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The more interactions with hypnotists who had been in the business I while,
the more I realized why Inever wanted to be a hypnotist, why I wanted to be
a philosopher.I thought, if it was possible to violate free will, I wanted to know
how to do it, and that in itself would bemeaningful enough. Even if I could go
back to my former debate days in school and argue with my
teachers and had them come round to my way of thinking; I wouldnt have felt
happy.
I never had the ego to want to beat someone else into submission, I
really wanted just to understand and
couldnt understand why others wouldnt be so prepared to listen and analyse
their own thought process.I felt, rather than results i.e. learning hypnosis to
become a hypnotherapist, or learning hypnosis to
become a stage hypnotist.The more important thing to provide was solutions for
what was going on when a hypnotist met asubject, and how this process of
hypnotizing could be shortened to work for hypnotizing strangers in thestreet.
Im
constantly told by Stage Hypnotists and Hypnotherapists
I dont see how Street Hypnosis isany different. I say have you ever tried to
hypnotize a stranger? or Do you even know what StreetHypnosis means?Im
going to attempt a definition of the term Street Hypnosis You see, its never a
phrase that I can find
from any research into the hypnosis literature over the years, into the
publications of former hypnotists,
The truth is that there wasnt really a great number of hypnotists running
around, the ones who were;would do it for a career, as was the reason that most
people ever learnt anything because they
expected to earn money out of it.Where I think Street Hypnosis really came into
popularity is for a number of reasons. The internet reallycame into full swing for
the vast majority of users after the year 2000; this is when the late adopters
themasses, really got involved.Suddenly forum populations that were usually

just a couple of people emailing back and forth could grow
exponentially; and at this time many similar psychology related businesses on
the internet grew.
Learning skills such as magic used to be really difficult; my dad told me that
once he wanted to read aparticular magic book, which he had to catch the
train all the way to visit the magic circle in London justto read the book he
had heard about.Taking such a step out of your day to day life, to learn
something, as difficult, time consuming, andexpensive as magic
is just something the vast majority of people couldnt possibly fathom without
extraordinary passion; or one just happens to have a bit more wealth than they
should have been bornwith.Hypnosis is something that really strikes the
attention of the general public, you try walking up to
anyone.. pretty much anyone in the world and stating that youre a hypnotist and
youll get a strong
reaction.
You might get I dont believe in that, Wow thats amazing hypnotize me or
something
inbetween butthe reaction is always a strong one that usually evokes a 1020minute discussion.People love the topic of hypnosis, the problem is
its one of those things that you have to see it tobelieve in it, and unfortunately
the entertainment business is a tough business to crack as a talented
artist and hypnotists couldnt possibly go and tour around and show everyone in
nations hypnosisindividually so obviously a huge number of misconceptions
about hypnosis have grown, and many of
which the hypnotists themselves can be held responsible for.The internet is
amazing, and especially later with the social networks; originally MySpace and
nowFacebook, it allows discussion about topics so quickly; that you can
really gain a new skill without mucheffort at all, and do it all in your free time
around working a full time job.This made it possible for a great number of people
who had no intention of quitting their jobs to becomehypnotists able to learn
more about hypnosis
.
This huge population of now internet users who are looking for new things to
investigate and practice arecompletely left out and alienated when it comes to
learning hypnosis.
The key to learning anything is practice, practice, practice and over the
years doing street hypnosis hellover the first few weeks I found there was a
huge amount of hypnosis that I didnt need, or wouldnt
work, or was irrelevant for the street hypnosis environment.Hypnotizing
strangers in noisy busy environments is a little bit complicated; and hence why
this text will
go into great detail discussing the ins and the outs of the subject, its a subject in
its own right.
Since myself and others regularly went out in the streets and developed a very
particular manner ofhypnotizing that seemed to work bestThe term was coined
lots of people have gone out and done hypnosis in a very specific way.
These people on the internet identify themselves under the label Street
Hypnotists claiming what theydo is specifically Street Hypnosis and tend to do
it in a very specific way to the subject itself; which a lot
of it can be found in the publication by Anthony Jacquin (2008) Reality is Plastic.
Just to prove how large the population of Street Hypnotists now is I recommend
you take a short searchon YouTube for Street Hypnosis and youll see how many
people identify with the newly coined term.
When came the popularity of YouTube, and guys were out there now practicing
Street Hypnosis, theyuploaded videos of themselves, and discuss their videos
what can be improved about the hypnosis theyare doing.

The other day I received an email from a student, he asked how can I perform
street hypnosis well?What recommendations do you have for me becoming a
great street hypnotist?
I replied that in order for one to specialize or become good at a particular thing,
they have to understandwhat the nature of the thing they want to become good
at is.In order to know why wants to become a street hypnotist, or how one is to
become good at it, one mustthoroughly understand what street hypnosis
is.Unfortunately, now the growth of Street Hypnosis is so large, a great number
of hypnotists who specializein Hypnosis on stage, or hypnotherapy suddenly
believe that they have information on the subject ofhypnotizing strangers. But
for the reasons we are about to cover its obvious why their techniques simply
arent suitable.See, what we believed we were doing when we started using the
word Street Hypnosis to describe theactivities that took place during our meet
ups which we called
Hypno
Attacks is actually becomingsomething like real mind readers someone could
influence a strangers thoughts quickly (in under 30
seconds) and make it look as little like hypnosis as possible.If you asked us if we
wanted to have subjects close their eyes, or whether we thought a hypnotic
induction was necessary for the hypnosis, I would have thoroughly answered
no.
Street Hypnosis didnt refer to the street, it referred to the attitude of going
and making a stranger do
something that was morally questionable. Maybe not questionable in the
sense that you had someone dosomething unethical, but questionable in the
sense that something very fundamental about morality, freewill, some line has
been crossed and something peculiar is occurring.
You see Street Hypnosis as we saw it wasnt supposed to be entertaining like a
comedy hypnosis show, infact it really wasnt there for an audience or to
entertain.
Critics such as stage hypnotists argue that Street Hypnosis is for the ego of a
Hypnotist to show that theycan control another person.But I really think that
undermines how profound the art is. Others have said that street hypnosis is
thereto make the subject you meet feel more confident or happy.
But when we went out to do Street Hypnosis it wasnt for charity, if it was to
change peoples lives or feel
happy this would directly contradict with the business of hypnotherapists. We
had no interest in making
people happy nor unhappy, it wasnt about that.One of the main arguments for
street hypnosis is that its a good opportunity to promote your business.i.e. if
youre a hypnotherapist then by hypnotizing people in the street, bars, clubs
then it provides
opportunity for people to see you working, realize that hypnosis is a genuine
thing and thus book anappointment with you at your clinic.
Or if youre a kind of magician/stage hypnotist then by hypnotizing where
-ever you are then you wouldbe more likely spotted by owners of companies,
universities, bars, talent agents etc. who might want tohire you for a
performance.
The truth is, street hypnosis isnt any of those things, and if it was then you
wouldnt find so many Streethypnotists who have no interest in leaving their
normal jobs, doing it.
This huge population of now internet users who are looking for new things to
investigate and practice arecompletely left out and alienated when it comes to
learning hypnosis.
The key to learning anything is practice, practice, practice and over the
years doing street hypnosis hellover the first few weeks I found there was a
huge amount of hypnosis that I didnt need, or wouldnt
work, or was irrelevant for the street hypnosis environment.Hypnotizing
strangers in noisy busy environments is a little bit complicated; and hence why
this text will
go into great detail discussing the ins and the outs of the subject, its a subject in
its own right.
Since myself and others regularly went out in the streets and developed a very
particular manner ofhypnotizing that seemed to work bestThe term was coined
lots of people have gone out and done hypnosis in a very specific way.
These people on the internet identify themselves under the label Street
Hypnotists claiming what theydo is specifically Street Hypnosis and tend to do
it in a very specific way to the subject itself; which a lot
of it can be found in the publication by Anthony Jacquin (2008) Reality is Plastic.
Just to prove how large the population of Street Hypnotists now is I recommend
you take a short searchon YouTube for Street Hypnosis and youll see how many
people identify with the newly coined term.
When came the popularity of YouTube, and guys were out there now practicing
Street Hypnosis, theyuploaded videos of themselves, and discuss their videos
what can be improved about the hypnosis theyare doing.

