Time Is Of The Essence

Complete Kundalini

Kundalini Awakening

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Allen M. Zingg is a name many of you may well be familiar with by now. He is an incredibly talented thinker, and his genuine warmth and caring shines through in all he performs and publishes.

Allen, his wife Nancy and I met many years ago. Out of this meeting grew a long and productive relationship that I truly cherish. So when I asked Allen to consider working on something for this final volume, I should have known it was going to turn into one long and exciting venture.

In fact, the idea and premise Allen brought to the table became an overwhelming concept for me to complete and perform. I knew right away this was special - really special. Allen was working from his heart as well as his head, and it really shows in this routine.

The effect is straight forward. A spectator's watch is borrowed, and various members of the audience note the time. The performer realizing that the watch is valuable says he does not want to touch the watch, but would prefer the spectator hold it himself on stage.

The performer stands clear to one side of the stage, and has the spectator merely THINK of a special time in his life, as he holds tightly on to his watch. As the spectator relaxes and focuses on this special moment, the performer begins remarking about this special moment.

The performer comments on how this moment has affected the spectator's life, how even he is not yet aware of all the good that has come out of this one moment, how emotional this time is, and so forth. Then the performer states quite clearly "I'm not certain of the exact time... I believe it is 8:00 P.M.!" Incredibly the spectator responds affirmatively, and the watch he has been holding has actually changed to this very time!

Now how does that grab you?

That is how it appears to the spectator and the rest of the audience of course. There are a few other details, which I shall explain precisely, so you may truly understand ever little nuance involved.

You know the saying "This alone is worth is worth the price of the book"?

What Allen and I pass on to you now is a complete examination of the essentials of ALL that we do when we perform this effect. We will leave little out. Our intention is to be as thorough as possible, so that those of you who choose to perform such an inspiring piece, may actually do so with confidence.

With this in mind (and heart) we give to you our favorite creation over the last several years. We do hope at the very least that it will inspire you to new heights of performance. If you perform it, we ask that you do it justice. So here we go...

"Have you considered time? Time as in I don't have enough time, or there's too much time on my hands? Or time marches on? How about time's up? When is time down7 If I had only known ahead of time? One of my favorites is 'time stood still'. As if we could hold time, or control it. They say watches KEEP time! Really? Wouldn't that be wondrous?! There are those who say 'time is of the essence'. Have you ever stopped to wonder what the ESSENCE is? Of course there are 'special times'...Mystical times, such as 12:00 midnight...the bewitching hour..."

"There are moments of time that are special to us. The exact time that you knew you were in love. The time that seemed like only five minutes and yet when you looked at your watch several hours had passed " (We suggest you say these lines directly towards various people in your audience. This establishes great rapport, and causes everyone to consider your words with deeper significance)

As you are saying all of this, you are setting the stage for the effect to come, and also looking around to spot someone in the audience who has a watch. Not just any watch, but a watch you might be familiar with, one that you know can easily be reset by simply pulling out the stem and turning it.

Some watches are quite difficult such as Rolex watches for instance, where you have to unscrew the stem before you can turn it. What you will be doing is secretly pulling out the stem of the watch, and turning it quickly as you speak to change the time on it, then handing the watch right back to the spectator. So you will want a watch with a stem you can easily turn. All of the above speaking gives you plenty of opportunity to find a watch you can use easily.

Once you spot a watch that works proceed as follows:

"Excuse me, do you have the time? (Look at your empty wrist as you say this to the spectator) That is the time! May I check your watch, just to be certain? I need to let other people see what time YOU have-Just for a MOMENT."

At this point simply extend your hand palm up to the spectator. Keep just out of reach, so that he has to remove his watch and hand it to you. If all of these things somehow fail you, then ask for the watch directly.

Show the watch around to a few other people, and have them verify the time. As they do this, you might say "It's__ are your sure, are you absolutely positive? In Paris, it's_, so what time is it really?!

It is a completely different time in Japan, you know! So which time is correct?" Play this up as you show various spectators the time on his watch.

Begin to turn to another spectator and then frown suddenly and look at the watch. "Oh! I didn't realize what kind of watch you had there!" Look at the watch as you begin to say this, and then look at the spectator just as you finish the sentence. As this is going on casually bring your hands together. Your middle finger of one hand can now pull out the stem behind the fingers of your other hand. This take merely an instant, and you have plenty of misdirection going on as this happens. Reread this again, so you understand.

As soon as the stem is pulled, separate your hands. In most cases, your hands can actually be separated by the time you have completed the simple sentence above. The watch and pulled out stem is still somewhat obscured by the hand holding the watch. Flash the watch to a few people up front, so they realize the time is still the same. Don't make an issue out of this. Just casually FLASH the face of the watch, and everyone will get the point indirectly.

Now the watch should be held in one hand only. Position it so that your thumb is on the face of the watch, and your fingers underneath. The thumb and first finger below holds the watch steady, as your second or third finger move down against the stem, secretly turning it.

Simply rub your finger down against the stem several times. This will turn the hands of the watch. This might be noticed of course, except for several things. Your arm that holds the watch stays in motion naturally as you gesture to the spectator and to the rest of the audience as you continue to speak:

"I am in such trouble! I can't be responsible for a watch as decent as this one! I don't want to even TOUCH this watch! I mean it! You KEEP it! I don't want to touch this watch at all! Here...!"

