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Table of Content

Introduction

1. Borrowed Time: Ask for a borrowed

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watch, set a time. Your participant
freely selects any time, prediction
correct! Ungimmicked, any watch,
anywhere!

2. Time for Weird Things: Mindreading

and Synchronicites, using two
ungimmicked watches.

3. Chronoincidence: A couple is
invited to experiment with time. One
of them just thinks in any hour
(nothing written), the other selects
randomly an hour in a borrowed
watch. Both thoughts are in harmony!

4. Tribute to Argamasilla: ANY hour is

set in a borrowed watch. You can
know it using your telepathic abilities.
5. ChronoPendulum: A pocketwatch is
used as pendulum to discern a secret
hour. The participant is able to know
the precise information!

6. Unconscious Time: Your participant

onstage chooses a secret time and a
place in the world. A photo-prediction
of yourself (ONLY ONE) is shown, in
which you hold that precise time in
that precise location!

Conclusion
Introduction

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Welcome to this exploration in the use
of watches and the theme of "time" in
Mentalism!
Our most important resource in life is
not money, is not success, it is time,
and we can elicit wonderful narratives
and conversations using a simple
watch during performance.
In this book you will find powerful
routines that you can add to your
repertoire, so you can be able to offer
timeless impressions. How to predict
any hour, read minds, synchronicity,
and much more.
Enjoy your reading time!

Pablo Amira, 2019

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Borrowed Time

History
The idea of using a watch to predict a
random hour is a classic concept in

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Mentalism. With the mainstream
marketplace, full of electronic
gimmicks, in "Borrowed Time" you will
found a routine that offers the same
experience in the Outer Reality, with
new strategies using classic concepts in
non-linear ways.

Outer Reality
A watch is placed in a visible place. A
participant is invited to decide any
hour and a minute using a fair
procedure. After this, the watch is
revealed, showing that exact time!

Inner Reality
The Outer Reality reads awesome,
right? And it is always like that if you
find the ways in which this routine can
work for you. This routine is an
example of what I call "Non-Linear
Mentalism", which was originally coined

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in my routine "Arco".
This approach in Mentalism
performance is not only characterized
by a multiplicity of potential methods
(like many routines such as Dai
Vernon-The Trick that can't be
Explained), but also a versatility in
phenomena due the fact there is no
expectation from the beginning of the
experience. You will never claim
explicitly that the watch will contain
indeed a prediction, so even in the
case that you don't feel doing a
prediction, you can go with other
structure of performance, which will
allow you to read your participant mind
instead (we will talk more about this
later).

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The no-expectation aspect is
important, and I understand that for
some of us is not as simple to absorb.
We desire to do that "perfect

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prediction, every time, everywhere",
right? And we can, but the challenge is
to approach it with a new state of
mind, in which, everything that
happens can elicit to our audience a
memorable, interesting and mysterious
experience. We need to remind
ourselves constantly that Mentalism is
for them, not for us.

In the Non-Linear approach, we don't

have one line of "cause and effect", so
your improvisational skills and
competences as performer are highly
needed.
"Borrowed Time" can use a variety of
different core methods, that is the
reason why is so difficult to explain it
in the normal way. Opportunistic
techniques, Mechanical, Psychological,

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Psycho-mechanical ones and others
can take place in here. We will cover
some of them, but from that point it is
your exploration and adventure to find
ways in which you can develop this
simple concept of predicting a random

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time.

For example, a watch as an object,

offers interesting factors that you can
use in favor of the final experience. For
example, you have a stem which can
be manipulated in a secret manner,
right? So you can place one specific
hour and then adjust the time secretly
if you need it.

So, let me explain a classic routine in

which this "Non Linear" piece can go.
One of my preferred ways is to go
completely psychological with the time
which I will predict. So I borrow a
watch (or I use my own) and I just set­
up 7:35. Why is that? Because I can
force 7 and I can force 35 using
psychological and scripting techniques.
In this dynamic you can use one or two
participants, it is your choice.

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So, before the performance I can set­
up that specific time, or during the
interaction I just take it off my wrist,
and while placing it (without mention
it) in a visible space, I pull the stem off
and place 7:35.
*•

"If I ask you to name a number

between 1 and 10 now..."

This is a classic wording to force 7, as

you might know. The use of the word
"now" at the end of the sentence,
offers more psychological and social
pressure to reply quickly. As you might
know, most people will say 7. If this
happens you can say:

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"It is interesting that you said 7 for two
reasons. First, most people, in a
psychological manner would say 3
because it is such an engraved number
in our mind. The holy trinity, the three

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stooges, etc..."

So, you are exposing the idea of a

"psychological force" (archetypical
reply) but offering other number as the
normal! This is a highly effective extra
idea that cancels the method used.

