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as he moves along, revealing information he could not possibly know.

Eventually the performer reveals both the color and the suit of the playing card the spectator thought of. He then has the onstage spectator stand the performer excitedly invites the safe keeper of the premonition card to also join them onstage.

The performer asks that one the cont of three the spectator names the card he thought of. He also explains that on the count of three the spectator guarding the card is to turn it so everyone can see the card which card was in his possession from the outset.

Needless to say, despite impossible conditions the premonition card matches exactly the thought of card.


You will first need to understand something I have termed the Dunninger Ploy to be able to perform this improbably clean looking effect. The Dunninger ploy is something that I first learned of through reading Banachek's landmark book he sets fourth a technique used by the legendary Dunninger.

Dunninger would have a spectator join him onstage. He despite never having meet or spoken to the spectator would be able to reveal the spectators name. Dunninger being the consummate showman would shrug this off humbly.

This is how it appeared to the audience at least. When in truth much more-was occurring under the surface of the great Dunninger's effect. The method for discovering the spectators name is the simplest one could ever imagine He simply asked.

Under the cover of the applause that Dunninger requested for his spectator helping him, he simply asked the spectator his name. A completely innocent action that always went by unnoticed. Dunninger's real genius is presented in the way he handle the revelation of the name.

He would explain to the audiencc that the spectator had not ever meet i uiii3 jiiRinfiY-tea]-

Dunninger getting the spectator to confirm as he underlines the fact that they could not have possibly prearranged anything. Dunninger then called the spectator by his first name. The audience perceived this as being an effect. The spectator onstage did not.

Dunninger then simply shrugs this off, implying to the audience at large he is a humble man. Implying to the onstage spectator that he did not intend this to be an effect of at all.

So lets examine this clever dodge. The first thing I noticed when I began to apply this ploy to other things outside of a name, is that it is vitally important that you handle the questioning correctly. Lets break this down.

The performer in the effect we are about to talk about, the audience have all thought about a playing card. The performer is apparently about to tell the audience what this decision means about them.

The performer studies the room, walks toward one spectator and has him stand. I ask his name and await a response. This is an important point. I have now requested an element of information from the spectator who has wilhngly offered you this information. From this moment I ask the spectator to join me.

I now reach and take him by the hand apparently to greet him. I now request a round of applause for the spectator, calling him by his name. I now begin my walk back to the stage. It is vitally important that I do not release my grip ol his hand. I remain in contact with him at all times.

I also look my eye contact directly upon the spectator's own gaze. I now ask the question covered by the applause from the audience. I await and lean I oward him slightly to hear the answer. It is only once I have obtained my answer that I release the grip from the spectator's hand and continue our walk to the stage.

All I his is over in a matter of moments. It is a set of small details that allows the performer to rest safely knowing he will receive an answer. The reason tin spectator will answer is simple. At this point they have no reason

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Understanding Mind Control

Understanding Mind Control

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