By this time, you will have turned the stem at least several hours, pushed the stem back in and are holding the watch face towards you, only by the band of the watch itself. This takes but the slightest of moments in actual performance. It simply appears as if you noticed the watch's value, and are holding it out far away from you as if not to touch it.

While holding the changed watch you can still flash the face a bit, as long as you keep the watch in motion as you gesture. This should be subtle thing. Not wildly flinging your arms about, nor holding nearly still. Practice in front of a mirror to learn the correct pace of movement. (Special thanks to Steve Banachek Shaw for this concept. He puts it to vital use in his work "Telekinetic Time")

You also hold the watch far away from the spectator, as you offer it back to him. So far away in fact, that he has to get up out of his seat to come and get it. As he does, you keep inching your way up towards the stage, causing him to eventually get to the stage himself.

"Take it' Really! Just grasp it tightly! Keep the watch in your clenched fist... I don't want to hold it at all!" you say as you subversively coax the spectator up to the stage. It's like dangling a carrot in front of a horse to get him to pull the proverbial wagon.

You want the spectator to practically GRAB the watch from your hands. Notice I said "practically". If you get into a tug of war with the spectator's watch, you really might have to pay for damaging the watch! So when the spectator is up on stage, be sure he has to reach for the watch, but then let him take it!

As soon as he has his watch say "WAIT! Hold on to it TIGHT!" and clench your fist as you say this. The spectator will take the "cue" and hold the watch firmly in his hand. The time has changed, but he isn't aware of this, and you certainly do not want him to become aware of it.

Turn to the audience and smile as you say "See the power time has over us?! Got him right up here!"

As the spectator holds tightly on to his watch, say to him "There's no reason to KILL time, just make sure time doesn't slip away! I don't want to touch your watch EVER, and you don't want to drop your watch, now do you?"

"I will NOT touch your watch at all, I'll stand way over here just to be sure you know I'm not going to touch it or hurt it in the slightest! In fact, I'm not going to do ANYTHING. YOU are going to do this. How do you feel about that?"

Respond appropriately to the spectator's answer. This not only creates good rapport and potential comedy, it also sets the idea in the minds of everyone that you have never come close to the spectator or his watch. It also gets the spectator's attention off of his own watch!

"I'm going to ask you to relax in a moment, and as you do just be sure that while you relax you continue to hold on to your watch tightly alright? Some people go under fairly deeply, and they need to keep a good grip on the watch, or otherwise... NOT good! So hold on tight as you begin to relaaaax."

"Now there... is another kind of time, the times in our lives. Important times... times of real value and learning and ultimate celebration. I need you to consider such a moment of time in YOUR life... a special moment to you, a moment that was life changing - a moment that you need not share with anyone except deep within your self... Don't tell any of us what that moment is now... just focus on that moment in time... Good now! Did this happen to be during the day?..."

If the spectator replies "Yes" just smile and remark "You're very clear about this memory, excellent!" If the spectator says "No" remark "Thank goodness! It's easier when your memory has to do with the romance and magic of a moonlit night... Perfect! This might work!"

Say whatever fits YOU best of course. Just use a relabel to create a double bind that works well either way, and that fits your style of performing. Now you continue right along...

"Focus intently now in a relaxed way on that special time in your life... a special time in your mind... I'm not going to do anything at all... It's all up to you of course... I'm staying way, way over here... I'm not going to touch your watch, I'm not going to do ANYTHING. Close your eyes now, take a deep breath... hold it... let it out, relax and focus now on that moment..."

"It is the POWER of that MOMENT we are going to use... An emotional and special MOMENT for you and I believe others as well... Focus on how you were feeling Who was around you now during that special TIME in your life... Notice the colors, hear the sounds going on all around you... good... get a real sense of that special moment in time for you now... that special time in your life... that moment in time forever in your mind now in a most positive way... See the good in that moment of time, the sense of connectedness... the joy of that moment when you see it for what it truly is... that special TIME... Continue to focus on that time now..."

"Oh, yes... a wondrous moment when you REALLY see it and FEEL all that you have received from that time... good things... not everything you thought at the time... better... better you experience this time now... a time of changes and new horizons... some yet not completely understood... Like an anniversary that we celebrate, even before we know all that the future holds... but in the end it is always good... good in many ways perhaps you did not even imagine at first in that moment in time... and that time is becoming clearer now... So clear to you that I can sense this time..."

"Not a time of mourning, but of honest feeling and celebration and awe of how things have turned out... and the time is with you good... it is real... and the power of that moment in time is here now... I'm not sure of the EXACT time of that moment, and I'm not so sure you are either! BUT I do believe the time is 8:00 PM take a look at the watch, is that THE TIME NOW?" "Yes it is!" "The Power of the Moment!" Pause for applause. Then you might say "The time is at hand, in our own MINDS... How about another HAND? HE did it!" to allow the spectator to return to his seat with respect and grace.

Of course the time you call out is simply the time you noted as you secretly moved the watch by turning the stem. The AM or PM is based solely on what the spectator had said earlier.