"...and the 2nd reason why it is

interesting that you mention 7, will be
revealed in a moment..."

That line creates expectation and

interest.

"I will ask you (2nd participant) to try

to know the minute in which I am
focusing. Both digits are odd and
 different, so it can't be 11 for
example...now".

That's the script that I use. As you

might now this is a variant of the

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classic "A number between 1 and 50"
psychological force. The use of time
naturally restrict the number (it is
between 1 and 60 in this case, you
don't need to say that in performance,
it is implicit). So because you ask the
classic restrictions (both digits are odd
and different) and you gave the
example of 11, your participant
reasoning will tend to go to 35 or 37.
The 51-53-55-57 and 59 in most cases
(in my experience) are naturally not
that appealing due the fact are at the
extreme of the range. If you want, you
can add ...", so it can't be 11 for
example but 57 could be...now", but I
don't find it necessary.
So, if your participant names 35 or 37,
you are in a fantastic position. You can
invite one of your participants to see
the watch and reveal your prediction.
You can have a precise prediction, or

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just off by two, which is still a fantastic
situation. If you do Mentalism and not
Mental Magic, you know that this adds
to the realism of the experience.
One extra secret that I use in
"Borrowed Time" is an automatic
hallucination that I can create. I can
create the reality that my participant is
actually seeing the precise prediction
EVEN when the watch is not precisely
in that spot. How? It is an instant
induction called "Boldness". Your
attitude alone will be able to let your
participant understand that you act in
confidence because YOU are correct,
and he will doubt himself about the
fact, and through compliance, affirm
the prediction and mysterious climax.
If you saw the trailer of "Borrowed
Time", you can see one of the
situations, in which the participant re-
affirm the correct prediction of 8:35.
What happened there in the Inner

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Reality?
I took advantage of the fact that a
watch in itself is a confusing object to
see. I set-up 7:35 actually, but
through my confidence and bold
attitude, I let the participant assume
that I was sure that I set-up 8:35, and
if he says something different, he will
be in a embarrassing situation.

You are thinking: Yes Pablo, sure, but

you didn't restrict the minutes in your
video performance...

That is because I took bold chances. If

the participant said 30, 40 or
something similar, I can take the
watch and move the stem secretly
(remember that the stem is pull off). I
recommend you the restrictive script,
but as you can see, it is not needed,
especially if you take the "Non-Linear"
performance. Everything that happens
is good, there is no "best scenario" in

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this routine if you use this paradigm.
ALL of them are the best scenario.
So, with 7:35 and the psychological
force scripting, you can cover a lot of
outs without touching the watch as you
can understand. If you need some
adjustment, you can take the watch for
a brief moment and move it secretly.
Now, if your participants dont follow at
all the psychological scripting and they
say 2:53 for example, you have two
basic options.
1. Go with another methodological
approach to use the watch to
predict a freely chosen time.
2. Use the watch as prop to read the
participant mind.
If you take the first line, you can add:
"Excellent, and that comes from your
conscious mind, because you have to
think in a moment in that specific
thought, but let's use your

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unconscious and lets decide in
random ways..."

Remember that your participant never

knew that you set-up the watch at
7:35, so the previous dynamic, form
the Outer Reality, is understood as
part of the experience, to explain the
difference between conscious and
unconscious decisions. So now you
will move to a 100% secure method
in which you can predict any hour.
It is a combination of two classic
ideas, that can work perfectly in this
situation. For the hour we will use
Equivoque (with extra exclusive
strategies) to force our desire
number, and a "Timing Force" to
arrive to the minutes.
You can do anyone that you want, but
for the sake of explanation, let's say
that we will set-up 4:45.

Let's see the Equivoque procedure

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that I use to force any number, using
the dynamic of an "invisible watch"

"So now that I know how you are

thinking, let's do this.. I will set-up a
special hour... (set-up the watch
openly to 4:45 and leave it face down
in a visible space)...
Imagine (to the first participant) that
I hand you an imaginary watch. Let's
go first with the hour number...
Imagine that from that invisible
watch, one of the groups slowly start
to vanish... They are the odds or
evens?"

Watch carefully (pun intended) the

use of the "slowly start to vanish...".
As you can understand we need to
focus attention (In this case) to the
even numbers (to force at the end the
number 4) , so any reply from your
participant will arrive into an
opportunity for you as performer and

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facilitator of this mysterious
experience to again, focus attention.

Odds:
"Excellent, they slowly start to vanish
and BOOM, the odds are gone. Now
with the remaining ones, the evens, I
take three...which ones did I take?..."

Evens:
"Excellent, BUT with my right hand I
reach them and before they vanish
completely, I took three of them,
which ones did I take?"