The other day I received an email from a student, he asked how can I perform
street hypnosis well?What recommendations do you have for me becoming a
great street hypnotist?
I replied that in order for one to specialize or become good at a particular thing,
they have to understandwhat the nature of the thing they want to become good
at is.In order to know why wants to become a street hypnotist, or how one is to
become good at it, one mustthoroughly understand what street hypnosis
is.Unfortunately, now the growth of Street Hypnosis is so large, a great number
of hypnotists who specializein Hypnosis on stage, or hypnotherapy suddenly
believe that they have information on the subject ofhypnotizing strangers. But
for the reasons we are about to cover its obvious why their techniques simply
arent suitable.See, what we believed we were doing when we started using the
word Street Hypnosis to describe theactivities that took place during our meet
ups which we called
Hypno
Attacks is actually becomingsomething like real mind readers someone could
influence a strangers thoughts quickly (in under 30
seconds) and make it look as little like hypnosis as possible.If you asked us if we
wanted to have subjects close their eyes, or whether we thought a hypnotic
induction was necessary for the hypnosis, I would have thoroughly answered
no.
Street Hypnosis didnt refer to the street, it referred to the attitude of going
and making a stranger do
something that was morally questionable. Maybe not questionable in the
sense that you had someone dosomething unethical, but questionable in the
sense that something very fundamental about morality, freewill, some line has
been crossed and something peculiar is occurring.
You see Street Hypnosis as we saw it wasnt supposed to be entertaining like a
comedy hypnosis show, infact it really wasnt there for an audience or to
entertain.
Critics such as stage hypnotists argue that Street Hypnosis is for the ego of a
Hypnotist to show that theycan control another person.But I really think that
undermines how profound the art is. Others have said that street hypnosis is
thereto make the subject you meet feel more confident or happy.
But when we went out to do Street Hypnosis it wasnt for charity, if it was to
change peoples lives or feel
happy this would directly contradict with the business of hypnotherapists. We
had no interest in making
people happy nor unhappy, it wasnt about that.One of the main arguments for
street hypnosis is that its a good opportunity to promote your business.i.e. if
youre a hypnotherapist then by hypnotizing people in the street, bars, clubs
then it provides
opportunity for people to see you working, realize that hypnosis is a genuine
thing and thus book anappointment with you at your clinic.
Or if youre a kind of magician/stage hypnotist then by hypnotizing where
-ever you are then you wouldbe more likely spotted by owners of companies,
universities, bars, talent agents etc. who might want tohire you for a
performance.
The truth is, street hypnosis isnt any of those things, and if it was then you
wouldnt find so many Streethypnotists who have no interest in leaving their
normal jobs, doing it.
And honestly spending your time hypnotizing strangers isnt going to get you
work as a hypnotherapist or
stage hypnotist, unless your actually making meetings with the business
contacts your supposed to meetand just do business as you should normally
cold calling, networking groups, etc.Then using your ability to hypnotize as a

