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Master Mentalism and Magic Tricks

Revelation Effect Mentalism and Mind Reading

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It is an obvious but nonetheless interesting and appealing outgrowth from the original Touching On Hoy that creates a spectator as mind reader effect Imagine at the conclusion of the standard selection procedure, after all three people have seemingly been tapped on the back and have locked a thought into their minds, the performer invites a spectator from the audience onstagi and has him study each of the three seated spectators. He then instructs i lit spectator to "without thinking" name two simple shapes, a date and a name

The onstage spectator does so and the performer then repeats these three fat i ■< confirming with each of the spectators that these were indeed their thought

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All we would do to create this spectator as mind reader styled effect is Apply yet again the same psychological force to the onstage spectator who is li'emingly reading the minds of the three other spectators.

I he great thing about this is if the force misses with this onstage spectator it lo not a problem. I would comment something along the lines of: "Interesting. I think however, guessing is not the best thing right now."

I would then use this spectator to demonstrate the ideomotor response using the slinky as detailed in "Presentational Touches" while moving along the line seemingly muscle reading each of the three spectators. Move back to the mi stage spectator who did not get the force and thank him for his help. To your audience nothing went wrong.


Kitl her than having all three people sit at once Wayne decided to shift the moment of deception slightly and thus create three separate applause cues. When applied to Touching On Hoy the effect is exactly the same up until the Uveal of the three thoughts.

The performer would turn to the first spectator and say: "If I got your thought, please sit down. (Spectator does indeed sit down) that's one out of I hree." This serves as the first applause cue of three.

I he performer then turns to the next spectator and states the same thing. And again they sit. Applause cue number two. This is followed with the pt dormer saying:

"Now that's two out of two. Three out of three would be a miracle. Sir, if I gul your thought correctly please sit down - three out of three!" giving the filial applause cue. Now above is not the exact wording that Wayne uses *vll h his Tossed Out Deck (which can be found in his excellent manuscript I lo/isiw'.s ('hoicc) however this is the wording I have used in conjunction with Touching On I loy.

Ao mentioned in the explanation I have also used the same delivery of the


above one at a time sitting with the "slap me" line detailed earlier.

In this version I would walk along the line of standing spectators and say to each one: "Now if I got your thought correctly I would like you to clap me, il I missed I want you to slap me!"

The performer gestures for a high five and the spectator "clap" the performer hand by giving him a high five. I also throw in the lines above; simply substituting the words sit down for the "slap me" line.


I had several ideas while developing Touching On Hoy to eliminate the need for a force however it simply did not achieve the elegance I was looking for and hence I pushed them aside.

In 2004 I performed for a full month (sometimes doing four shows a night) at the Edinburgh Fringe Festival. It was at this time I met and spent time with Andy Younie, a mentalist from Edinburgh.

What follows is basically Andy's idea. Essentially, Andy came up with the great idea of openly instructing the first spectator to think of an item, which was then thematically linked with the final two reveals. Thanks to Andy there is a sure fire presentation that is elegant and deceptive!

The effect is exactly as described. Right up until the point you will instriu t (what the audience perceives) the first spectator (when in fact instructing all due to the secret touches) rather than have all three people think of a force Andy would say something along the lines of: "Now if you just felt me touch you, I want you to think of a balloon."

Moving to the next spectator: "If you just felt me touch you I would like you to see that balloon filling with a colour."

The final spectator is instructed with the following line: "If you just felt uu touch you I would like you to imagine that balloon flying anywhere in tin world."

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Understanding Mind Control

Understanding Mind Control

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