As you can see, we utilize the

participant reply to focus into
’Evens".
 Also you can read that the last
sentence and question are the SAME,
Equivoque is a verbal dance, in which
you need to adjust the moves with
grace, so the end movement will
synchronize.

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Now let's see the two potential
situations:
I. The participant take the forced
number
II. The participant doesn't take the
forced number.

I. If the first situation happens, now

you need to force directly the number
4. So let's say that the participant
says: "2...4...and 6".
"Are you sure, do you want to change
one of those"?

This is a wonderful piece of script to

add. You CAN allow him change his
decision. Why? Because he doesn't
know what his decision means.
If he doesn't change his mind, say:

"Excellent, and now take one of those

numbers with your right hand and

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place it, like floating in the air...which
one do you want?"

If your participant places "4" as his

first decision, you will presuppose
meaning of final decision.
"Excellent, so 4 stays in a mysterious
state, floating in the air..."
Now, if your participant places other
one (let's say 2) add:

"...and other one with your left hand

so we are arriving to the final step..."

The use of the other hand is a natural

way to flow, as if the procedure was
meant to be like that.
 That "...and" Is highly important. If
you don't add it, the statement will
sound disconnected.

Now, two situations can occur:

1. The participant places the other

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indifferent number
2. The participant takes the forced
number.

If your participant chooses the other

indifferent one, that means that you
need to presuppose meaning of this
action as elimination, focusing in the
last number in your hand.
"So the last remaining number after
all your decisions is 4, excellent..."

If your participant takes the forced

number, add:

"the final decision, the most

important one, we have number 2
 and number 4 floating in the air, but
only one will fall like a leaf... which
one?"

The association of the number as a

leaf is a beautiful manner of framing

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this ambiguous final moment. If the
participant decides that 2 will
transform into a leaf, the number will
fall slowly to the floor.
If the participant names "4", you will
ask him to grab it before the leaf hits
the floor.
Both actions will allow you to focus in
the forced number, in this case, "4".

Another way in which you can use an

imaginative process in a dichotomic
end phase (the most difficult in all
Equivoque) is to ask the participant to
imagine that one of those numbers
starts get inflated like a balloon. If the
participant names the non-forced
number, that imaginary action will
make the number go high and high,
until it goes away.

If the participant names the forced

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number, you will say:

"Fantastic, so the 4 becomes like a

big balloon..",
labeling that as final decision.

II. Not let's see if, after forcing

"Evens" your participant doesn't take
the forced number.
"Excellent, so you can take those
numbers and crush them in your
hand, making them vanish...
So we still have 2..4... and 8
(depending the situation of course)...''
Now, you need to proceed with the
"floating into the air" procedure and
continue in the same situation as the
I case.
So, you have all the situations cover
in advance, so the procedure can flow
naturally. It is complex, yes, but only
in your Inner Reality. In the Outer
Reality, it must be felt as a natural
and simple process (10 seconds

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approx.) in which imagination allows
you to connect people in non-rational
manners. If you don't move the
dynamic in playful and entertaining
manners, people will start to "think",
and apply rational barriers. Engage
them so there is no resistances, and
you can transform the "Procedure"
into an interesting "Process."

Now let's go to the 2nd core method in

this 2nd methodological line, which is
the "Timing Force". For this, you will
ask your 2nd participant to imagine
other invisible watch in front of him.
This invitation to use Imagination
must be truly engaging to your
participant, because it is indeed part
of the effectiveness of the method. If
your participant is not really
imagining the watch, this will not
work (this holds similarities with my
routine "Mind Map" from NADA
eBook)

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"So you can see in here 12 (mark the
top of the watch), the 3 (mark the
participant's right and so one... so as
I pass my right hand, just tell me
THERE...."
You will start to move in a circular
manner in counter-clockwise manner
(so your participant will see your hand
move in clockwise way) and you will
stop at the minute 45. As you can
read, the word is not "STOP" but
"THERE". I prefer that word because it
is a little bit longer (and that allows
you an extra bit of extra certainty for
the force) and also for the potential
aggressive tone of "STOP". I prefer
other more positive word.
One good aspect of using minute 45
(or anyone that is at the end of the
clock) is that, if your participant
doesn't say "THERE", you can arrive
to the end of the imaginary clock and

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say: "Please, before we finish..."
Say it with a comical attitude, and
start again. Now your participant will
say "THERE" earlier, so you can go to
your target.

So, as you can see, we have two

powerful methods that can work
beautifully together, that can allow
you to arrive to the prediction, and
offer you a new line in your non-linear
structure.