The spectator is in a slight altered state when you suddenly ask him to open his eyes and look at the watch. This combined with the various meanings of the words you use, cause the spectator to simply REACT without thinking, and say "Yes" with amazement at the change of time on his own watch.

The rest of the audience tends to assume that the time on the watch has to do with his EXACT moment in time. This of course is nothing less than a complete miracle.

Note also that the focus is primarily on a moment in time, and the time on the watch is linked to this

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moment very indirectly only at the end of the routine. This takes advantage of the different meanings of the word "time".

During the applause, I go over to shake the spectator's hand. If he happens to still have his watch in one of his hands, I go to shake this hand. I then immediately pull my hand back drastically, put both hands up in the air - like I am being stopped by the police! THEN I go to shake his empty hand. This usually gets a healthy laugh. More importantly, it says one last time that I have NEVER touched the watch!

You may need to consider other things to say in case you happen to get a watch that is hard to "pull" at first. Or you might just continue on with how nice the watch is, how the diamonds gleam, etc. until the stem is pulled free. Think about this in ADVANCE please.

NOW I feel like I've covered everything1

As I was finally putting this down on paper, I realized how much of what Jeff McBride and I have talked about through the years has filtered into my own work too. The way I get the spectator up on stage is in some regards similar to what McBride does in his empowering version of the "Miser's Dream". You will also see similarities between this new routine and structures Jeff uses in his awesome "Kundalini Rising".

Those of you who have my effect "Kalendar" will also notice certain structures that should seem familiar.

I probably do not need to mention this, but just in case: This routine is NOT designed for one on one performing. You need and actually want more than just a few people to witness this effect.

Concerning the details of watch turning, I have suggested only what we have used for this particular routine. If you use Steve Banachek Shaw's excellent method called "Telekinetic Time", you may adjust that to fit as well. You may also use Steve's routine to perform for those one on one situations. It was important to me that I give to yoo precise details of this entire affair, and so the lengthy and precise words and actions.

As always, adjust the style and script to suit you best. You will also notice a huge variety of tools being applied here. Amazingly in actual performance, all of this flies by quite rapidly. It is rather lengthy to read, I know.

Then again perhaps the written length of this routine will keep some performers away from doing it. Some of us would be quite fine with such a notion. With this piece, Time Machine, and Brain Game, wide and healthy reputations have been made by some of us. Perhaps it is better if fewer would perform these reputation makers...

I must again thank Allen Zingg for this fine concept. The moment I understood his premise, I knew this was going to be another Klassic. Together I know we have achieved even more than we had hoped we would with this effect. Perhaps one day you will too. Or not. As always it is your choice.

I do hope you have enjoyed the patterns represented here, and that this gives you a better idea of the use of heavy stacking and positively influencing your audience in a deep and emotional way, as you continue to say a great many things without stopping to pause, just like this sentence. If you get nothing from this otherwise, then you have still received a great deal. As long as you put this into USE of course.

Thank you Allen. You know how much this routine means to me! It is a true joy to end this series by sharing this effort with all of our friends. Thank you for allowing it.

There were these three frogs sitting on a log. One of the frogs decided to jump in to the pond. How many frogs were left sitting on the log? The answer is the number between two and four. I say it that way so you wouldn't cheat and read the answer easily. The reason for the number being the same is simply because one of the frogs only made a decision to jump in, that didn't mean that he actually did anything.

Metaphors are a great way to have people remember important concepts.

SEcfrO MX BPIAE: ANATOMY 0<D A MIPAXAE

(Jeff McBride: Anatomy Of A Miracle)

If you don't know who Jeff McBride is yet, you've probably been living on another planet. Welcome to ours. On Earth (and arguably other planets) Jeff McBride is a truly rare magical performer. You don't watch his show as much as experience it.

Little wonder he tours the world, performs for royalty, has people who write roles for him in television shows, receives far too many awards to even begin attempting to mention, is lauded by Variety and all of the big showbiz trade papers, and on and on and on...

So naturally I am thrilled to say that Jeff McBride has been a supporter of my work from the beginning. I am even more pleased that he has allowed me to share with you an exacting account of his use of Wonder Words principles involved in his marketed effect "Kundalini Rising".

Since you have come this far in Wonder Words, I must assume you already do, or at least know about this effect. Everyone I know who cares about creating absolute miracles does Kundalini Rising. I'm quite serious. This isn't just "hype". Kundalini Rising has become a "given" among those who insist on the miraculous. If you don't do it yet, you can purchase it from L&L Publishing. No, Jeff did not ask me to say any of that!

In fact, although this is a marketed effect, Jeff has allowed me to "tip" the gaff. This is solely fnr the sake of understanding what follows. If you try and use anything other than the specific material supplied in the effect, you're going to have problems. Believe me I should know!

The gaff then, is a loop of very special stretchy invisible type thread. I am aware there are various products like this, but the Kundalini gaffs are much stronger than others, which is absolutely required. The gaffs also stretch only a certain amount - not too much or too little. This too is essential.

You wear the Kundalini gaff around your wrist. I can't tell you how many performers I have gone out on the town with, and finally realized they were wearing "Kundalini"! Jeff has been known to wear it day and night - always prepared for a miracle. Like I have said, for many of us, this routine is just a "given".

