I his is something very interesting and underdeveloped. I am almost certain I hat a killer routine will grow out of this idea alone. However it can at times he used in conjunction with Touching On Hoy.
In effect the performer reveals three thoughts attributing each one to a person onstage by name!
I his is a very cheeky idea. Basically you need to discover the names of all three of your spectators. I personally make use of my approach to the old iHinninger idea of simply asking under the cover of applause from the audience at large. This is covered in great length in the aforementioned 2004 i ollcction The Coral Fang.
Assume that the three onstage spectators' names are Ben, Harry and Ken. You ai e the only person who knows this. The audience at large does not know the names of the three spectators on stage. This now means that you can reveal l he information as follows:
"Now I was a little hazy on the first one, however I think I got a circle and a 111.ingle, Tom's thought was much clearer he actually changed his mind but I hen settled on the date 1985 and finally Frank went for the name Laura. If I was right sit down."
As you can see by not mentioning a name when revealing the shapes you have It'll all three spectators assuming that you were addressing them and them only as t hey assume that the other two onstage spectators must be Tom and I rank.
I Ills Is bold — very bold indeed. However, fortune does tend to favour the
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One more addition that helps sell the idea that each person is indeed thinking of a different item is to add "separating" statements. These are statements I the performer makes that seemingly ask the spectator to think about theii item. However the audience hear the performer asking them to repeat theii thought in their mind in such a way that it seems they are thinking of three I different items and yet the onstage spectators are clear they are to think ol their shapes.
Each statement is different for each of the three people. The first the person the audience believes is thinking of two shapes is: "Ok. I am a little hazy on one of them. However they are both very simple. I want you to keep imagining you are drawing them over and over again in your mind. See yourself doing I this."
The second spectator, the spectator the audience believes is thinking of a I name is asked: "OK, repeat what you are thinking of in your mind. As if you I were saying it out loud to a person. Imagine you're introducing that person to your thought. Hello, this is..."
The final statement, to the spectator thought to be focusing on a number is "I would like you to imagine you're filling in a form and adding your though I s to it. I am a little unsure about the last one but I have got the rest I am sure Just repeat the last one in your mind for me."
You can see that both the audience and the onstage spectators take away different meanings from these statements. After all you can say the same thing and it mean two different things very easily.
I personally use this effect under the false explanation of "muscle reading" I begin by having three people join me onstage. I have upon occasion used a psychological force sequence to get three spectators onstage. Selecting oik person who got the target thought correct with each force. However you can simply have three people chosen in whatever way you wish, too.
I urcet each person and have him or her sit. I perform the first sequence of the efleet touching each person on the shoulder and have him or her apparently think of three separate thoughts. I then ask them to continue visualizing their thought.
At this point I ask someone from the front row to join me onstage. I hand I hem a Slinky and speak about the ideomotor response and use the "Slinky" presentational touch outlined in the "Presentational Touches" chapter. I I hank this person and have them return to their seat.
Next I move along the line of three people. I kneel down, crouching next to each person while asking him or her to think about his or her thought. I ret urn back to one and seemingly have them think about their thought again, dN if they were not focusing on it well enough.
I now stand and ask all three people to stand starting at the far right I ask t he first person to place their hand on my shoulder. I at this point use the separating statements moving along the line.
I he justification for having people stand is to have them place their hand on ii ly shoulder to "muscle read" their thought. 1 then go into the reveaf sequence mil lines and if needed finish with the out sequence also outlined.