What if you decide that you don't

want to perform the prediction? No
problem! Instead of going to the use
of Equivoque and Timing Force, you
can use any routine in which you will
 use the watch (I use "Tribute to
Argamasilla" or "Time for Weird
Things" if I can borrow other watch)
to read the participant mind.
Remember that you are using the
Non-Linear approach, so there is no

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expectation, and you are inviting to
the participant(s) and audience into a
mysterious experience, without
explicitly explaining the phenomena.
No gimmicks, anytime anywhere non­
linear experience that will teach you a
lot about performance and interaction
with your audience.

Extra Ideas
1. Patrick Kuffs-Watchism is one of my
favorite routines using watches (which
is not my creation). If you know you it,
you can understand how well that
routine can be mixed in this "Non-
Linear" Structure.
2. If you know a special hour, and if
you approach this routine using the 2nd
methodological line, you can use it and
then reveal the importance of that
particular time. You can know it
secretly before performance using pre­

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show or during performance using a
billet peek.

3. Another approach for this "Watch

Prediction" is a strange use of Dual
Reality, in which the dualism is not
restricted to the effect itself and in the
conditions (as in normal DR effects),
but in the phenomena itself. What I
mean by that? The participant onstage
will experience a COMPLETELY different
phenomena that the audience. The
audience will understand that the
watch predicted his thought of time,
while the participant onstage will
experience Banachek-PK Time.
How? Simple, you will use Dunninger
Ploy to get the participant thought of
 time. So you will ask everyone to think
in a time. I invite a participant to join
me on stage and while I take him into
the scenario, I ask him the time in a

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"stage whisper aka Dunninger Ploy"
way.

Now I will just ask the participant to

close his eyes to relax. As soon as he is
with his eyes close, I will just set-up
the time openly! (the audience don't
know that I know). Now I will hand him
the watch and say:

"You are holding the watch, and I will

invite you to imagine that this watch
actually contains your thought..."

That line will work in both ways. The

audience saw that you set-up the time
previously, so they will understand the
experience as prediction. The
participant, will understand is a
psychokinesis.

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4. Finally, other way In which you can
create this "Watch Prediction" is using
the power of Al Koran-Gold Medallion,
using a sticker on top of the face of
your watch and your favorite Swami

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Gimmick. Ask the participant to name
an hour and minutes. Then, while he
joins you onstage, you can write
secretly the numbers and reveal the
time:

"Let them know what is the time that

you can see in here..."

If you want, you can use a pocket

watch inside a nice jewelry box, and
keep it open just enough so you can
write from the outside. You can then
write secretly the numbers and close
the box, to show that inside of it, you
have your pocket watch with your
prediction.

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Inspiration and References
Equivoque is one of my favorite
techniques in Mentalism, and my main

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inspirations are Kenton Knepper, Docc
Hilford and Max Maven. The Timing
Force and the flexible possibilities with
that technique is inspired by Kenton
Knepper-Direct Control work.

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Time for Weird
Things

History

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This idea came to me from the desire
to create a moment of synchronization
with someone. Watches are a symbolic
image for time, so the use of watches
is completely motivated.
After performing this effect a few
times, the mind reading element was
born. It has now evolved into a 3-
phase demonstration that I love to
perform whenever I see fit.

Outer Reality
A participant is invited to experience
weird things with time and some
watches. In the first stage both
performer and participant try an
experiment in synchronization using
both watches.

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After that, they create a mindreading
moment. First the participant tries to
read the mind of the mentalist, and
after that the mentalist reads the mind
of the participant with 100% success.

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Inner Reality
The first phase of this effect is a
synchronization experiment. Obviously
when you start your performance, both
watches will have the exact same time
(or with a minor difference).
I try to always use two borrowed
watches. In the worst-case situation,
one borrowed watch and my own.
Never two watches of my own.
First of all, hand the spectator your
watch as you take theirs from them
(you will understand why later).Cover
this action with a line about:

"Sharing personal items can create

more synchronization between us"

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You instruct your participant to just
turn the stem forward until he desires,
After this moment, you recapitulate
everything, possibly creating maybe

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false memories about the direction of
the turning:

"You could turn the stem in the

direction and the velocity that you
wanted to, right?"

and bring up the 2 watches to see the

results.
Now... if the results are similar...
GREAT! If not, it doesn't matter.
You didn't fail as a performer. This is
just an experiment and the mental
connection needs a little more work.
Just move on with a joke (if you deem
it necessary).
The main reason for this "exercise" in
synchronization isn't just creating
rapport. In reality it's conditioning the
action of turning the stem. In the

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second part of this effect (the
mindreading part) you will actually
BLUFF your turning of the stem, and
with that, force an hour on the
participant. Before you turn the stem

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of your participants watch behind your
back, you will simply set the time to
any easily remembered hour, and just
bluff behind your back to give your
participant the same peek hour.