bonus, demonstration piece to show you really are what you sayyou are.
For me I always saw Street Hypnosis as if you cant tell someone to try and
convince them, then justshow them instead and theyll believe you then.
I figured hypnosis would allow me to provide visual demonstrations of how I
believe the world wasfundamentally amazing, without having to do long boring
explanations, instead I could show them thevery nature of human choice splitting
in front of them and have they question their philosophicalunderpinnings.
Lets cover some of the things that couldnt be used in street hypnosis if you
were to go out there and doa variety of stage or hypnotherapy things in the
street youd run into a variety of problems.
Mainly because; although the hypnotic phenomena that you make a hypnosis
subject achieve is genuinei.e. the hypnosis subject genuinely feels a loss
of control and feels like they have to perform the hypnoticphenomena, just feels
the feeling asked, just believes the belief told, or just hallucinates the thing
requested even though that part is completely out of their control, or at
least feels that way.
The
rest of hypnosis isnt like that. Theres various moments when a hypnosis subject
has to wait around,
various moments where they have to listen to the hypnotist, and various times
where they have to find
their own responsiveness i.e. search for the feelings the hypnotist
requests.During these times the subject doesnt feel hypnotized at all, in
fact hypnotic subjects often tend to not
feel any different throughout the process of being hypnotized
they usually feel completely awake, alertand normal; its just that for certain
things they tend to experience a large change in belief, or feeling, inresponse to
the words the hypnotist says and a particular process they do within their own
mind.A hypnotic subject could be thought of as someone who assists the
hypnosis process that the hypnotist
has them engage in, and for this reason the misconception of all hypnosis is
self
hypnosis exists
The problem that the critics of street hypnosis dont seem to realize from the
lack of experience inhypnotizing in the street is that strangers dont actually fully
agree to be hypnotized, and what littleagreement they do make to be hypnotized
isnt to be taken seriously.People who havent agreed to participate in a 90
minute hypnotherapy session and paid a large fee, or
gone to see a stage hypnosis show and then decided to step up on stage and be
there for the next long
period of time
The people who just decided to go for drinks in a bar with their friends, or the girl
behind the bar, or the
group of guys you notice in a coffee shop, dont tend to make the best hypnotic
subjects when talking in
stage hypnosis, or hypnotherapy terms.When you hypnotize a stranger, by
themselves, you have an opportunity to give one person yourabsolute attention,
to convince them of whatever you choose. Because your working with
one subject,
and because the emphasis is on demonstrating they are hypnotized or theyll
just get bored and want to
carry on drinking their coffee, or speaking to their friends, or hitting on the
opposite sex.Then your emphasis should be on making that person feel out of
control, or demonstrating a phenomenaquickly enough that overwhelms the
subject to have no choice but to carry on listening to you regardless
of how hypnotized they feel (which wont be much).
In street hypnosis I dont give my subjects the time to resist, whereas a stage
hypnotist will have all thetime in the world to keep the people who arent great
(who arent sitting their acting asleep until they
feel responsiveness)
I have other responsibilities too, being as a hypnosis subject in a bar, street, or
club hasnt necessaryallowed me to make a joke out of them, I cant exactly
make them perform one hilarious routine afteranother, and even if I did I dont
have much of an audience so who would I be performing for, the subject
mainly just wants to have an experience. Or its an opportunity for me to
demonstrate just a handful ofunusual things about hypnosis to him, and his
surrounding friends + a small audience.
There is also the problem of eyes closed on strangers in the street etc. Most
people you meet, dont trustyoure a hypnotist
why would they, youve just walked up and claimed youre a hypnotist, they have
no
reason to actually believe you are.
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1337seanfields.pdf
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Contents
20 BLow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Aquatic. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . 6Iced Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Excised. . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . 10FU2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13Taste-itcular. . . . . . . . . . . . . . . . . . . . . . . . . . . .
171337P33K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Ultimate Epic. . . . . . . . . . .
. . . . . . . . . . . . . . . . . 23sean fields 1337 notes
pg 2
20 B Low
EFFECT:
The agent of illusion request that a witness present remove a $20bill from their
wallet. Handing them a pen, he also instructs that theysign it for identification.
The witness now folds their bill intoquarters, and hands it to the agent, so he can
carry on with his mission.The bill is laid on top of a glass table, and the agent
slowly waves hishands over the bill, which is then seen to MELT down through the
glasstable top, so it is stuck to the underside of the glass! The witness orthe
agent can then remove the bill from the underside, and unfold it, toverify the
witnesses signature. The witness is put into protectivecustody, and the agent
vanishes in a puff of smoke like a ninja.
METHOD:
This assignment is virtually impromptu. While a gimmick isinvolved, it is so
common that you should always have it with you. Oncelearned, I can assure you
that you will always be prepared, as the effectis remarkably powerful, especially
considering how little effort youactually put forth.The gimmick as it were is
nothing more than a second $20 bill. This isfolded into quarters, face in, but
make each fold slightly off, by about1/16
th
of an inch, making this bill slightly larger than if it were foldedexactly in quarters.
Place this bill in your pocket, or somewhere easilyattainable, along with your
pen.Once you are seated at a glass table, ask to borrow a $20 bill. As
thespectator is fishing one out, you remove the pen from your pocket,secretly
finger palming the duplicate bill as you do so.Hand the pen to the spectator,
instructing that they initial, sign, orotherwise deface the bill. Make sure that they
sign the FACE side of thebill. This can be as simple as instructing them to put a
moustache on Mr.Jackson (or the queen here in Canada), and then autograph
their work.At this point, take bill back, and place it directly above the
fingerpalmed bill, and square the 2 bills as 1. Because of the loose edges, youcan
freely show the bill(s) around, without someone noticing the extrabill.Take the
pen back, and place it in your pocket.As you are putting the pen away, move
your right hand (the hand holdingthe bill) toward the spectator, instructing that
they pay close attention.sean fields 1337 notes
pg 3
As they are focusing on the bill, you simply lick your left thumbliberally.Transfer
the bill(s) to your left hand, smearing the saliva across theback of the bill. Drop
your right hand onto the table, flat, relaxed,dead. This is integral to the
effectiveness of this routine.Take the bill(s) with your left hand, and place them
under the table,pressing them against the underside of the table, right beside
your righthand. Explain that it is easy to tell if the bill is underneath, or ontop. As
you are delivering this line, look up at the spectator. They willlook up to meet
your eyes. It is at this moment when the illusory espionagewill occur.Slide your
left hand to the left about an inch, to an inch and a half, sothe top bill (the signed
bill with the spit on it) sticks to the undersideof the table, but the bottom
(duplicate) bill slides into view.Simultaneously, you slide the right hand to the left
the same amount, sothe right hand is now covering the bill beneath the table. In
onecontinuous motion, bring the left hand with its bill, on top of the table,and
place the bill somewhere slightly left of the center of the table.This is a beautiful
sequence of events. In one fluid motion, you haveswitched bills, and set up for
the actual effect, before the spectatorseven know what is going on! Because
both hands are in motion, at the samespeed, and for the same distance, the
switch/loading sequence isinvisible. Even if they were looking, they wouldnt see
a thing. Becauseyou framed the area of motion (the table top), there are certain
referencepoints the spectator subconsciously locks onto; namely, your right
hand,which, of course moves, ultimately making their reference point a falseone.
Status check:
The spectators signed bill is stuck via saliva to theunderside of the table, hidden
directly beneath the right hand. Theduplicate bill is now sitting on the table.Now,
on with the effect.Move the duplicate bill back, and to the right, right beside your
righthand. Now you will perform the exact same sequence as you did to load
thebill beneath the table. You look up at them, and instruct them to watchclosely.
As they look up, you align the duplicate bill with the signedbill beneath the table.
Because the duplicate bill is slightly larger, itwill shade the bill beneath the table,
making the hidden bill invisible,from any angle.sean fields 1337 notes
pg 4
Move your hands away, and draw attention to the bill. All they will seeis 2 empty
hands, and 1 bill sitting on the table. Now for the actualillusionRub your hands
together, and blow on them, as if you were trying to warmthem up. As you do,
secretly lick the heel of your left hand.Wave your hands over top of the bill once
or twice. When you are ready toactually perform the effect, bring your left hand
down slightly, justenough so the heel of your left hand contacts the bill, and
move your handsapart. The left hand drags the visible bill away, revealing the
bill stuckto the underside of the table. This is an unbelievably stunning
moment.It is so visual, you may have to give your spectators a moment
toappreciate what has just occurred.Now, because of the saliva on the heel of
the left hand, the bill willstick, allowing you to raise the hands off the table. Think
of it as azero effort palm. This allows you to remove your hands from the table,
andditch the bill at your leisure, as the spectator pulls the visible billfrom
underneath, unfolds it to verify their signature.Okay, so what if you wanted to
perform the penetration, and immediatelyshow your hands empty? It can be
done, and it can be done easily. It takesballs, but it is easy, and effective.After
you have performed the penetration, and separated your hands, turnyour right
hand over at the wrist, so it is palm up, fingers barelytouching the table, wrist an
inch or so above the table. After you startto turn the right hand over, you start to
turn the left hand over. Makesure the left hand turns over a half beat behind the
right hand; the extramotion helps hide what is actually going on.And what IS
actually going on?The left hand, just like the right, turns over in place at the
wrist.However, the left hand leaves the bill on the table, and turns over ABOVEit!
The spectators have seen 2 empty hands, so the idea of an extra billis
shattered.In the same way you turned the hands palm up, turn them palm down,
allowingyou to steal away the bill, and ditch it at your leisure.Oh, and for all of
you concerned with sanitation, and the use of saliva,that too can be alleviated.
Just have an icy cold beverage with you. Nowrather than licking your hands to
get enough moisture on the bill tosean fields 1337 notes
pg 5
adhere, just take a sip of your drink; the condensation on the outside ofthe
can/bottle/glass is more than a suitable replacement for the saliva.As well, taking
a sip of your beverage can often times be more natural andinnocent in

appearance.
AQUATIC
EFFECT:
The agent again finds himself at a house party, and is asked toredefine the
onlookers reality. With little hesitation, he asks for abottle of water, and a
penny.The agent removes the cap from the water bottle, takes a sip, and recapsit
tight. He then removes the label, to ensure a crystal clear view of
theproceedings.Taking the penny, the agent slowly, and visibly passes the coin
inside thebottle! The witnesses are instructed to look closely, ensuring that
thepenny really is inside the bottle, and that the agents hands are empty.Just as
slowly, and just as visually, the agent then removes the cointhrough the bottom
of the bottle!Offering to do it one last time, the agent lays the penny on the
table,and slowly brings the bottle down onto the penny, where the penny is
seento visibly pass into the bottle, which is then immediately handed to
aspectator to examine.
METHOD:
I cannot speak highly enough about this effect. With so many coinin bottles being
released, I was hesitant to release this one. However,after much thought, and
many requests, I have decided to publish thiseffect here for the first time
EVER.Like much of my material, this requires a little something extra. But,like
much of my material, this little something extra is so common, youprobably have
what you need within arms length.What do you need?An extra penny, and a
small ball of magicians wax, about the size of asmall pea. Stick the penny to the
wax, and stick the wax somewhere easilyaccessible, I often just stick it gently to
another coin in my pocket.Ask for a bottle of water. As someone is getting you a
bottle, steal thepenny and wax, and just hold the penny and wax loosely in your
left hand.sean fields 1337 notes
pg 6
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because I recognize that she is hyper with the pacing

