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This video was produced by Steven Hall, for educational purposes. To view the cu
rrent collection of videos and ebooks available please visit: www.simplehypnosis
.com For information on hypnosis and NLP please visit: www.mindworks.uk.com
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Content of this file
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1.
2.
3.
4.

Terms of use
Video notes
Wake up script
Selecting volunteers

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1. Terms of use
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The laws regarding the use of hypnosis vary globally. It is your responsibility
to ensure that you are familiar with, and abide by, the laws and regulations imp
osed in your area. Unless you are a suitably qualified professional, never attem
pt to diagnose or treat an illness, regardless of how trivial it may seem.
The author of this material can accept no responsibility for its use or your act
ions. Use hypnosis sensibly and safely, it is a powerful tool so treat it with t
he respect it deserves.
This video must not be copied, lent, hired or distributed in any way without the
prior written consent of the author. Public broadcasting of this video is prohi
bited.
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2. Notes to accompany your video
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Video One
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Overview
This induction uses a combination of techniques that condition the subject into
accepting your suggestions and commands. To start, you give the subject a series
of instructions that they readily follow. You then appear to move into a standa
rd fixation of attention induction. During the description of the process, you sli
p into what I call psycho-babble , which helps to distract conscious attention as y
ou make a forceful interruption, resulting in trance.

I know that probably didn t make much sense at this stage, but everything will bec
ome clear as I walk you through the video step-by-step.
Walk through
00.04
The reason I tell John that this induction is going to be a little different is
because I had just done a series of rapid inductions on him, and I wanted him to
think this one was going to be a more traditional, longer induction. This helpe
d me to increase the shock and confusion during the interruption that comes late
r.
If you want to make use of this subtle technique, you can use it in a situation
where you are hypnotising a few people, one after the other. Do rapid inductions
on the first couple, then tell the third that you are going to something a litt
le bit different with them. This way your rapid induction will still have that e
lement of surprise about it.
00.15

00.20

During these few seconds I give John a series of commands as to how I want him t
o hold his arm. I even grab hold of his arm and physically move it into position
. The position of his arm is not as important as the use of this forceful approa
ch in getting his arm to that position. These few commands are followed without
question, and this begins to create a pattern in Johns mind, that, if I give an
order, he follows it.
If I were going to do a standard induction from this point, the position of the
arm would be much more important. Having John look at his palm means that the na
tural position of his arm, and the bend of his elbow, creates an increased strai
n on the muscles, causing his arm to tire more quickly. This does come into play
with a rapid induction too, as you will see shortly.
00.20

00.30

Here I give John instructions to concentrate on his finger tip. This fixates his
gaze, which helps to induce the trance state. Although I didn t use it here, I so
metimes include the following suggestion at this point:
When you concentrate on something so intently, everything else begins to melt away .
Just like when you gaze into an open fire and become Mesmerised by the flames.
This sentence is useful as it includes the imbedded command melt away which helps
to release stress. It also instantly regresses the client to a time when they ha
ve become transfixed on the flames of a fire. As they go through the natural pro
cess of recall they automatically re-enter that state.
During a normal induction this can lead onto relaxation very well, however, I le
ft it out here, as I wanted to keep the pace of the induction up. It is a phrase
worth committing to memory for future inductions though.
(When you become confident with this induction, put this phrase back in, and loo
k for the moment that your subject accesses the memory. Depending on whether the
y are left or right handed their eyes will move to the top left or right, then d
own and to the right. This is due to subconscious eye movements called eye access
ing cues . The movement will be very quick, so look out for it carefully. When you
r subjects eyes move down, they are accessing feelings associated with your sugge
stion of becoming mesmerised by the flames of a fire. At that very moment go for

the grab as described below.)

00.46
John has been holding his arm up for a few seconds now, and will be beginning to
feel the strain. So when I suggest that his hand may begin to feel heavier, his
mind confirms that it is. This is a very important part of trance that is often
over looked. If you can make a suggestion that the subject can confirm, then th
ey are far more likely to comply with following suggestions.
The position of the arm, as mentioned earlier, helps to create this heavy sensat
ion.
At this point I make suggestion that changes in the weight of his arm are connec
ted to his eyes, which will begin to close down. If you notice the shadow behind
John you will realise that I have him positioned so that he can see the light b
ehind his hand. This induces watering of the eyes and provokes the desire to bli
nk.
At this point he won t have much idea what is going on, but will know that he is b
eing hypnotised, and it is somehow connected to the position of his arm and his
eyes.
00.58
This is where the confusion begins. I tell John that he is to take himself into
a trance. Obviously, this instruction is pretty much meaningless to everybody. S
o I begin to offer an explanation as to how he is going to do it.
This explanation isn t supposed to make sense and purposefully includes the words
conscious and subconscious. John is not only focussed on his finger, he is think
ing about the weight of his arm and aware that his eyes are beginning to strain.
When a baffling sentence is thrown into the mix, his conscious mind is easily c
onfused.
01.00
Half way through my psycho-babble explanation of how he
to trance, I grab hold of his arm and pull it all the way
on. This movement is completely unexpected and interrupts
At this moment his conscious mind is desperately looking
I command the word SLEEP! his conscious mind interprets
ance and he instantly goes into the hypnotic state.

