audie au dience nces. s. So, in this book you you have those three thre e card effects effects that tha t have and will will fool some of the top performers in London or wherever you perform perf orm.. Ther Th eree is an a n iPh i Phon onee effect th t h a t’s t’s as daring dar ing as dari d aring ng ca can n be, be , and th t h en there the re is something som ething I call call “The “The Sea Searchlight rchlight Principle” Prin ciple”.. This piece piec e o f menta me ntalism lism is the real stuf st ufff and an d is a tease tea serr for fo r what wh at is to come. In addition, you will find some very bold mentalism effects, which I predic p redictt you wil willl become quite fond of performing. performing. And last, but bu t far from from least, least, I would like to thank th ank each and every every one of you, from the bottom of my heart, for purchasin purc hasing g my first real real book for the t he Magic/Mentalism Magic/Mentalism commu co mmunity. nity. I sincerely sincere ly hop h opee you enjoy the book as much as I have writing it.

































































































OLIVI LIVIABy ByMyk MykeePhi Philllips
































































































M-- T E S T M “Success is abo ab o ut crea cr eatin ting g ben b enef efit it fo f o r a ll an a n d enjoyi enjoying ng the the proc rocess ess. I f yo y o u foc fo c u s on this dc a d o p t this definition, d efinition, succ succes esss is yours. ”

Kelly Kim
































































































M-- T E S T M “Success is abou aboutt creatin creating g benefi benefit fo t fo r all and an d enjoyi enjoying ng the proces ocess. s. I f you focus on on thi thiss & adopt this his defi defini niti tion, on, su success is your yours. s. ” Kelly Kim

EF E F F E C T You invite invite three participants participan ts up on stage stage and give ive them each a piece piece of paper pap er on which to write a name, an object or o r draw a picture. You then reveal all three thoughts, ending with a drawing duplication. This is a very easy and practical routine to perform onstage and is great for anyone anyone wanting to add an extra 15-minute mind-reading mind-read ing































































































OLIVIA LIVIABy Myk Mykee Phi Philllips As you you can see the th e re is a list of six six choices choices on each piece of pape pa perr and each list of six choices can be known via a very simple divide and then th en a two-step progressive progressive anagram anagram.. Belo Below w are are photos o f the three thre e pieces pieces of paper pap er that tha t are given given to the partic pa rticipa ipants nts on stage. sta ge.































































































OLIVIABy Myk Mykee Phil hillips The script is designed to create a dual understanding. The particip pa rticipants ants onstage onsta ge unde un ders rstan tand d that th at they are to write in the box one on e of the pre-written p re-written choices and the th e audience believ believes es they they can can think of anything anythin g they like like.. The best bes t way way to under un derstan stand d these realities realities is to first first imagine imagine you are in the audience listening to the above above script. script. After you have have done don e that, imagine imagine you are onstage as one of o f the participants, and after you have listened to the above script, read one of the pre-written pieces o f paper. pap er. In the script I mention the name TOM and the country SPAIN. Tom is not no t one of o f the choices b ut Spain is, is, and I say say these for a

































































































OLIVIA LIVIABy Myk ykee Phi Philllips The choices are now jus ju s t a simple two-step progressive progressive anagram away. PROG PR OGRE RESSIV SSIVE E ANAG AN AGRA RAM M FOR OBJECT OBJEC T OR PLAC PL ACE E RE R E V E L A T ION IO N

OBJECTS IF NO (E) (E) VIOLIN

PLACES IF NO (E) (E) = SPAIN SPAIN































































































OLIVIAByMyk MykeePhi Philllips The Th e first first question qu estion is: is: “This is not something you yo u would wou ld usually hold in your hand hand,, is it?”This it?”This is asked in a mann ma nner er that tha t allo allows ws you to turn tu rn it into a question o r a statement depen ding on the reply reply.. If the answer answer is YES, YES, the t hen n you reply, “I “I thoug tho ught ht so,” thus thu s knowing it’s it’s either eith er the bottle bo ttle or the t he flower. flower. If the th e answer ans wer is NO, NO, the th e n you y ou reply, “I thou th ough ghtt n ot,” ot ,” and move move on to your next question. The second question is: “Is this something something you yo u can ride r ide?” ?”If If the answer






























































































































































































OLIVIA ByMyk ykee Phi Philllips































































































OLIVIABy Myk ykee Phi Philllips Give ive them each the th e pre-written pr e-written pieces pieces of o f paper pap er to wrilr down down one of of the listed of words. words. When they are done, instruct them to fold up the paper and lo hold on to it. You reveal, through the progressive anagram that the first parti pa rticip cipan antt is think th inking ing of a “recent “rece nt trip tr ip”” to FRANCE. FRANCE.

































































































OLIVIAByMyk MykeePhi Philllips • You need nee d to take take back the piece of pape pa perr from the last participant partic ipant in orde o rderr to clean everything up. It I t is is done at an awkwar awkward d point poin t in































































































OLIVIAByMyk ykee Phil hillips

W H Y D O I HA VE
































































































W H Y D O I H A V E T O W R IT IT E I T D O W N? N? “You miss 100perc pe rcen entt o f the shots you yo u never take. ”































































































OLIVIABy Myk ykee Phil hillips W o u ld you y ou care if i f they th ey asked aske d you th at question qu estion??

































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































OLIVIA By Myk ykee Phi Philllips

CONTENTS ‘Nothin No thing g is is imposs impossibl ible, e, the word wo rd its it se lf say says, s, ‘I ’m poss possib ible le.. ”

Audrey Audrey Hep burn FORE FO REW W ORD OR D (BY (BY PAUL ROFFMAN) ROFFMAN)

14

INTRO INT ROIJU IJUCT CTION ION (BY MYKE PH PHILL ILLIP IPS) S)

20

M -TES -T EST T (Effe (Effect) ct) This is a very easy and practical routine to perform onstage and is great for anyone wanting to add a standalone piece or an extra 15-minute mind-reading performance to their act.

24

WHY DO I HAVE TO WRITE WR ITE IT DOWN? (Thoughts) (Thoughts) Thoughts on having things written down.

34

A BOLD BILLE BIL LET T ROUTINE ROUT INE (Eff (Effec ect) t) A billet routine with a bold revelation tha t you can utilise utilise in your yo ur existing existing peek routines.

38

MIND MIND READING EXPERIENCE EXPE RIENCES S A day in the field.

60

A TWO-P TW O-PERS ERSON ON BILLE BIL LET T ROUTINE (Eff (Effec ect) t) A two-person billet routine with a bold revelation that you can utilise in your existing existing peek routines. ro utines.

64

RUBIK’S RUBIK’S STOOG STO OGE E Always be ready to create a miracle.

80

FBIXATI FBI XATION ON (Effect) ficmove a fear or phobia

81

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Myke Phillips - Olivia.pdf

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