statement yeah Im almost
bringing it to focus that iswhat s
he is, you can still sleep right? at this point shedoesnt know Im about to make
her go to sleep, or if Im
just referring the fact that hyper people can still relax, orsleep or somethi
ng. [3] so your body can just
go stiff and
rigid this is unclear
whether Im askin
g her to do that, tomake that happen now, to realize it happening already,wh
ether thats what happens when
people go to bed, orsomething that I want her to do in a moment
I tap her inorder to emphasize that she should or can do that. [4] nowthis is the
real work, this is where I tell her exactly whatshe should be doing when I am to
say the word
sleep Ive
already brought up the necessary frames
and primings
that I need her to be able to easily access as I say thefollowing instructions to
her
my purpose and intention

about what Im about to do (put her to sleep) is suddenlymade clear, but she
isnt in a position to think outside or
a
void this because Ive made it

seem so natural for that to
occur. [5] you should cl
ose your ey
es this is unclearwhether Im asking her to do something, it sounds ma
inly
like Im literally asking
her just to close her eyes themoment I say sleep
that Im saying thats her

responsibility to do. [6] not clear if this is the moment sheis supposed to sleep
[7] the suggestion for sleep is issued.
[8] I say do not fall over to purposely make her
feel like
shes going to fall over, to make her feel out of
control. [9] Isee that she is
tense, that shes confused, I make that easier
by almos
t saying
ssssh, It will be ok, just close your eyes, be ha
ppy, like you would to a small child whos just had
a nightmare to put them at ease. Then later in the routine Iput her to sleep
again, this time reusing the technique
that Ive already set up under the label of sleep, by doing

this saves time, stopsme having to re explain what this will feel like, what herrole
is etc.Understand this dramatic sleep response is quite unusualfor street
hypnosis and in her case is simply because of theamount of effo
rt, Ive
gone to make sure my suggestionsare finely tuned.
Theres various statements I regularly say
in order to make someone feel a little
more in it then
they usually would, more ideas can be found in thedeepeners section of this
guide.
its like youre so focused
on the things I say, as if you just understand the ideas Igive you and your mind
runs away with them, as if your
mind is just working too quickly you know when youre
lying in bed and if you do
nt move you know youre going
to fall asleep, and you notice your body goes all stiff as if
its kind of paralyzed for a
short while courtesy of your
unconscious mind with your eyes closed you can begin
to relax and feel like your muscles in your body are goingloose and limp, as if
youre
going so relaxed in those legs,in that
head it feels like they cant do anything but relax
even more now, you feel heavy like a sack of potatoes, as ifyou
couldnt move even if you tried, relaxing even
more now.
Working with subjects who struggle tounderstand you
People who arent able to listen to you, for example peoplewho dont speak your
native language, hypnotizing in a
very noisy environment, or who have a short attentionspan because of perhaps
ADHD or drug use, or people
who arent able to
understand long words or think aboutthings can be bad hypnotic subjects.
However if you workin the right way with these people you can give yourself
afighting chance. As long as they are glad to work with youand understand that
much then you are going to havethem for a lot longer, and be able to have them
create a lotof the missing gaps in their own mind. Some people have
an impression of what a hypnotist is, being as you cant fix
their misconceptions because of the various barriers between yourself and the
subject
then you might find itdifficult being able to explain how the subject can become
hypnotized and what they are doing wrong if they dont
get hypnotized.In this case the only choice you have is to give the subjectan
impression of being hypnotized. In a circumstance suchas this I will give very
short brief commands. I will askthem to close their eyes to better help them
concentrate, Iwill tell them that they are the ones who do the hypnosis,and that
they should look and imagine for the response
within themselves. I will tell them exactly whats going to
happen. For
example youll rock back and forth as ifyoure on a boat if they dont
understand the word forth,I will say it feels like your rocking, because
yourimagining youre on a boat you might have to change
your words around a few times until you see the response
in the subject, because of the noise, or because of the drugs,or because of the
language barrier they might not knowwhat you said and thus might be waiting
there not
expecting whats going to happen, but realizing nothing is
happening because th
ey didnt understand or hear a wordor so you said. its going to feel as if your
rockingautomatically, as if you just sway,, as if you feel kind
of sea sick because
youre
on a
boat. Because
I dont have
a lot of time, or room for explaining myself I will just buildthe illusion that the
subject is hypnotized. I will say things
like you feel very hypnotized, thats why your sorelaxed, you feel more
and more hypnotized becauseits a short sentence and its
easy to say and easy tounderstand
your assuming the subject has the capacity tofill in the gaps
this wont work on a bad hypnotic subject

i.e. someone who has no experience in seeing
responsiveness in themselves that they didnt cause
themselves. This really is just doing the best you can with adifficult
circumstance. There is another option; particularlywith subjects in a loud noisy
environment, or on drugs you
can instead assume youve got about 5
-10 seconds tohypnotize the subject, and blast out as many of the
instructions Ive listed in the Steps to hypnotize section.
Mainly just focus on how they need to feel, and then gostraight for a hypnotic
phenomena for example the VinceLynch handshake, or a stiff arm. You want to
just lockthem into a binary phenomena in those ten seconds sothen the subject
feels trapped and has to listen to you
because they cant get out of it and they want a solution, so
theyll happily wait there with their arm stuck or their

hand stuck until you offer them a solution
therebymeaning that they more actively commit to the hypnosis,

and dont just give up when they feel they arenthypnotized (remember
hypnosis isnt a constant state).
The order of your routine and the structureof your suggestions

We are going to go into details about the general structureof how I operate, here
I have listed dozens of completesections or steps that I follow every time I go to
speak to astranger and influence, persuade, pick them up orhypnotize them. As
we discuss the various points we willgo through the research and information
that causes me to
believe the step Im taking is thought through and entirely
necessary. At the end of explaining each of these sectionsThe approachWhen I
approach someone, I am trying to assess who Ishould hypnotize; according
to research (find research)hypnotic subjects are awful at estimating
howhypnotizable they are, and for this reason you shouldnever take their
judgements about themselves seriously.Obviously people have all kinds of
beliefs about hypnosis,and these beliefs tend to be the main things that interfere
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Dim-Mak-PK
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effect, it is pure elegance. It becomes an art form that we all shouldstrive for. I
had the pleasure of seeing Luke perform this at alecture and once again inside of
a crowded local restaurant/lounge.Both times it killed!It was this effect that
tantalized my mind. I was consistentlyhitting, but I wondered if the hit ratio was
due to a playing along like scenario that hypnotists get. I am a perfectionist
and wanted tofind a sure fire method that would work on everybody,
anywhere,and at anytime.The following is what I have had the pleasure of

discovering
Method:
First point and the basis of the whole routine is the pulsestopping. The pulse
stopping is achieved through an ancient methodof getting the pulse taker (p.t.)
to lose the pulse. This is achievedthrough several devious techniques I will out
line now.
BASIC METHODOLOGY-
The secret that makes Dim Mak unique