The only other thing needed is a deck of cards. Borrowed if at all possible. On stage, put it in your contract that someone will purchase a brand new sealed deck of POKER size cards, and bring it with them to the event.

And now the detailed examination by Mr. McBride:

After hearing the reactions of people about this effect, the things I heard most were a) The deck was borrowed and b) that I NEVER touched the deck at all; that I am completely on the other side of the room when the person's THOUGHT of card rises from the borrowed deck, and they get to keep it!

That's exactly what I want the audience to remember. They recall what I have said, more than they remember the incidental actions. Incidental to them anyway.

When I say "Shuffle the deck of cards, I don't want to look at all", I turn my back and walk away from the spectator. This looks extremely fair, and it allows me to set up for the effect. My back is turned for a reason, and I can then simply pull the loop down around my fingers and be ready.

So under the guise of being absolutely FAIR, I am doing the "dirty work". Then I say "Cut the pack in half, hand me half the deck, and spread through the cards". As I say "spread through the cards" I hold the cards and my hands to apparently give them an example, and look over my shoulder to see if they are getting the gist of the idea.

Then I sort of catch myself and say "Ooo! I won't look! I'll be over here, because I don't want to touch the cards, I don't want to even SEE the cards!" So I'm saying "I don't want to see the cards, I don't want to touch the cards", even as I am touching half of the pack, and setting my loop around it!

Now I say "One of the images on the cards - one of the symbols, one of the pictures - will speak to your subconscious mind, and will be meaningful to you... That card stands out from all others, this card you can REMEMBER..."

(You'd better reread that paragraph again! Notice the use of stacking, creating meaning, metaphor restriction violation, IMPLIED cause and effect, etc.)

I continue right along saying "Look at this card -Imprint It on your memory for the rest of your life!". Now I ask you, would you like to perform an effect that a person is going to remember for the rest of their lives? Well, then ASK them to remember it for the rest of their lives! Chances are at least they will remember this card until the end of this card trick!

(Cause/Effect, Double Bind)

"Look at that card, look at the symbols. Take a deep breath, close your eyes... hold your breath, imprint that card in your mind forever... and now slowly let out that breath... slowly..." and of course I breath right along with them to be sure. (Notice too the use of complex combinations without the use of the word "and" to link these ideas together)

This not only helps them to recall their card later, it gets them into the habit of breathing AND relaxing. I usually have them do this several times. I watch their breathing and mirror mine so that they hold their breath and breath slowly. "Now HOLD it... and let your breath out very slowly and relax your tiiiiiirrred bodddyy..." (tired body)

I repeat this type of phrase later on over and over. It gets the spectator to relax and allow the card to rise when I need it to do so. (Remember that the audience begins doing the same breathing unconsciously, establishing subconscious rapport and altered states!)

Now I take their card from them once they have memorized it forever, and I say "I don't EVER want to touch your card, so I am going to place it here into the middle of the deck." Notice I say this AS I touch the card. I stick the card in the gaffed half I'm holding. I do this, then immediately say "I don't want to hold the deck at ALL, I don't even want to touch the deck!" and by this time, I'm putting the deck into the card box. I'm touching the deck and putting it into the box while I'm saying "I don't even want to touch the deck"! (Are you laughing aloud yet?)

Then I say to the spectator "I want YOU to be the ONLY one holding the deck" as I place it in their hands in the ready position. Now I can walk to the other side of the room. I walk to the back of the audience when I'm in a room. The entire audience is now looking at the spectator.

Next I get the spectator to breathe and relax some more. I also have them uncross their legs or feet, so that their feet are flat on the floor. This gets them to be much more relaxed of course. "Just breathe and relax and feel the energy at the base of your spine AS it begins to move upwards... Feel that relaxed energy moving up, up, up into your hand, and then into the cards... very relaxing now..."

At the back of the room, I'm making a subtle cue in the way I'm holding my hand. I begin to say "You can feel the box getting lighter and lighter as the energy moves upwards" but at the back of the room, the spectator sees that I am spreading my fingers slightly.

I'm at the back of the room, or my back is turned, so no one else sees that I am opening my hand as I speak. The spectator naturally begins to mirror back my hand position, and she begins spreading her fingers slightly. This takes the pressure off the case. I don't think the spectator is ever aware of this consciously - it's very subtle, but clear. She just mirrors back the hand position to me, and no one really notices - they're all focused on the card.

Now as soon as I see the first millimeter of the card peek out I shout "GOOD!" and I point my finger at it which makes her tighten up. As I say "GOOD!" really loudly, I also take my hand that I had open, and I make a FIST out of it. Since she is subconsciously mirroring me, she naturally squeezes her hand together too. This of course stops the card from rising!

Now that I know the card is coming up, I can have them relax again. I get them to breath the energy upwards into their hand, just like in the beginning, and of course the card begins to rise once more.

As soon as it shows a bit more I shout "GOOD!" and clench my fist again too. This way I can get about three stages out of the card rise! So it is NOT just "ooop and out", it is a PROCESS - like something real, you know?

Then I finally make it back up to the stage area. Now that the card has risen fully up in the pack, I say to the spectator "What was the card you were merely thinking of?" and she answers without hesitation. Now the card becomes merely a THOUGHT OF card. This plays into what I had set up earlier about LOOKING at the symbols, etc. At the very least, later on in a day or so people will recall that the card was merely thought about.