is going to put himself in

down in one quick moti
him from the set task.
for a way out, and as
this as a sign to enter tr

Many people will still enter trance even if you say nothing. This is because the
y will have worked out that the position of their arm is somehow important. You
can enhance this with suggestion that they will enter a deeper trance the lower
their arm moves down. Then as you pull it all the way down it is subconsciously
recognised as a sign to enter trance.
The command SLEEP is very quickly followed by a tap to his forehead as I say, deepe
r and deeper to sleep. This forehead tap works exactly the same way as the interr
uption, and will deepen the trance state very quickly. You can see John shift in
to a deeper state as I tap his forehead; this is evident in his body posture as
he begins to rock on his feet.
At the very end I give the command to stand sleeping . This helps to stabilise him
so that he does not fall over. On occasion you will simply lower your subject to
the floor or a chair, or even do the induction while seated.
Sometimes you have to reach out and steady your subject by holding their shoulde

rs. At this point I usually use the following suggestion:

Just as a horse can stand sleeping, you can stand sleeping now. Safe and secure,
that s fine
That s all there is to it! So watch the video over and over then practise!
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Video Two
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Overview
This video begins with a suggestibility test. You would usually use this to dete
rmine which of your volunteers is the most suggestible and who will be the most
entertaining for your show. However, here it is used to take the subject straigh
t into trance.
Walk through
You introduce this induction as a test that will show you how good your subject s
imagination is. Your subject will want to have a good imagination so they will b
e very willing to comply with your suggestions. It is important not to call this
a suggestibility test as people often confuse suggestibility with being weak-will
ed or gullible. These are more negative qualities so your subject is more likely
to resist your suggestions.
00.00

00.10

Begin by having your subject hold both arms out in front of them. Have their dom
inant hand held with the palm facing down, and their non-dominant hand with the
palm facing up. Demonstrate this position so they know exactly what to do.
Although I don t in this demonstration, you can take hold of their hands and adjus
t the height a little. This will act as a signal to their subconscious that they
are to follow what you ask them to do.
People use their dominant had much more, so the muscles in that arm will be more
highly developed. If all things were equal, this would mean that it would be ea
sier to hold your dominant hand out in front of you for longer. However, as this
is hypnosis, and hypnotists like to be a little tricky, all things aren t equal.
The non-dominant had is held with the palm facing up, this creates much more str
ain on the muscles of the arm, so it feels heavier sooner.
In addition to this, it is natural to hold your hand slightly lower if you hold
out your arm with the palm facing up rather than down. So we already have three
reasons for this arm moving lower; the weaker muscles, the additional strain on
the muscles and the natural position due to the rotation of the arm.
00.15

00.26

Here I describe what is I want John to do while his eyes are closed. As I explai
n that I want him to imagine books piled on top of his left hand, I push down on
his palm slightly, so his hand begins to lower. And as I describe the helium fi
lled balloon that will be tied to his right hand I gently raise his hand a littl
e. This movement, although subtle and seemingly innocent, will be noticed by Joh
n s subconscious mind and it acts as a non-verbal instruction as to how his arms w
ill move.

00.26

00.32

Although I wanted to use the physical cues, by slightly moving Johns hands myself
, I do not want John to consciously think that his hands have only moved because
I pushed them. So here I get him to open his eyes, look at his hands and make s
ure they are level. This gives me an opportunity to adjust the height of his han
ds again, further conditioning his mind to accept my instruction.
00.32

00.45

Pay attention to my voice tonality as I describe what I want John to imagine. Wh

en you talk about the heavy books, lower your tone, and slow down the pace a lit
tle, and when you talk about the helium balloon lighten it back up.
Although John can t see me, I make good use of body language throughout, as this r
eally helps to create the correct voice tonality. I want you to make sure you do
this, so many hypnotists don t, and it is a very easy way to improve any inductio
n.
Almost every induction will make use of an association that connects numbers wit
h the onset of trance. Usually you do this counting backwards, and with each num
ber your subject becomes more relaxed. However, I use it here to count upwards.
I want John to imagine that the balloon is getting bigger with each number and t
he books heavier, so it makes more sense to count up rather than down. This is a
n exception to the norm, you would usually count down as you put people into tra
nce and up as you bring them out. I get away with it here as this isn t yet an ind
uction, at this point it is still a suggestibility test.
00.50

01.40

During the count from one to ten,

ck on my fingers, another book is
If you pay close attention to his
the finger clicks than he does to
more clicks!