I led it is very important that the three onstage spectators are next used for itnothcr demonstration. If they are dismissed at this point they have stood tip and come onstage, sat down, stood up and sat down. They are then asked lo go back to their seat having to stand up again and then finally sit back III their scat. Simply just too much sitting and standing. These spectators niust be used in one further demonstration. It is even possible to follow this filed with Chris Carter's Touching On Hypnosis and finish strong with A louehed Drawing Duplication without duplicating any effect too closely. I liese elfects are outlined in the pages that follow.
t tin final point: It will beagood idea to select easily remembered names and dales II when you come to the reveal sequence stumble over a name and a (Idle it will be a tricky situation. Plan beforehand every word you will say. I Ills doesn't just include t he scripting needed to make the effect happen but
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also the name and date you will reveal. Personally I use my date of birth 198^ and the name of someone close to me. I suggest that you use something you cannot ever forget as one day under the pressure of performance you will find yourself stumbling. Selecting such reveal items will help to no end.
fl TOUCHOD DRflUIMG OUPLICHTIOn QFF0OT
The performer has three spectators seated onstage. They are all asked to close their eyes and relax. The performer then instructs aloud:
"In a moment I am going to make one of you the sender and the other two the receiver. If it is your job to send information you are to imagine a large white screen with whatever image, number, word whatever you are sending printed in thick black lines upon it. You will know if you are the receiver as I have just touched you on the shoulder."
Matching actions to words, the performer walks to the spectator on his left and touches him on the shoulder.
"If you did not feel me touch you on the shoulder I want you to imagine that in front of you larger than life is the very same white screen However you are seeing the reverse side of the screen to our sender. You will begin to see ink bleed through the screen in thick black hnes of ink. When you have a deal image in your mind of whatever information our sender is indeed sending you are to record it on the pads I am placing on your laps."
The performer places two pads on the laps of the two "receivers", he continues: "However should you be the sender I want you to record youi information on the pad also — make it a bold image so we can see how successful our receivers have been"
"Open your eyes for me. Take a moment or two to come back to being fully alert and totally aware of your surroundings. Start drawing now..."
The performer counts backward from five to zero, and explains that tin
il rowings should be finished but he time he reaches zero. The performer then ■.i ates: "Ok, hold your drawings up to your chest. Sir, please turn your image around so we can all see."
I he spectator on the right is asked to turn their image around it is of a clock lace. The spectator in the center is asked to turn their pad around and they I oo have drawn a clock face. Building to a pace the performer has the final pad turned around and bold across it is the number 230.
I he performer appears slightly disappointed, and then all of a sudden he excitedly asks, "What times did you put on your clocks?"
At the spectator's reply, "2:30," the performer exactly states: "2:30 and two t hree zero...I think we can say everyone did extremely well!"
I developed this effect on the same day as Touching On Hoy, however felt it Was not ready to be published until the general concept behind Touching On I loy had sunk in with my readership.
I firing the weeks that followed my publishing the original effect I did lecture I he drawing duplication version in a few venues in London and various magic gat herings in the UK.
Some time after a performer called Kennedy published an effect that bears wine similarity, however, to me, it missed many of the small details that make a big difference in this sequence. However I can only assume that the r licet was independently created — and as it was published before my own el feet mention must be of it.
I lowever for the first time in print here is the work behind what I think of an l he next level of Touching On Hoy. Now the basic underlying method at Work here is the false touching sequence described in Touching On Hoy i oinbincd wit h a wonderful dodge commonly called "The Sender Receiver I'loy" lirsi published by Daryl Hem, several variations of this effect have seen print since it s int rodtict ion to t he world ol mentalism — one springs to mind
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by my good friend Morley Budden which appeared in the final issue of Lee Earle's Syzygy Magazine.
You will need to buy three A4 Pads. I use pads and not dry erase boards, as often on a stage under lights the boards have a nasty tendency to glare and make it very tricky to make out what has been written/drawn upon them. ! also make use of spiral bound pads.
This is so the marker pens can be clipped to the spiral binding on the pad meaning I can drop everything into the spectator's laps without fumbling On these pads I affix three stickers. I personally print these on Avery Label's most computers have templates set up ready to go for such labels. At the end of this manuscript the needed templates are included.
Simply print them onto Avery sticker labels and you're good to go. On two ol the labels write the following:
You are the sender. You are to draw a clock face set at 2:30 and send it mentally. This isyoiu target image.