So, if you followed me up to this point,

you have the participant's watch and
the participant has your watch. Now
you will ask them to place your watch
behind their back and turn the stem to
arrive at a new random hour. You,
however, will be bluffing, and will not
adjust the stem on their watch behind
your back at all!. At this point it's
important to plant the idea in an
indirect way that you are really turning
the stem. If you directly say: "I'm
turning the stem", the participant can

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debate that statement and your force
is ruined, but if you claim this idea in a
hidden way, It will have a tendency to
just be accepted.

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I use this line:
"Let's turn the stem on the watch, as
in the first part, In any direction and at
any speed, so you don't think that I'm
trying to estimate something.
Now, I will not tell you when I will stop
turning, DON'T tell me when you stop
turning the watch. It's important that
both watches are set to random hours
for the next experiment.
When you are finished, just bring out
the watch face down in front of you."

Analyze the implications, the

presuppositions and other finesses in
these words.
So, after the turning, you exchange
watches. Personally I don't
communicate in a verbal way that we

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need to change watches. I just grab
my watch and I hand the participant
their watch. My main idea here Is first
of all to be very ambiguous with my

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directions about the watches ("the
watch" and not "your watch") and with
that I create that the false memory
that the participant always kept his
watch, he set an hour in his watch and
I read their mind about the thought of
hour (without a switch of the watches
at the beginning).

In this step I say:

"Ok, so now comes the mindreading
part (while I just exchange watches).
You will see the hour in your watch and
memorize that. I will watch the hour in
my watch and memorize it as well. As
amazing as this sounds, you will try to
read my thoughts and I will read
yours, the hour that you saw, the hour
that you had in mind now, ok?"

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 And after this, just allow your
participant to try to read your mind.
You can give different "tools" to teach
him how to read thoughts, or just tell
him to follow his Intuition and say the

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first hour that comes to mind. Now you
add that he knows now how difficult
this "mindreading" work is. Hard, but
someone has to do it.

Now, reveal the force hour in a way

that's congruent to your character. I
ask for a visualization process in which,
first of all, the participant will visualize
just the hour hand and after that the
minute hand, It's important here
obviously that you don't give the
precise surefire information. Take your
chances, jazz it a bit according the
situation, and create more moments of
surprises. Even this can serve you as a
methodological cancelation from the
fact that you already know the hour;
picking random thoughts on the spot

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 -------------------------------- ’

cements the idea of real thought

reading. An exercise to do that Is
asked them to visualize a clock in their
mind's eye and cover the watch with a

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vivid, colorful color. As you know,
people tend to think of RED, so take
that chance. If you fail, as always
utilize that "mistake" and give your
performance more drama, if it hits,
great, just continue. You can do it even
with a marker and a board for stage.
As you can see, you have a routine
that covers around 5-7 minutes that
you can use literally anywhere, from
close up to stage, just with 2 borrowed
watches, a good understanding of
performance and psychology.

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 Extra Ideas
1. You can create a successful finish in
the synchronization asking your
participant to just think of a number

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between 1 and 10. As you know, most
people will choose 7. The idea here is
that the participant will have that
amount of seconds to turn the stem.
After that he will just stop turn the
stem in his watch. Create eye contact
with the participant and start to count
out loud from 1 to 10. The participant
will stop turning when his thought
number is said by you. You need to
just turn the stem until "7" (after six
normally).

2. Another idea from my friend

Mauricio Jaramillo is to just check the
speed of the stem on your watch and
just calculate the approximate position
where the participant stops turning.

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3. As you are forcing the hour, you can
create a double climax with a
prediction. Now some performers could
see this as creating confusion from the

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effect... It's mindreading or
precognition, but if you frame the
prediction correctly, you can still read
the thought of hour and after that
show your prediction as maybe a weird
dream that you had at night or even a
coincidence with your grandfather's
broken watch.

4. You can allow 2 participants (or

even your whole audience in pairs) do
the first phase and let them experience
a weird moment of synchronicity.
5. As you know, the first phase of this
effect is not just in the routine for
creating a more credible performance
and a better rapport, but also for
conditioning the turning of the stem.
You can expand this conditioning of

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handlings to other props. Book tests,
card handlings, ESP effects and with
that you can create more motivation to

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handle the props.

Inspiration and References

The first part of the effect comes from
the personal desire to come up with
synchronization with watches. Max
Maven has a similar routine in his
"Nothing" DVD. The concept of a bluff
used as a force is inspired by "Blind
Coincidence" from 13 steps to
Mentalism by Tony Corinda.

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 Chronoincidence

History
In my early exploration of subtle uses

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of Dual Reality and the desire to
create a synchronicity moment with a
watch between a couple comes this
piece. Time has an interesting
symbolic meaning to this type of
effect and with "Chronoincidence" you
can achieve it in a minimal and also
very practical manner.