When they announce the card, I take it out of the deck and show it to get the applause cue. I then hand her the card, take the deck out of the case and hand her the deck as I do the clean up move.

So I use a lot of verbal deception to erase the action that occurs. I also use a fair amount of subconscious cueing. I use linguistics both verbal and nonverbal to control the spectator and the card rising. "Kundalini"

is the most obvious example of how I use the Wonder Words type of work in my performing. I think it's a really good example. (I couldn't agree more Jeff!)

As what appears to be the norm with most of my friends, even the most focused conversation can lead to all sorts of other ideas and insights. Jeff was kind enough to allow me to share the free flowing thoughts that came after our discussion of Kundalini Rising with all of you.

Remember please, a few of these things are IDEAS. While I am a stickler for giving you only those things which have been truly tested, in this case, I thought you might benefit from our tossing about a few other notions.

There are also several very precious insights here as well, and those who will examine what Jeff says carefully will surely see them. I remind you NOT to be a clone of anyone - even Jeff McBride. Let his very open sharing with you, lead you to your OWN lines of thought and words. As Tank likes to say "This is NOT suggested retail patter". Take the CONCEPTS, not Jeff's own words from his act.

Here then is Mr. McBride again in his own words:

Another thing I'll give to you that you might want to share about Kundalini Rising. I sometimes put the spectator on the other side of a closed glass door in a home. "So my psychic vibrations cannot influence the proceedings". Of course there are many people who later think "Well somehow his abilities affected the cards in her hand. I mean, psychic vibrations CAN go through glass... I know THAT"! (Double bind of spectator's Kundallini or Jeff's powers - VERY sneaky)

Now let me say something about subconscious cueing or the mirroring technique, if you're standing at the back of the house while the spectator is on stage... or the spectators are focused in one direction or on something while you are doing something BOLD...

Nobody is looking, because they are all looking at the spectator, you know? You could have a chart of the human body on stage, and say "Take that red marker, and walk over there to that picture of the human body..." I mean, here is this big red marker that the spectator is walking across the stage with, going to this weerd layout of the human body.

All the eyes are on the spectator of course! So you just make eye contact with the spectator across the stage and say "Put a BIG X on there..." as you make a cross on your own forehead with your finger. Right? You're off to one side, slightly turned, the focus is on her and the marker and this giant picture... You know?

Sometimes they might get it consciously, and it becomes an instant stooge thing then. Most of the time, I feel that spectators are usually unconscious of many of these types of things. You have them mark the body, then sit them right back down in the audience. Distance them and what has really happened for a moment.

Now if you get a belligerent person, you have to be prepared for a way out of course. But you wouldn't PICK that type of person for something like this! You'd pick a very tame or meek person, and always have a way out. 'Cmon, let's get real!

Or you might try a voodoo doll or something. Like an instant stooge thing, where you could have a chest and they remove a pin out of a box - but there is only a HEAD in the box, and the person pulls the pin out of it's forehead. Then the person walks over to the giant target and sets it in. "I have a little something for you... Sorry, just the pin, take it out and place it into that big body up there..." Just another way to take advantage of that broad stage stuff. An IDEA is all, but other ideas can be sprung from that...

Now about subtext and intention. You're right, I know what MY intentions are, and I don't really care whether the audience consciously gets it or not. They get it on SOME level.

You know, my first job is to entertain. My second thing is to enlighten. My third is to empower. Usually that's the order. Entertain, enlighten and empower.

Something could be entertaining and not enlightening or empowering. Sometimes effects are simply to entertain. Then something could be entertaining and enlightening. I like to enlighten, rather to "endarken". As opposed to endarken. Then with my other sort of ventures, and even in my "Miser's Dream" on stage, it's empowering.

The other thing is I really don't put in any "disclaimer". You know what I'm saying? "I don't ask you to believe, I don't ask you to disbelieve, but let's just make believe..." - a Bob Neal kind of a thing. And I really like that. I always go into my really strong routines with the preface "There is a story" or "There is a myth about..." and "today let's see if we can reenact this myth". You know, a ritual is a living mythology, it's a living myth. And we're players in this today.

I mean, the "X Files" movie doesn't come with any disclaimers. People know when they meet me that I'm a magician, I'm not setting myself up to be a spiritual "coach". Even though that's really in vogue these days. You know - the word "coach". You don't have to be certified or trained to be a spiritual "coach". Funny what we can do with words isn't it?

Indeed. Thank you again Jeff. Amazing what is here to be learned in such few short words. I hope all of you will have reaped much value from McBride's rare revelations. Recall that it isn't all about the TRICK, but about the EFFECT and the principles and applications behind it. Of course, you can hardly go wrong with Kundalini and Jeff's inside workings. My deep appreciation, Brother McBride.

I cannot imagine a better person or set of patterns to end with than Jeff McBride and these conversations.

While this time for a change, there is more so called "magic" in this book than overt "mentalism", I believe true mentalists will find many effects to consider placing within their respected performances. I know for a fact several of these effects are in my constant repertoire - and a few other people I know...