Start the demonstration with the pulse takers forearm tensedand subsequent
fist clenched tightly. Use the pulse takers left handto find the pulse in a position
which is higher up on the forearmrather then the writs where the pulse is
normally taken. When thetime for the pulse to stop comes, have the arm and
clenched fistloosened. The loosening of the forearm and fist causes the pulse
tomove minutely and thus the pulse is lost. The addition of a physicaltapping
(and verbal cueing of STOP!) also cause the pulse todisappear because of a
slight jarring of the arm that helps to
facilitate the minute relocation of the pulse takers fingers effectivelylosing the
pulse. Also by performing a pseudo-hypnotic suggestionthat the body is drifting
off and getting heavier, also facilitates thearms pulse to shift as the individual
is drifting off. All of thesesubtleties cause the illusion of the heart/pulse
completely stopping.
Stopping the pulseIn depth psychology!
Subtlety IWhether you are stopping your own or anotherspulse, make sure the hand in
which the pulse is taken on isclenched tightly at the beginning of the routine. As
the routinecontinues, the natural releasing of the strength at which thehand is
clenched diminishes, which is essential because thiscauses a slight and
undetectable shifting of the arm and thuscauses the pulse location to shift
arm positions slightly.
Subtlety II-
When taking a pulse get the p.t. to use theirnon dominant hand, i.e. if a
pulse taker is right handed havethem use their left hand to take the pulse with.
NEVER makea big deal of this, and asking overtly should be out of thequestion. If
you cant figure out without asking if the p.t. isright or left handed, simply
assume they are right handed andask them to use their left hand to take the
pulse. As timeprogresses the natural inclination is to relieve pressure on thepulse
point and thus by lose it. By using the non dominanthand it helps for the pulse to
be lost at a quicker and timelyrate.
Subtlety IIIHave the pulse taken higher up on the armabout two to three inches from where
the pulse is normallytaken. At this point the pulse is significantly weaker
andserves for a better area in which to lose ones pulse
(Help I
lost my friends pulse, I know it was around here a minuteago!)

.
Subtlety IVHave the pulse taker mime the pulse rate withtheir dominant hand. This serves
as a visual cue for theaudience and also helps to cause movement that can aid
inlosing the pulse. I saw Luke do this, but I have heard themethodology is a lot
older then even Luke. I have beeninformed that it dates back to Tony Andruzzi.
Subtlety VYou inform the spectator to go loose! As youinstruct the spectator that their body
is feeling numb anddrifting off, you tell the spectator to release the clenching
of their fist as their arm too is going numb. As this happens youuse move onto
the chest suggestions in which you state thattheir chest is growing heavier and
in fact, their heart isslowing, slowing, and stopping. The timing is perfect
betweenlosing the pulse and the suggestion of the heart stopping (seescript). I
also grab the arm of the person whose pulse is beinglost and say, NOW! The
grabbing of the arm causes a slight jarring of the arm and thus serves to help
shift the pulseagain.
Subtlety VI-
When stopping your own pulse, you can ensurethe losing of the pulse by twisting
your forearm (where thepulse is being taken) slightly an inch to your right.
Thiscauses the pulse to be shifted and effectively cause anyonewho is taking
your pulse, to lose said pulse. This also serves adual purpose of establishing a
rapport and belief that you canstop pulses/cause death at will which helps when
you causeanothers pulse to stop.
SUBTLETY REMEMBER:
Those who play along get rewarded;those who dont are doomed to being stuck
on stage with anangry audience starring at them!
Now that we have established the ground work for the routine, wecan move onto
the name revelation.
Name RevelationThe name is revealed through a linguistic deception. You willread it in its entirety
later on in this manuscript. The deception isestablishing a belief that theres no
way you could have known thename of the individual. You never told me the
name of this lovedone, have you? This of course doesnt mean you couldnt
havegotten the name from a center tear or peek. In fact thats thesecret.Its pre
show work. Before performing you approach thespectator and inform them that
you will be performing anexperiment of a sensitive nature. Ask them if they have
had a lovedone who has passed recently. Also make sure it is ok that you
usethem in a demonstration.After this you use your favorite method of attaining
theinformation covertly. I personally use a peek such as Acidus
Novus,Banacheks close-up drawing duplication peek from his Psi-series,Shrinks
invisible assistant, carbon impression device, or a centertear. The center tear can
also cause ambiance especially if you burnthe pieces of the tear.The method of
getting the initials on your forearm comes froman old method I saw first
performed by a pseudo-haunting victim ona television program known as
sightings from the early 90s. Itsactual origins come from the book Body Magic.
You simply useyour nail to lightly scratch the initials onto the top epidermis of
skin.The guise for this Nail Writing is that of rolling up your sleeve.Keeping your
arm raised will prevent the scratches from being seenprematurely. When you
lower your arm and begin flexing the
muscles in your forearm, the letters will begin to eerily appear. Mostpeople have
seldom seen burns and scratches so it can pass asboth, depending on your
presentation.
The Script:
:: I WILL LEAVE THE DESCRIPTION OF WHAT WILL BE HAPPENINGTO YOUR
IMAGINATION, THE OPENING SECTION OF THIS BOOK ON DIM MAK WOULD MAKE
A SUFFICIENT LECTURE! ::
Is there anyone with medical training in the audience?(Select a member from
the audience) Would you mind joining meon stage?The ability to stop ones pulse
with a mere touch is an ancientmartial arts technique. I intend on demonstrating
an updatedversion of this for you tonight known only to a few select