Outer Reality
The mentalist invites two people to a
coincidence experiment in time. (Peter
will be the first participant and Ana
the second one.)
Peter is invited to do some mental
relaxation exercises and also to focus
on a time. Ana is invited to take off
her watch and to move the stem

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freely and to stop turning when she
feels something strange happening
inside her.
After that, the second participant
freely stops the movement of the

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stem; the two times are revealed and
match perfectly!

Inner Reality
The method for this effect is broken
into parts. Basically there are two
forces and a subtle dual reality. The
first participant apparently only
thought of any time (or wrote it on
paper if you want; it's not necessary),
but that's not the whole truth.
You invite the first participant to do
some mental relaxation (this action is
an excuse and a motivation to talk
secretly to the first participant), so
you grab your 1st participant and
create some distance between him
and the audience.

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You invite to him to think of any time,
but you also ask him to TELL YOU
the thought-of time.
It's very important that you use the

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correct words, so I will give you a
guideline, but you need to work on
your own script, memorizing the
important words, and just do it.
Of course, it's necessary to choose the
correct participants. My preference is
to go with a man and a lady, both nice
looking and willing to participate and
create a miracle. You can use your
own watch or borrow a watch (even
better). I use the man for the mental
relaxation and selection of the time,
and the lady to turn the stem. You
can also use other options.
So you have your 2 willing
participants in play.

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When you talk with Peter, you can say
something like:

"Ok, Peter, the mental relaxation

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exercise is very simple. But first tell
me a time. 2:45? Ok. Just focus on
that time in your mind. Imagine a big
clock and see your thought-of time.
Don't tell anyone your thought-of
time, ok? Because Ana could hear it
and the effect is lost."

So, the 1st participant is thinking of a

time, doing the mental relaxation
process and facing in another
direction, while you tell your audience
the truth...well, half the truth.

"Peter is there (you point to him),

doing a mental relaxation exercise. I
asked him to think of any time, and
to visualize it in his own mind. He will
not tell anybody his thought,
especially Ana, because with Peter's

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 thought and Ana's action, we will see
something marvelous."

Onstage, I can give a marker and a

pen to Peter, and create another

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psychological layer.
When you are talking with Peter, and
you know that the thought-of time is
2:45 (for example), you can say to
him:

"Ok, just write in big letters 2:45 or

14:45, it's your decision, ok? And as
you are relaxing your mind, visualize
a big watch with your time."
Afterward, when you talk with your
audience you can add:
"Peter wrote an hour. He freely
thought of any time and decided how
he would write it. It was his
decision."

So with this the dual reality is created.

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Your audience believed that he
thought of and wrote the hour on the
paper, and even decided how he
would write his thought, when you

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really know what the time is.
Now comes the "watch" part. Almost
any watch has the stem in two
positions: the first one where you can
change the hour, and a second one
where, if you turn the stem, nothing
happens. So you can use this
knowledge to force any hour—in this
case, 2:45.
You take the borrowed watch, and use
some line to direct attention a little bit
about another idea, while you are
setting the watch. For example:
"You can see that if someone turns
the stem they can change the hour-
24 hours in a day, 60 minutes in each
hour, 1440 different possibilities to
one."
In this moment you have the watch
set to 2:45, and with a gentle push

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you can put the stem in the first
position, ready to force the hour.

Now you can invite your 2nd

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participant just to connect with her
intuition, and to turn the stem until
she feels something, and just stop.
She can do this action behind her
back or in front of you. It's important
to tell her that when she stops
turning, she must say out loud,
"Stop," or "I stopped."
As your 1st participant is
concentrating, and the 2nd participant
is turning the stem, you can create a
good scenario and talk with the
audience while this is happening.
When she is finished, you just take
the watch, push the stem (she can do
it also) and let the watch rest on her
hand.
You can conclude, doing a good false
summary and creating new memories
such as:

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"Peter is thinking of any time and she
turned the stem, pushed in the stem,
and she had the watch on her hand."
You tell the 1st participant to name for

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the first time the thought-of time (or
show the paper). And after that the
2nd participant reveals the freely
selected hour via turning the stem.
If you think about the effect, there are
really three different realities: the
effect for Peter, for Ana, and the most
astonishing for the whole audience.
You can finish with a line for Peter:
"Peter, everything is a secret. Don't
tell anyone how we did it. ”

Extra Ideas
1. Use the dual reality idea to create a
revelation of the time. If the first
spectator is concentrating with their
eyes closed, and looking away, you
can reveal the "thought-of" time on a
pad or big sheet paper (onstage);
after that, the 2nd participant finishes
55

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turning the stem. Because the 1st
participant Is looking away, he will not
understand why the audience starts to
applaud. You can Interrupt the
applause and go directly to the

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coincidence moment. Give it a try.