I suggest that mentalists go back and reconsider such things as Dan's "Natural Selection" using business cards, David's shuffling idea, My own contributions (OK, not the silk effect), Docc's "For One To End", the patterns of Mr. McBride's work - if not "Kundalini Rising" itself - and of course all the effects, ideas and script lines from the tapes.

To my magician friends, you finally have a few routines dedicated just to you. I remind you too that there is much you may learn from the examples of "mentalism".

As for myself, I'm a "Wizard" you know -1 can get by with anything. See what a little labeling can do?

I realize this book has turned into a treatise in and of itself. It's as close to a book on Wonder Words as you may get. But I guess that's what you might expect in a finale - a whole lot more than you might have assumed in advance. So be it. Try and not think about how everything in here might be in code too, and I insist that you never recall that there are extra concepts hidden within it all.

I really feel that I have done my best to be thorough, and that this last set is the best of all. Some of you have mentioned there are certain other elements -such as reference guides for the last two volumes -that you would like to have. So you shall have your wish in this area as well. Here then are a few last items, to make this series absolutely complete.

LEE MARELLI'S VOLUME TWO INDEX

Tape 1, Side A

General. For success with your audience, use words that work on the subconscious level of the mind.

BUT - A magical linguistic erasure. Eliminates everything before it.

-3 Step Formula.

1. Say whatever your think or feel the audience/spectator wants to hear.

2. Say the word BUT.

3. Say what you want them to hear or do.

-Examples (Note: In some of these examples, the use of Wonder Words from WW Vol. 1 are shown, to emphasize how Kenton integrates Wonder Words into his sentences. This is the only place in this summary document where this is shown.)

-Spectator says, "Can I shuffle the cards?" Magician says "Sure you could shuffle the cards (What the spectator wants to hear), BUT (erases the Mag's first statement) it is too late" (what the Mag. wants the spec, to hear)or "do you really think it matters?" Spectator thinks "Sure its too late" or "No it will not matter."

-"You might not feel anything at all, BUT most

people (Unspecified Referential Index-noun is not specific and the spectator applies the word to themselves. WW Vol. I) say that they feel a warmth while holding the ring."

-"Sir, I know you may not want to come up on stage, BUT I really need (Modal Operator-Rule word that implies lack of choice, WW Vol. 1) someone (Unspecified Referential lndex)just like you, to help me now (Imbedded Command. WW Vol. 1)

-Speaking to a booking agent or potential client who wants you to do something "extra": "Sure I can do that BUT it will cost you a little more."

-Reading. Client asks about an investment. Reader says, "Sure, this could be a great opportunity BUT make sure you carefully check everything out before committing your money."

Negative Questions. Any question that uses any form of the word NOT to create a hidden assumption and to get the spectator to agree with you. These are Presuppositions (WW Vol. 1).

-Examples:

-"Haven't I been extremely fair so far? vs. "Have I been fair so far." The audience and/or spectator will believe the Negative Question statement, i.e., "Sure, he's been fair", but will not necessarily believe the second statement, i.e., "maybe he was fair or maybe not."

-"Wouldn't you like to know about your inner abilities?" The spectator thinks, "Sure, I would".

-"By the way, couldn't you have changed your mind at any time." Spectator thinks, "Sure, I could have".

-"You aren't busy are you? Good. Please come up and help me." Spectator thinks, "No, I'm not busy".

-Internalization. Negative Questions can also cause a spectator to internalize, i.e., They briefly take their mind off you and think about the question and answer to your question, giving you excellent misdirection (Time for you to quickly do want you want to do, e.g., glimpse billet, bottom card, etc.)

Tape 1 Side B

When you ask a question, negative or otherwise, the members of the audience will tend to look at the person who has been asked the question, even if they are someone in the audience. Also, many will internalize the question themselves. This also provides misdirection time for you.

-Example: "You do remember your card, don't you?" The spectator mentally asks himself, "Do I remember the card? Sure, it was the 3 of hearts".

-The Old Lawyer Trick. When you are caught off guard by a question, answer with a question. Use this technique as a stalling tactic until you can do what you need to do to get out of the situation.

Example: Spec: "I want to see the top card." Mag: "You want to see the top card?" Spec: "Yes" Mag: "Do you think the top card is your card?" While this exchange is going on, palm off the top (Spec's card) or something. Do not drag this technique out. Do what you have to do and move on.

Conversational Postulates. YES or NO questions causing a spectator and/or the audience to respond with an action rather than answering verbally (Yes or No). Insert the action(s) you want the spectator and/or audience to do after you start the Conversational Postulate.

-Examples (Note: ... Insert in this space any action you want taken. Sample action statements are shown in ()): -Wouldn't you know it... (I need someone up here to help me) -Is it possible for you to ... (sign this envelope) -I was wondering if... (you would hold this piece of paper) -Can(Could) you (stand to my left) -Would you mind (writing that down, in case we need it later for proof)

-Why don't you (point to someone in the audience)

-I'm curious (aren't you thinking about a friend right now)

-Classic force Conversational Postulate. If the spectator hesitates reaching forward as you are reaching the force card, say, "Can't you remove any card at all?" The spectator will stop stalling and grab for the card. Time this as the force card is in position. Then add, "Some people think I glue the cards together"

Cause and Effect. The mentalist causes the spectator to feel something, i.e., an emotion or sensation. Obviously, this has an Altered State application (See discussion about Altered States under Tape 3, side B)

-3 Step Process

1. Use the word AND ("And Linkage" WW Vol. 1)

2. Use a "Time" word. Examples: As, when, when, during, while, etc.

3. Make a direct cause and effect statement.

-Example: You are doing a "living and dead" type effect. "Concentrate now on that dear friend that left this planet too early, AND, by the way, you may notice a strange sensation coming over you AS you now concentrate. You may feel the sensation is increasing CAUSING you to become a little light headed." End it with "Tell me when you don't feel it any more (Spectator is going to answer, whether they felt anything or not. The audience believes the spectator's response means they felt something.