I tell John that on each number, or on the cli

added. You can play with this and experiment.
hands you will see that he responds better to
the numbers, so it makes sense to start doing

Clicking your fingers is already strongly associated with hypnosis, due to TV. I
t also creates a very sudden noise so can help to confuse or shock a subject, wh
ich in many cases can assist with the trance. So make good use of it.
Although I give suggestions of John s right hand becoming lighter, he is much more
responsive to the suggestions of heaviness in his left hand. Most people will b
e able to associate more easily with carrying a weight so this is often the case
. John actually works for a book distribution company so he often has to carry h
eavy books, making it very easy for him to imagine how it would feel.
01.40

01.57

If you were using this as a suggestibility test without progressing on to an ind

uction, this is where you would stop. As a test it does two very important thing
s. If you are working on a few people, those with their arms are furthest apart
at the end are the most suggestible, so will make the best subjects for your sho
w. However, much more importantly than that, when you ask the subject to open th
eir eyes and look at the position of their hands they never expect them to have
moved as much as they have. This shock causes the subject to very quickly come t
o the conclusion that you have some kind of control over them. It also reinforce
s the idea that whatever you suggest will happen.
It is during these thoughts that you have a fantastic window of opportunity for
your rapid induction.

I want to make sure that John knows exactly what I want him to do before he open
s his eyes. When his eyes are open his mind will be focussed on his own thoughts
, so he won t be listening to my instructions consciously. However, his shift in f
ocus does allow me to get my command to sleep straight through to his subconscious
.
I tell him I am going to count down from three to one, and I want him to look at
his hands on the number two, and then close his eyes on three. He is also given
the instruction that he will go ten times more deeply into trance if he feels m
e tap him on the forehead.
01.57

2.04

As I count back from three to one, on the number two John opens his eyes and loo
ks at his hands. This is the point where he realises the extent of the movement,
and quickly becomes much, much more suggestible. On the number one he closes hi
s eyes, which gives him an opportunity to begin to rationalise what has happened
.
His mind will be thinking over the fact that I suggested his arms would move and
they did. He also knows that I am a hypnotist, and he will automatically begin
to think that I can control him, even if this realisation is only at a subconsci
ous level.
With most inductions, I would usually do the forehead tap on the number one, but
I don t do that here as I want it to come as a surprise, and Johns eyes are open u
ntil that number.
So I pause and then do the tap. I also said If rather than When so he still isn t sure
if I am going to tap his forehead or not, which increases the surprise element
when I do.
At the moment of the tap, I click my fingers, which has already been associated
with increased weight and sensations of downward movement during the test. I als
o command the word SLEEP these three actions combined are very powerful, especiall
y when triggered just after John has witnessed how my voice alone has caused his
hands to move much more than he would have expected.
02.04

02.12

At the moment John goes into trance, I need to make sure he is stabilised while
standing, so give him a quick command to stand sleeping and steady him by holdin
g his shoulders.
Although John is in a trance already, it will only be a light trance so I have t
o very quickly deepen it. I can take John much deeper by counting back from five
to one, making suggestions that he will go deeper into trance with each number,
but I want to act quicker than this. So I tell him that is what I am going to d
o and ask him to nod his head if he understands. As he nods his head I do anothe
r forehead tap and give him the suggestions to sleep. This tap is not expected a
t all and combined with the associated already created from the last tap it subs
tantially deepens the state. You can easily see this in John s reaction to the tap
.
02.12

02.29

As I count down, I give several suggestions of going deeper, and use more forehe
ad taps. These repetitive taps allow me to switch to a finger click right at the
end to further increase the trance depth with another unexpected trigger.

During the count I am still holding John s right shoulder with my left hand. This
allows me to gently rock him back and forth as I do the deepener. The movement i
s not too obvious, you just want to make it subtle, it helps because of the asso
ciation of being rocked to sleep as a baby.
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Video Three
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Overview
This video begins with a series of instructions that the subject readily follows
, conditioning their mind to accept the following suggestions. I then set up an
association connecting the onset of trance with a movement of the subject s hands.
I can use this association to progressively direct the subject into trance, wai
ver them on the edge or just take then straight into trance in one go.
Walk through
00.05

- 00.16

Getting the subject

ld simply have John
ave a great deal of
he suggestions that

into this position is not essential for the induction; I cou

hold one of his hands above his head. But, by doing this I h
opportunity to direct John, which conditions him to accept t
follow.