2. Because the theme of this effect is

coincidence and preferably you will
use a couple, you can ask the first
participant to think and tell you an
important time that they have as a
couple. After the coincidence
revelation, you can add something
like: "I see in your mind, Ana, that
this time is important. Peter, can you
tell us why this is an important time?"
He tells everybody why, and you
finish with a lovely moment.

3. In a few performances I've used

my own watch. My watch doesn't have
the two positions of the stem, so I
just give my watch to the 2nd

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participant and instruct her to turn the
stem behind her back. She obviously
feels the turn, but she doesn't change
the time, because the stem is pushed

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in. Next I take the watch and "push
in" the stem.

Inspiration and References

The watch force is by Bev Bergeron.
This routine has similar points with
Osterlind's "Watch Routine." Thanks
to Kenton Knepper for his dual reality
concept and thoughts. You can study
similar dual reality use in Annemann's
Complete One Man Mental and Psychic
Routine.

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Tribute to Argamasilla

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History
Joaquin Argamasilla was an
interesting Spanish figure in the 20th
century, which claimed "X-Ray Eyes",
This routine emulates one of his main
demonstrations using a borrowed
watch and modern techniques.

Outer Reality
A participant is invited to think in a
random hour. For that reason he
turns the stem of a watch in a
random manner, and after some
breathing exercises, he thinks in that
random hour. The performer after
some moments of psychic interaction,
is able to reveal the precise time.

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Inner Reality
In the searching for a method to use
a watch to read minds, the classic
technique from Bev Bergson called

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"Predicting Time" (used by Richard
Osterlind in his Watch Routine) is a
fantastic tool to know, but I wanted
another way to do it. So in my
research, years ago, I found this
fascinating character called Joaquin
Argamasilla, which was confronted by
Houdini. Apparently he used windows
as shiners to see hidden information,
and he secretly opened pocket-
watches to read the time and reveal it
as proof of his psychic powers.

So basically, through the routine, you

will secretly peek the watch to know
the truly random time that your
participant freely selected. And we
will do it in a sequence of actions that
is completely natural and practical,
without any gimmicks, plus the non-

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expectation performance that you will
setup.
In a narrative manner, you will ask
the participant AFTER you did your

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peek to see the selected hour, so
previous that moment, the participant
will just follow you with confidence.

So, take the watch, pull the stem and

show that the watch indeed moves.
Now hold it in your left hand and ask
the participant to start to turn the
stem with his right hand. Hold the
watch in this position:

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If you are working with an audience in
front, you need to face your left, so

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your peek is blocked effectively in a
moment.

After he finishes, lift your left hand

and ask him to focus for a moment in
your palm (as in an hypnotic
induction) This action will block the
secret action that you will do in a
moment. Remember that there is no
unnecessary attention in the watch,
the participant doesn't know why he
move the stem, so there is no prior
resistance.

"Excellent, now focus In my left hand

for a moment... so you can be relaxed
and in a new state of mind. Inhale,
exhale, that's right..."

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You will follow his breathing, and you
will close your eyes, partially. You will
close indeed your right eye (the one
that is visible to the audience) but
your left eye will be slightly opened.

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From that eye you will peek the watch
in a moment. Don't say that you will
close your eyes, just do it.

While the participant is focusing in

your hand, you will just move forward
your index and middle finger a little
bit. That, will cause the watch to bend
a little bit, which will give you the

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opportunity of secretly peek through
your left eye, which is apparently
closed. After your peek, you will move
backwards your fingers and say:

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"Excellent, now hold the watch for a
moment....and now that you are in a
new state of mind, please see the
time that you set-up in a random
manner, and please remember it..."

Now you can turn, cover your eyes,

and communicate in non-verbal ways
that you don't want to see.

So, now you can ask your participant

to focus in that hour, and you can
reveal it with your best competences
as Mentalist.

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Extra Ideas

1. If you want, you can add a "Gypsy

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Peek" into the dynamic in which you
are asking the participant to focus. In
this case, you will ask him to lift HIS
left hand, while you focus you close
your eyes, but applying the Gypsy
Peek).
2. If you want to add an interesting
gimmick, you can use a shiner, which
you can hide in your own watch. A
reflective disk that can be even
hidden-in-plain sight.

Inspirations and References

Of course, the classic demonstrations
of Joaqun Argamasilla is the main
inspiration. Such boldness deserves a
space in out literature. References for
similar idea to Richard Busch in terms
of peek timing and structure.