-Effect: On the tape, Kenton gives his Cause and Effect Patter for Shaw's "Psychokenetic Time."

Deletions. With deletions, part of what you say (do) vanishes because of the words you use.

-Examples

-You spread the cards for a spectator, forcing a card. You hand the deck to the spectator telling them to put the card back in the deck and shuffle the cards. You then say "Now you chose a card, and shuffled it back into the deck. Do you know where it is in the deck?" You have verbally deleted the part where you held the deck and forced the card. Note: "Time delay" also plays a role in the spectator forgetting that you handled the cards.

-Equivoque. You say to a spectator, "Out of the hundreds of objects around you and on your person, take five items and place them on the table." You then go through Equivoque to force one of the items. You then say, "Of the hundreds of objects you could have chosen, you chose one." You deleted the fact that their choice came from five of their own items rather than "hundreds" of items. -Effect. See Gene's Odd Deletion WW 2 Booklet.

Tape 2 Side A

Labeling

-General -Any part of Wonder Words is really labeling. If you understand labeling, you will have a better understanding of Wonder Words.

-Labeling allows you to decide what something means.

Label to suit your needs, i.e., Take any action(s) and label it what you want. My Note: This could be called re-labeling. Spin Doctors re-label all the time.

-Examples

-Prediction. Instead of sayinq "I am writing a prediction" you re-label the word prediction, saying, "I've got to write this down before I forget it. Don't let me leave without it." You then write your prediction and place it on the table. At the end of the effect when you are ready to reveal it you say "Would you like to know how I did that? I'll show you (Grab the prediction paper and show it) "Look its easy, I just wrote it down!" Notice that the word prediction is never used. It has been relabeled.

-Anytime you have a spectator write something down for a center tear, etc. re-label why you want them to write it down. Obviously, the correct label would be that you want them to write it down so you can get a peek at what they wrote, but you say, "Write that down just in case we need it for proof later on" or "By writing that down it will fix it in your mind" or combine both statements. Note: If you prove you knew what they wrote by some means, e.g., center tear, etc., they will normally forget that they ever wrote anything.

-Effect: See Time Machine, WW Vol. 2 Booklet) Tape 2 Side B

-Suggestion. Suggestion is the way of influencing a person's subconscious mind.

-Everything around you makes an impression on your subconscious mind, telling you things about yourself. They tell you symbolically. Look around your room and think about your surroundings and what they tell you about yourself.

-When you perform, how you dress, how your speak, how you are groomed, etc., gives your audience suggestions about you, and how they perceive you on a subconscious level. The members of the audience subconscious mind then translates what it perceives to the conscious mind, and that is how you will be perceived by people in your audience. Think about this. Are there things you can do or change to give your audiences positive suggestions about yourself.

-For your act. You need to look at everything you do, the props you use, etc., to determine what you are suggesting to your audience and is it want you want to suggest to your audience.

-Examples

-Magician uses red ropes for rope trick. The audience subconsciously knows rope is normally white; therefore, the audience subconsciously thinks they are trick ropes. The magician has unwittingly given the suggestion that the ropes are trick ropes.

-My Example. The mentalist says "I have an ordinary deck of cards". The audience subconsciously thinks "It looks like an ordinary deck, so why is he telling us it is ordinary? It must be a trick deck."

-Blindfold. Handing a blindfold to a spectator you say "Do you see any holes in it?". Audience subconsciously knows cloth does not have holes in it and accepts that the blindfold is "solid".

Note: The following information appears later in the tapes; however, it is put here because it is a form of suggestion.

-Using body language to influence the subconscious.

-Nodding head. If you want spectator to agree or take a positive action on your statement, nod your head for "yes". Example: You state "We have never met before? Is that correct (Nod your head yes). If you want them to not do something, nod your head "no". Example: You state "Do you want to shuffle the cards? (Nod your head no and they probably will say no)

-Mime or do an action you want a spectator to do and they will probably do it the way you mime or do it. Example. Miming how you want a billet folded.

-Effect: See Truly Invisible, WW 2 Booklet. Tape 3 Side A

-The "Four Types" System. A system of dividing people into 4 basic groups. Kenton uses the suits of playing cards.

-Applying the System to Your Act. Think through which of the 4 types you would want to participate in each of your effects and which type(s) you do not want.

-Applying the System to Readings. Recognizing your clients type can give you a wealth of information before you even begin the reading.

-Applying the System to Life. Recognizing the types will permit you to better interact with the people you meet.