anddangerous individuals. Before we go any further, I am going to needyou to
make sure that I do have a pulse.
:: Find the pulse location about 2 inches above wrist, and clenchyour fist
effectively tightening your muscles. Have the pulse taker (p.t.) confirm and
continue to take the pulse on that location. ::
With your left hand reach over and feel my pulse as itcontinually surges. Please
mimic the rhythm of my pulse with yourright hand.Now I am going to attempt
something extremely dangerous.Please dont try this at home. I need to find my
Dim mak, pressurepoint, in my neck and jab it gently. THERE! Feel it slow. (Rotate
arma bit as in instructions) It should stop, NOW!
:: ACT! Make it appear and seem as if your pulse has stopped.Lessen your
breathing and appear to have labored facial expressions. ::
WHOA! (Jump up out of your seat as if you just saw aprophecy) Thats strange. I
felt a chill and a burning at the sametime. (Shake it off.)For the next
demonstration, I need the assistance of anotherindividual from the audience,
someone of good health. Yousir/maam will you join me on stage (Select the
audience memberwho you have previously obtained the name of a deceased
lovedone from)?
:: Feel for the pulse of your new assistant (p). Instruct (p) to clenchtheir fist
tightly. Also, have them close their eyes. ::
Now please reach over with your left hand and feel (ps)pulse and once again
please mimic the rhythm of his pulse withyour hand.Now I present to you a form
of death touch that uses notouch at all, it utilizes a PK death field. If I perform
this correctly,your pulse will slow and could quite possibly vanish COMPLETELY!
You will enter into a realm known as summer land in which thespirits dwell. A
state of complete relaxation and suspendedanimation.(P) I want you to feel a
tingling in your legs. Can you feel it?They are becoming numb and drifting off, as
is your head. It to isbecoming heavy and labored you are growing completely
heavy andrelaxed. Your breathing is lessening. You are slipping away.
Nowcompletely relax. You arms and hands are relaxing, let go. Allow
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HOT (Head or
Tails)
Thisisathreesteproutine,inwhichyouaskyourspectator for a coin (any coin), you
ask them to flip it inthe air and to catch it in their hands without letting you
seeit. You ask them to take a look at the coin, to check if itlanded heads or tails
up. You NEVER see the coin and yetyou are able to know the result.IT IS THEIR
COIN, IT IS THEM WHO THROWS IT IN THEAIR, and it is THEM WHO CATCHES IT. It
all happens in theirhands, and yet you are able to tell ACCURATELY what it
is(heads or tails). If you are thinking that somehow you"track" the flipping of the
coin, that is NOT the method (youcan do this even looking away from your
spectator, toprove you are not glimpsing anything), it is somethingTRULY
PRACTICAL and easy to do.
The presentation:
You ask your spectator for a coin, ANY COIN, you now askthem to flip it in the air
and catch it in their own hands.Before they look at it, you will ask them to think if
it haslanded with the head or tails facing up?Now you ask them to take a look at
the coin to find outwhether or not they were wrong.You ask them to do all this in
their head and NOT tosay anything out loud.Now you make two revelations:First
you reveal if they were right or wrong in what theybelieved the coin had hit up,
and also you reveal what thecoin hit up.
You ask your spec now to flip the coin one more time, butthis time YOU will catch
it, you will also instruct him to sayOUT LOUD while thecoin is still flipping in the
air what theythink it will hit up, and you explain in advance that you willmake the
coin to hit exactly as your spectator has said itwill. The coin lands on
your hand PRECISELY as yourspectator guessed it would, but of course you take
the creditfor it, as if you CAUSED it to happen that way.In the third step of this
routine, you give the coin backto your spectator, you ask them to flip it in the air,
to catchit in their fist, and to take a quick peak to see how the coinlanded, you
ask them to put the coin away, and you are ableto tell them exactly how the coin
landed.
The method:
This entire routines uses 3 different techniques, one for eachof the steps. I would
advise you to use them the way youfeel most comfortable with, and you can skip
some of thesteps if you prefer, or even to add some steps of yourown you
once you understand the whole thing.

STEP ONE:
For the first step we will use a PSYCHOLOGICAL force, MOSTof the people when
they flip a coin in the air will say it willland HEADS, this is already a
psychological thing, but wewill make it even MORE CUNNING, to make sure it is
a GOODHIT.So it all starts with a good script, here is the way it goes:
Flip the coin into the air and catch it in your fist, don
t takea look at it yet, do it, now think what do you think it HIT up,HEADS (small
pause) or tails, (don
t pause here) ONCE youhave in your mind what you think, DON
T change your mind,take a look at the coin and find out whether or not you
wereright, but don
t say anything out loud.
Note here: the words in CAPS must be said a little morestrong than the others.So
when said properly and at the right speed, you aresaying: Now think what you
do think it HIT up, HEADS(small pause) or tails. In your spectators mind it
actuallysounds like: Now think what you do think it HIT
UPHEADS. Since you are IMMEDIATELY instructing him NOTto change his
mind, your spectator is thinking of HEADS.Now here is how it goes next:You now
instruct your spectator to peak at the coin, and
findout whether or not he was right.What I do here is paycareful attention to the
gestures my spectator will makewhile peaking at the coin. If he seems to look
disappointed,it means that the coin is TAILS up, and therefore you cannow reveal
both: you can reveal that he was thinking of HEADS, but that he was
wrong for the coin was TAILS.If your spectator seems SERIOUS or a little
confident or shouldI say excited (even just a little) then you can also revealBOTH:
he was thinking of HEADS, and he is right, forthe coin is HEADS UP.Now, let
me tell you something, I am VERY comfortabledoing it that way, to me once I do
the suggestive script, andI know that my spectator is thinking of HEADS, its just
amatter of finding out from his gestures if he was right orwrong, and once you
know that you have TWO revelationsto make.Now let me go a little bit deeper to
make SURE that you willhit on your revelations. Remember your spectator
alreadyhas HEADS in his mind, which I will always take as a FACT,so now is all
just a matter of revealing it in a clever way:When I ask him to find out whether or
not he was right, Ipay attention to his gestures and:
1)If he makes CLEAR gestures that he is disappointed(and therefore wrong).The

gestures here are very subtle, they can be: crushing hismouth a little bit, or
turning his lower lip down, closing hiseyes a little bit, or raising the eyebrows a
little bit.Ifyou read these type ofsignals, youcan make the tworevelations
immediately. I normally ask them to take thecoin away, and then say:-So I
have the feeling that you just found out that youwere WRONG, the coin was
actually showing the otherside than the one you were thinking of. I wait for ayes
as an answer
and then I add-For the coin was TAILS up, but you thought it would
beHEADS.2)IfhemakesCLEARgesturesthatheisNOTdisappointed at all (and
therefore he is RIGHT)The gestures here are normally EXTREME, they will either
betotally exposed (clearly to show he was right) or absolutelyBLANK (no gestures
at all) in which case your spectator willnormally make NO gestures at all, he will
look serious, andhis face will be totally relaxed.Now I reveal the opposite of the
previous case:-So I have the feeling that you just found out that youwere RIGHT,
the coin was actually showing the sideyou were thinking of. I wait for a yes as an
answer
and then I add-For the coin was HEADS up, JUST as you thought itwas.
3)IfyourspectatorDOESNTmakeitclearwithhisgestures if he was right or wrong, or

you somehowmiss it or were not able to find out then I will askhim to put the coin
aside and I would go this way:
So I believe you were wrong (note here I DON
T say you ARE wrong
, but you WERE wrong
Here I willwait for a REACTION or an ANSWER. If he says yes,then I know the coin
was TAILS up, and of course hewas thinking of heads. If he says NO, or makes
agesture indicating that your statement was a failure(which means that the coin
was HEAD up, and of course he was also thinking
of heads), then I willIMMEDIATELY interrupt him by saying:-Let me finish, I didn
t say you ARE wrong, I said

youwere wrong, I have the feeling that you thought thecoin was HEADS up,
but still you had a doubt in yourmind that makes you think
that chances were just50/50, butyou seeYOUWERE wrong because therewas NO
reason to doubt. I have a CLEAR vision thatthe coin was indeed HEADS UP, JUST
as you thought itwould be.So there you have the ways to make sure your
revelationwill be a 100% double hit.Since I have performed this
routine so many times, I feelvery comfortable keeping
it CLEAR and just asking myspectator to think of it, and revealing their thoughts
withoutasking any questions where the answers might guide me alittle
bit.Neverthelessletmeshareanother way with you toaccomplish this first step of
this routine. This is so you canstart getting more comfortable with the
psychologicalaspects of this method.
All you have to do is to ASK your spectator whether or notthey were right.So for
instance you ALREADY know he is thinking of HEADS,now you ask him to make a
peak at the coin and find outwhether or not he was right.Here you ask:-So, were
you right or wrong?His answer will tell you EXACTLY what to reveal, if he sayshe
was right, you know the coin was HEADS up. If he sayshe was wrong the coin was
TAILS up, it is SELF WORKING.To your spectator the answer he gave you means
NOTHING,for you had to READ HIS MIND, to find out what he wasthinking.
STEP TWO
For the second step of this routine we will use SLEIGHT of hand.Here is how it
goes:You ask your spectator to flip the coin one more time, butthis time YOU will
catch it. You also instruct him to say OUTLOUD while the coin is still in the air
how they think it willland, and you explain in advance that you will make thecoin
land exactly as your spectator has said it will. Thecoin lands on your hand
PRECISELY as your spectator said itwill, but of course you take the credit for it, as
if youCAUSED it to happen that way.
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Bill Dekel - Mindcraft Visions.pdf
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though it is technically a mental force, as it plays better presenting it as mind