This position is used for the hand locking suggestibility test, as when your sub
ject tries to separate their hands, while they are pushing them in this position
, it is almost impossible.
When you become more confident with your inductions, you should experiment with
including the suggestibility test in this induction. To do this get your subject
into position and instruct them to push on their hands as they hold them above
their head. Make suggestions that as they push higher and higher their hands bec
ome increasingly stuck together. Suggest that they may even be able to feel glue
oozing through their fingers.
After a few suggestions, tell them to push really hard, reaching higher and high
er, while at the same time trying to pull their hands apart. Give the suggestion
that the harder they try, the harder it gets. Allow them to try for a few secon
ds before instructing them to stop trying and just relax.
For now, I want you to copy the induction the way I do it. So get your subject i
nto position and continue to instruct them that they will go into trance only as
quickly as they lower their hands.
00.17

00.37

Here I give John the directions of the induction, creating an association betwee
n the position of his arms and trance. Johns arms will have already begun to tire
, so he will want to lower them (you see evidence of this at the point that he l
owers them for a few seconds.) This position very quickly becomes uncomfortable,
and is very tiring on the shoulders, so your subject will want to lower their a
rms.
During the instructions I have ample opportunity to include some imbedded comman

ds. Watch this section over and notice how many times I include the suggestion t
o go into trance . It is easy to include this suggestion in your instruction at thi
s point and you can also create the association that your subject will enter a v
ery deep trance as soon as their arms lower all the way down.
00.37

00.48

Here I take hold of Johns hands so that I can control the rate at which they fall
. I begin counting and make slight movements, before returning his hands back to
(almost) the starting position. I do this a couple of times, which does two thi
ngs. It creates a pattern, so John will be expecting me to do it again a third t
ime. It also teases John; remember his arms will be aching so he wants to lower
them. By restarting over a couple of times I create an increased desire for tran
ce, because he will want to end the uncomfortable feeling created by holding his
hands above his head.
00.48

01.12

On the third count I interrupt the pattern I have just created and pull Johns ha
nds all the way down. This movement has already been associated with trance duri
ng the description of the procedure, and coupled with the following suggestion t
o Sleep it takes John straight into trance.
Here I simply relax and separate his hands then deepen the trance with a basic c
ount back from ten to one.

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4. Selecting Volunteers
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If you were to attend a stage hypnosis show, the first thing that happens is the
hypnotist invites people onto the stage and does a series of tests to decide wh
o they will use for the show and who to send back to the audience.
If you take an average sample of the population, about 10% really find it diffic
ult to go into trance, another 10% find it ridiculously easy, and the rest of us
fall somewhere between.
Obviously, it s best to have a volunteer that finds entering trance easy, which is
the point of the suggestibility tests you see on stage, but when you are learni
ng you really have to practise on whoever lets you, and more often than not this
is your friends or family.
As you practise, if you copy what I do and say what I say, you will enjoy the sa
me results I do. Over the years I have come to recognise naturally who will make
a good subject and who will not. So I am able to adjust my inductions according
ly. Sometimes I use rapid inductions, such as the one in this video, other times
a progressive relaxation induction is more appropriate.
While you are practising, you will undoubtedly attempt a rapid induction on some
one that finds entering trance difficult, and in all probability it won t be a com
plete success. However, it is likely that your induction will have some affect,
so talk to the subject afterwards and ask how your actions and words made them f
eel. You will learn a great deal from this.
More often than not, your subject will respond exactly as you see John does in t

he video. As your reputation as a hypnotist grows, the increased expectation in

your subject makes your induction much easier and even more powerful.
The trick is to practise on as many people as possible, and if you have the luxu
ry of too many volunteers, simply use a suggestibility test to narrow them down
to the best ones!
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5. How to practise
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Before you begin practising make sure you read the accompanying notes and watch
the video through several times.
The best and easiest way to do this the first time is to fool your mind that you
have already done it before! This can be easily accomplished with a little role
-play. Don t underestimate the importance of this step; it will substantially incr
ease your success rate.
After watching the video through a few times I want you to imagine that you are
me in the video. Really get into this, if you don t wear glasses, imagine how mine
feel on your face. Imagine how my clothes feel and adopt my body posture. Try t
o make this as real as possible and run through the script exactly as I do, incl
uding all the actions and body language. Imagine that it is my voice that comes
out as your talk; copy my voice tonality, pitch and rhythm.
You don t need a volunteer at this stage, just imagine you have one. Go through th
e entire script this way a few times, until you feel comfortable with it. Notice
how confident I appear in the video and act with the same level of confidence,
with a sense of knowing that your induction is going to go perfectly.
When you are ready, simply find a willing volunteer and go for it!