On the final sticker print these words: You are the sender. You are two write the number 230 and mentally send it. This is your target image.
Affix these stickers near the top of the pad centrally.
Have three spectators join you onstage and take seats. Each closes their eyes as you snap your fingers — at the same time touching two spectators secret I y You then walk over to the spectator furthest to the left of the line and open I y touch that person on the shoulder at this point you say: "If you just felt me touch you — you are the sender. It is your job to attempt to mentally transm i I a target image."
I then continue explaining how they are too doing this. Refer to the ideas given in the effect for further directions for you to go in.
At this point all three people think they are indeed a sender and the othei two people are receivers. The audiences however think that only one person
I* to send and the remaining two are too receive. It is at this point that I say: "Now if you did not feel me touch you, your the receiver. It is your job to try 10 pick up on what is being sent."
Again I explain how they are too doing this as described in the effect above i ontinuing: "Now if you are a sender when you have a clear image in your nilnd of what is being sent you are to record it on the pad I am placing in your laps."
I he performer at this point places a pad in the laps of the two spectators that the audience believes are the senders. Placing the pads in the laps in this manner is a strong convinces the situation is indeed how the audience perceives it. I then continue:
II your the sender (dropping the third and final pad in the lap of the third and final spectator, whom the audience think is the sender) I want you to record your target image on the pad in your lap so we can see how close we >ilI are."
I torn this point all the work is done. Have the spectators open their eyes and play out their roles. Each person thinking they are the sender. The reveal is ,i very sweet moment. The effect seems to build and build but then suddenly iml from the audience point of view unexpectedly it is cut down.
Appear a little confused at this point. I even go to thank the "unsuccessful" spectator off stage as I "notice" the connection between the number 230 and the clock faces. I assure you this revelation is worth the effort. Try it once and I l<now you will love the reaction.
CHRIS OflRTBR'S "T0UGHII1B OR HYPIIiJSIS"
( liris Carter is a wonderful mentalist and above all, a really nice guy. I had the pleasure of spending some time with Chris while I was in Chicago and even got the chance to see Chris doing what he does best — entertaining a foom lull ol students at one of his college performances.
Ih warned me helore the show that this was the dreaded "nooner"
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performance, that being a performance slot in the middle of the day with no real focus on the performer as students are coming and going, joining the group as their lessons finish and leaving as new lessons begin, a slot that is indeed notorious amongst college performers for being a tough situation to perform in.
I had heard many a horror story about such performances it was utterly inspiring to see Chris turn a room full of jaded college students into wide eyed children amazed at what they were witnessing.
More importantly watching Chris slowly draw in all corners of the room due to his clever structuring of his performance was an absolute pleasure. It was easy to see why he is so successful on the college circuit.
On our drive back into Chicago, Chris shared the following idea with me ami asked if he could post it on a private Internet group that we both frequent. I was happy to have such an interesting direction for Touching On Hoy to be taken in. So, exactly as Chris wrote it on that forum, and with his kind permission, here is his inspiring thinking on Touching On Hoy. My thought s appear at the end:
Three audience members are seated in chairs. They are asked to close their eyes, and I go and place a small sign in each of their hands. (For sake of description I'll be numbering the helpers from left to right.) Helper #1 has a sign that reads "Zorro." Helper #2 has a sign that reads "Tarzan" and #3 has a sign that reads "Mighty Mouse." I go up to #1, tap him on the shoulder and say:
"This man I just tapped on the shoulder, you'll be asked to do some role-playing. In a bit I will say 'go,' and you are to stand up and engage in some swordplay, just like Zorro. Really try to commit yourself to the action."
I tap #2 on the shoulder and say, "This man I just tapped on the shoulder, when I give you your cue, you are to stand up and beat your chest like Tarzan." I finally tap #3 and say, "This man I just touched, when I give you your cue, you are to stand up and shout out the mighty
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