reading asopposed to a prediction or force
&irect Mind Read'
/E9plain to your spectator that they are going to make three choices that will
leadthem to a number between / and /001)ell them that you have an
invisible pack of cards, with all the numbers between /and /00 spelled out on
them, such as EI2G), or 3EVEA >ou then shake off a bit ofthe invisible pack
and place the two halves in the air, saying that you want them tochoose which
packet to take down, ones that start with vowels, or those that startwith
consonants If they say consonants, take down the invisible consonant
packetand toss it over your shoulder, and immediately saying Aow of the vowel
cards, wehave%
numbers above and below 0 Gold the
invisible vowel cards in a mechanics grip,asking which of the two you should
remove from the pack If they say above 0, thensay 4lright, let!
s remove theseand toss them to the side, spreading theremaining cards,

saying Heaving us with numbers below 0 If they choose below 0right off
the bat, "ust slide them out, dropping the others on the table, and spreadthe
invisible cards below 0
?3plit your packet once more, saying that you have odds and evens Aaming
them,place the two packets in front of your spectator, asking them to push one
of themtowards you If they push evens towards you say )hat leaves you with
odd numbersbelow 0 that start with vowels )hink of one in your head If
they push oddstowards you, ask them to think of an 8dd number that starts
with a vowel, between/ and 0 5ale Gildebrandt kindly reminded me to add
in the #between% to keepthem from thinking of one )heir only choice will
be eleven, unbeknownst to them I have never had a spectatorhave a hard time
coming up with the number, and the choice seems completely free,down to their
final choice of a number )his is because the choices consonant andvowel
seems fair or nearly so until you actually think of the letters to reali$e thatthe
only words that start with vowels between / and /00 are , //, / , 0, /,
1,, ?, , 6, ., , and J )he choice between below and above
0 seems to "ustcut the options in half, but because of the vowel force, it really
cuts off /0 digits*leaving them with K"ust like the Fair does with card values+
)he final choice of oddor even again seems like a 0@ 0 choice, but in reality it
trims off 1Drds of theirremaining choices Ly the final choice, it seems like you
have "ust cut it roughly inhalf three times, which would still leave about /0@
options in their mind!s eye, sowhen you come out with the number, it seems
like you really read their mind)hus this effect, while leveraging a fact I
discovered about numbers, I ended up utili$ingsome of the same techni(ues as in
both the Fair and rime* using e(uivo(ue with "ust threechoices, and using
vowels as a crucial forcing method, albeit in a different setting
Aotes
It!s (uite hard to mentally re@engineer, because they won!t even notice that
you are usinge(uivo(ue, much less how the choices worked down to one number
out of J in "ust threechoices, with the last seeming even more free )he Fair is
similar, e9cept instead of 1 choices, you now have Kseemingly+ /00* the
optionsseem to have doubled, and you don!t have to skip over the e9act suit
once you force thecolor Furthermore, every choice renders a /Drd or smaller
remainder, which means thatevery choice is strikingly effective, allowing the
choices to be cut away (uickly as opposedto taking the Fair out to a fourth choice
@@ the e9act suit @@ and having two 0@0 choiceswhich aren!t significantly
helping you by leveraging the (uestions)hey are a good many more creative
ways to use this force* you could use it in a book testto force a page, to force the
age of a mentally created character, or a one ahead force 4nalternative would
be to cut out the other two steps and "ust force a number between / and/0 in one
step, or force a number between / and 0 in two steps In comparing it to
rime, the one draw back to the effect is that you couldn!t really performit for a
crowd like you could rime, as it is dependent on e(uivo(ue, no matter
howminimally, and something like a drawing duplication "ust would have the
same feel to it ifthey first had to think of a number, then go to a page, and draw
what they readDsaw onthat page )hat said it does what it does very well, and I!
m more than pleased withreactions I get 8ne slight note is that you must
choose your spectator wisely >ou need
someone with a sharp enough mind to (uickly grasp a number, yet not intelligent
enough tohave a cynical view of your work* if they are the effect won!t have
much success4s usual, my favorite way is "ust to use it as direct, naked mind
reading I always wanted tobe able to divine a number in someone!s mind
without fishing, mathematics, or gimmicks,and Mind&ack let!s you do that In
one case, the person I was performing it for chose the right decisions before I
could evendescribe their choice, eg I said We have numbers above and
below fifty, imagine thatand she cut me off and said below fifty, for all
of the three choices, and then I asked herto think of a number like that Kwith
choices that she established+, and then read her mind 3he nearly
flipped)hat said, it!s far better than some other psychological number forces
such as the . force,which asks you to think of a K/+ two digit number K1+
between / and 0, with K+ both K?+odd, K+ different digits )hat!s five
parameters to force one of eight numbers @@which youhave to guess at, and
they didn!t get to create those parameters, yet the choice still seemssomewhat
fair3o imagine if you literally double their choices, allow the parameters to be
chosen by them,and then use two less of these parameters then in the . force,
and then not have to guess*they could find you had predicted it all along Kor you
can "ust read their mind on the spot+3ometimes I "ust say #)hink of an odd
number between / and 0 Nwait until they almostgot one then addO )hat
starts with a vowel% )hey never have a problem coming up with the
right number in "ust a few seconds, unlike the . force, where they often get
confused withwith #different, odd, digits% part, and without the / in risk
factor I!ve gotten splendidreactions from this, and I!m sure you!ll be able
to pull it off with little to no work It looksand feels like true mind reading, and
you can force "ust about anything with it as describedin the ne9t
effect3ometimes, I skip the /@/00 choice altogether and "ust concentrate on
numbers between /and 0, using e(uivo(ue "ust twice I "ust say #Gere I have
a pack of numbers between /and 0 that are printed out on cards such as this
one, which says )@W@8, or this one, whichsays 3@E@V@E@A@)@E@E@A
Which cards do you want me to remove from the pack, those thatstart with
consonants or those that start with vowels= E9cellent, let!s toss those to the
side8f the vowels, we have odd numbers and even numbers, which of the the
two should I takedown, odd or even numbers= 2reat 4ccording to your choice,
think of an odd numberbetween / and 0 that starts with a vowel% )his "ust
clears up the e(uivo(ue a bit, whilestill giving them a free choice at every
levelIf they seem to be having some trouble coming up with a number, or "ust
as an alternativeto having them think of one, you can "ust say #Which leaves us
with eleven% and then allowthem or the rest of your audience to reverse
engineer it later* they!ll only find that you arecorrect )his becomes particularly
necessary if performing for someone who!s a bit of aheckler, I say this from
e9perience: the only time it really failed was because my hecklerwas smart
enough to be a skeptic, yet not smart enough to think of a number
Ge literallywent through every number out loud and still skipped over eleven
Look )est
&escri#tion'
In this variation, you branch off Mind&ack, using their number to flip to the
correspondingpage in a truly free choice of book, and then asking them to glance
at the first line on thepage >ou then proceed to say the words aloud, one by
one, as they think of them
Method'
)he book test gives you a logical disconnect and directs their attention to the
book andwords as opposed to the number I!d "ust like to run through the book
test briefly to clarifythe run through:/ 2et a stack of about five books, and
memori$e the first line or word on the eleventhpage of each book, or get about
books in a novel series and two duplicates of one of thebooks and then swap
the duplicates! covers with the other books in the series, so you onlyhave to
memori$e one line @@ although I personally prefer the first method 1
Verbally force the number eleven on them
3how them a stack of books, and
ask them to choose one, then flip to the page of thenumber in their mind I ask
them to choose a book after the number for two reasons: firstlyit gives a logical
disconnect that makes them forget even more about their seemingly free
Activity (1)
FILTERS
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22
I`m going to single someone out near the front of theaudience to help me here.
Im going to hand you this boardand pen. When you receive it, dont let me
anywhere nearyou.
Hand the board and pen to someone and then walkback over to the subject.
The person who has the board and pen in the audience...canyou write what the
image is...put a name to it...under thedrawing? Just in case the drawing is a bit
indistinguishable for the rest of the audience.Thank you. Hold it up so the entire
audience can see whatyou have there.
This is for the benefit of the subject. The subject willhear you near them, will
assume the person in theaudience has drawn an image on their own, and
isholding their image up for the group to see.
23
Please keep your board and drawing facing the audiencebehind you, and be
sure not to let our telepathist up here seeit.
Have the subject onstage open their eyes and snap themout of their supposed
altered state.
Please state aloud what image you have in your mind!KING.
The whole audience will gasp nearly in unison.
Please turn the board around so we can see it up here too.Its a crown. A King
and his crown. Im taking that as a hit.Lets have a round of applause for both
helpers.They have been excellent!
This last comment seems casual but it will seal thedesired effect for the audience
and the subject.The effect in this case is even better to the secret helperthan it is
to the audience. You can count on the helper
24
being amazed in this effect. The reaction from the secrethelper will be in line
with what their reaction ought tobe. You cant say that about most stooged
tricks.
Presentation #2
Invite two subjects to the stage rather than one. Insteadof writing the word
King on your palm, write a twodigit number (I use 27 as it is easy to
read).Perform in the same manner as previously described,but instead of asking
three questions, walk over to thesecond subject and blindfold them. State that
thissecond subject is going to attempt to receive thethoughts of the first
subject.Place a board or other writing surface in the secondsubjects left hand
and a marker into their right. Havethe nib of the pen touching the face of the
writingsurface so they know where to write.
25
This process is known as automatic writing, or psychography, where an
individual lets their hand move of itsown accord, creating squiggles and such. If
consciousthought isnt used when the hand is moving then
that persons subconscious thoughts should come out within thesquiggles and
doodles.Start moving your hand with the marker. Please do notthink of what
you are writing. Ignore it...block it out. Justlisten to my voice. Keep your eyes
closed and say nothingout loud. Our friend over here...imagine yourself
screamingyour number to the other person...yell that number to themover there
but only in your mind.
After a moment or two, have both subjects stop whatthey are doing.
Subject one, you can open your eyes, Im going to take the pen from
Subject Two and remove the blindfold. I would likeyou both to join me at the front
of the stage now.
26
Subject Two, keep your scribbles facing you please. NowSubject One what
number did you have in your mind?Twenty-seven. Subject Two can we please
have a look at yourautomatic writing?
When they turn the board around everyone will seedoodles and scribbles made
by the blindfolded subject,but within this will also be something that looks
verymuch like the number 27.The reason for this of course is that you wrote
thenumber 27 on the board or pad before the show began.Once Subject One
closes their eyes to concentrate andSubject Two is blindfolded, the second
person is giventhe pen and board to hold, facing towards themselvesonly.
Activity (1)
FILTERS
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Our privacy is under siege. The government, corporations, our employers,even