Overview of Knepper's System (For more detail, see pg. 15 of WW 2 Booklet)

-Spade. The "Boss" or the "Blamer". Demanding; Focused on results; results above facts; Wants results now! What are you going to do for me. Is a Skeptic. In a group, always introduce yourself first to the Spade.

-Heart. Placator. Just wants to comply. Needs approval and security. Easy going, relaxed attitude. Team player. Avoids eye contact. Wimpy.

-Diamond. Distracter. Impulsive. Never know what they will do. Needs recognition and social interaction. When pressured, will attack. Feels they do not belong. Nobody cares about them.

-Club. Conservative. Laid back. Wants all the facts before making a decision. Diplomatic. High standards and values.

-Examples:

-Readings. Kenton puts out 4 "tools" for client to choose from for reading and uses how the client approaches the "tools" to determine the Basic Group the client belongs to. He asks them which of the "tools" they want to use for the reading and listens to their response. The following are sample responses that a client might give, that would provide a clue as to their type.

-"What do you think"*" Heart -"Tell me about them'*" Club -"Let's go with the crystal its so cute " Diamond -"1 don't care, just get on with it!" Spade

Tape 3 Side B

-Creating an Altered State of Consciousness ilLthe Minds of the Audience. The key is to create vivid mental pictures for each of your effects.

-Mentalism and magic often fail to move people emotionally. To change this, create an Altered State of consciousness in your audience.

-Audience members will in their minds (Internal Visualization) enter the Altered State you create. In effect, you shift the audience/ spectator from reality to an Altered State of Consciousness. You can even make up a story about yourself (Lie) using vivid mental pictures (images). People in the audience will believe the story, IF YOU MAKE YOURSELF BELIEVE IT, and it will become REAL to them. -Definition. (Note: This discussion on the definition is not on the Tapes. It is placed here to clarify the term Altered State of Consciousness. Michael Shermer, in his book "Why People Believe Weird Things" gives the following definition of an Altered State of Consciousness: "an altered state of consciousness exists when there is significant interference with our monitoring and control of our environment. " An example is when we sleep/dream. When we sleep we really are unable to monitor and control our environment.

-Topics for use in building "Altered State" patter.

Relate the topic to the effect you are doing.

-Smell and taste are strong activators of the subconscious. -Jet Lag

-Deja vu

-Dreams

-Looking at a candle flame -Reading-imagining a scene in a book

-When a couple first met -Thinking about friends or person -Recalling childhood pets, songs, etc. -Remembering school, teacher, class you liked or hated.

-Example/Effect. Time Machine, WW 2 Booklet.

-Selling Your Act. Use vivid mental images to describe your act to a client or agent. Knepper has used this so successfully that an agent believed they had seen the effect/Act he was going to do.

Tape 4 Side A

-Communicating With Your Audiences' Subconscious Mind. The subconscious mind is the part of the brain that first takes in all information. It then makes decisions and relays the decisions to the conscious mind. The conscious mind then seek out facts, etc., to justify the decision of the subconscious mind. Perceptions lie in the subconscious mind (Do I like this person and what they are doing?). Unless you know how to address the subconscious mind, you cannot address the conscious mind.

-Principles. Note: The following principles are not, in all cases, labeled as Kenton labeled them; however, the concepts are those discussed by Knepper.

-Stop Being "Professional". Trying to put on airs, being pretentious, putting on a false face, etc. Be relaxed, be yourself. Do not create a false version of yourself. If you do not, you will look like a phony.

-Be an "External Performer". An "internal performer" is so busy and wrapped up in what they are doing, e.g., thinking about the next step or the move or patter, etc., they never see what is going on with their audience. An "External Performer" knows their material so well that they can really listen and watch how your audience is reacting. Note: Kenton does not use the term "External Performer". It is a term created by the author of this summary.

-if you see something is not working with your audience, do something else, i.e., Adjust to your audiencc. Re-label, do an effcct that you sense your audience will accept, etc.

-If you do not feed the audience's subconscious, you will probably be a mediocre performer.

-You Must Believe! Your work should be based on your life experiences. Your audience will relate to you and believe in you.

Tape 4 Side B

-Congruency vs. Expectancy Model. When you relate to your audience real stories about yourself, e.g., things that you have had happen, etc., and they are real, the audience relates to you. What you are thinking must be congruent with what you are doing and saying. If you do not believe in ESP, then what you say about it will not be believable. An alternative might be your beliefs about the extraordinary power of the mind.

-True Lies. If you make up a plausible story that fits you, and repeat it enough, you may begin to believe it and so will your audience. Example: I use "A recent Stanford Research Institute Study concluded that everyone has an innate ESP ability". I have said it so many times that it comes across to the audience as a truthful statement when, in fact, I created the statement.

Patterns. Watch for patterns, e.g., People naming the same card, etc.. If you discern a pattern in your audience or spectator, use it to your advantage. After your show, record the pattern, and continue to use it when you can. If you continue to "hit", you have a valuable psychological force. To recognize a pattern, you must be an "External Performer". By recognizing and using patterns, you can create miracles.

-Example: For whatever reason, people at a party you are working start naming the 2H as their favorite card. Write a prediction naming the 2H and be ready to pull it out for the next person who names that card.

Author: Lee Marelli, President, Psi Clones Completed August

27, 1998

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