neighbors seek information about us. Our last refuge may be our ownminds but
not for long. Body language can reveal a lot of information about what a person
isthinking. For instance, the eyes are a good place to look for subtle clues.Facial
expressions and speech patterns can also betray a persons thoughts.Let me
demonstrate.After getting a participant to join me, I recite four objects. Lets say
theyre a ring, a quarter, a key and a watch. I ask the participant to
pick onementally. Its a free choice and I dont influence it in any way. Do
you have an object in mind? Great! I will ask you a question. You mayanswer it
either truthfully or by lying. Its your choice.I stand a few feet away and stare
into the participants eyes as I ask thequestion. Is the object you have in mind
either the quarter or the key?The participant answers No. Youre making
good eye contact. You have a nice smile. Youre not giving upyour thoughts
easily. Your body language is subtle. I cant tell yet if yourebeing truthful. So lets
try it again. I will ask you another question. If youanswered truthfully the first
time, then please answer this next questiontruthfully as well. If you lied the first
time, then please lie again. Understood? Is the object you have in mind either
the watch or the quarter?The participant answers No. There are no facial tics
to give you away. Youd make a good Poker player.But I believe I now have a
reliable baseline to work from. Ill ask you onemore question. If you told the truth
the last time, then please do so again. Ifyou lied, then please lie again.
Understood? Is the object you have in mind either the key or the watch?The
participant answers Yes.
You took a little longer to start answering and you averted your eyes. I willtake
a chance. Your body language is telling me that youre lying. Am I right? Oh,
by the way, the object you have in mind is the quarter.With a willing participant
who can follow instructions, the result will becorrect 100% of the time.
How?I dont bother messing around with body language. The real secret is
thebinary code. All it takes are 3 questions and some simple addition, and I
cantell whether the subject is lying or telling the truth and what the object
is.Heres how it works.I begin by assigning numbers to the objects: ring=0,
quarter=3, key=5,watch=6. How Ive assigned the numbers determines the
questions. The quarter or key makes up the 1st question, the quarter or
watch makes upthe second question, and the key or watch makes up the third
question.The first question is worth 1 point if the participant answers yes.
Otherwiseits worth nothing. The second question is worth 2 points for yes. The
thirdquestion is worth 4 points.In our example, the participant answered No, No,
Yes, which adds up to 4points. None of the objects has a value of 4, which
means the participant liedwhen answering the three questions. To arrive at the
correct object, Isubtract 4 from 7, which gives me 3 points. So, I now know the
chosenobject is the quarter and the participant was lying throughout.Here are all
the possible totals and what they mean:A total of 0 means ring and the person
told the truth.A total of 3 means quarter and the person told the truth.A total
of 5 means key and the person told the truth.A total of 6 means watch and
the person told the truth.A total of 1 means watch and the person lied.A total
of 2 means key and the person lied.A total of 4 means quarter and the
person lied.A total of 7 means ring and the person lied.SUMMARYThe

participant may either answer the three questions by lying or answer thethree
truthfully. The objects are represented below by A, B, C and D.A=0, B=3, C=5,
D=6Question 1: B or C, worth 1 pointQuestion 2: B or D, worth 2 pointsQuestion
3: C or D, worth 4 points
Activity (2)
FILTERS
Jay Padilla liked this

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Similar to Leo Boudreau - Lie to Me.pdf
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themasses, really got involved.Suddenly forum populations that were usually

what can be improved about the hypnosis theyare doing.

what can be improved about the hypnosis theyare doing.

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a sip of your beverage can often times be more natural andinnocent in

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