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ChronoPendulum
History

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Originally published in my book
"Ideas about Pendulums", this is a
beautiful routine that you can use
previously a pendulum experience, as
an added moment of mystery.

Outer Reality
A participant is invited to experience
connection with his intuition and the
inner power of the mind.
The performer hands the participant a
pocket watch which will be used as a
pendulum. After a few mysterious
moments where the watch moves just
by the power of intention, the
participant is invited to visualize the
process in which he thinks of a time
on a clock influenced by the
performer.

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The Mentalist proves his suggestions
by opening the pocket watch, showing
everyone the exact time that the
participant received.

indiamagicstore.com
Inner Reality
This effect is based in the classic
hypnotist pose, when a hypnotist uses
a pocket watch as a tool for inducing
a trance. The use of precognition is a
kicker for the experience that can be
very emotional because these
watches were used in the past. I
remember that my two grandfathers
used these types of watches, so
although the story behind the
experience isn't real, it CAN be real if
you express emotion in an honest
way.

This precognition effect is a prediction

but in an indirect way. The effect is
labeled as a prediction just for the
sake of clarity, but in performance it's

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the participant who is influenced by
the performer to name the thought of
time.

Throughout time, I played with

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different methods for achieving the
effect. Some ideas included classic
(preshow, classic forces, and bluffs)
and other stranger and interesting
approaches. In this moment I will
share one approach that is very
interesting for me from a performer's
point of view, because it uses verbal
finesses to create the effect.

Using just words for achieving an

effect for me is pure influence and a
real challenging and fun approach.
You will use a normal pocket watch
for the effect. It doesn't need to be
broken, just pull out the stem. The
preparation for the watch is very
simple, just set the watch to a
convenient time to force (3:30 in this

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case). You will understand the force in
a moment.

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Obviously the first part of the
experience is just storytelling and
using suggestion to create pendulum
movements. I tell my participant that
the watch was owned by my
grandfather and hook emotions to the
demonstrations. Generally, people
have positive feelings with their
grandfathers, so you can use that in
your favor.

I suppose that every performer needs

to be a master (or at least present
himself as one) in storytelling and
suggestion/influence techniques so I
will not take too much time In this
first part, just give you some
guidelines about your subtext.

In the subtext in performance, this

pendulum effect is created because

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you need to synchronize with the
mind of your participant and from
there you can influence his thought
and create a successful prediction.

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The truth of the matter is that this
point is real. You really need to create
a focused state in the participant and
you need to connect with him if you
want to successfully create this
experience.

The second part is the relevant part

for us now; how we will communicate
the time that we have on the pocket
watch to the participant in a subtle
manner.
We will use a technique wherein our
words will influence the thoughts of
our participant in a subtle way.

This effect is based on dual-reality as

you will see, because the participant
will feel astonished by the fact that

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only with his thoughts he can move
the pendulum and follow your subtle
instructions to "hit the target" as we
will call the prediction moment.

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The prediction of the time is almost a
surprise for the participant and the
audience, so resistance to this
procedure will not appear in
performance.

You will frame this new phase simply

as a "visualization" process, in this
manner it isn't a challenge and
doesn't add pressure to your
performance, so the participant will
be more open to just follow your
directions.

Before the influence using words, the

pendulum's movement will be
circular, in any circular direction.
We will utilize that image to create an
imaginary watch,

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 "That's right, and as this pendulum /s
moving in circles more and more,
visualize an imaginary watch in this
space (point with your finger towards
the position and create visual cues for

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your participant).
In a moment you will visualize and
see in your mind the hour hand (your
right hand is at 12 o 'dock) in a small
number.
In your mind slowly move (move your
hand toward one) and move (move
your hand toward two), and suddenly
stop.
Tell us which the number it is."

Imagine how the cues lead your

participant's thoughts.If your
participant is following you, he will
obviously say: "Three".

After that comes the subtle force with

the minute hand.

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 "Great, now just imagine that the
minute hand slowly moves until once
again it stops at some point (stop at
an imaginary 30 minute point in the

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imaginary watch).
Tell us quickly where you saw that the
hand stops"

That last line is a nice verbal finesse

that doesn't work in Spanish, but
works in English .The hand word has
a dual meaning. Hand as in YOUR
hand and the imaginary hand on the
watch.

If your participant is following you, he

will say: "30 minutes".

After that, you reframe this

visualization process as a free
decision of thought, recapitulate and
create false memories of the
procedure and say your final lines
about the time that the watch stops

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on. Reveal the time as a finale of the
visualization process and as
precognition.

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In his mind, the participant can have
two things at this point in time.
One, he knows in a conscious way
that you led his thoughts. If you feel
that this situation happens, just
remind him in your conclusion about
the great job that he did with the
pendulum and move on (basically
treat them as an instant stooge).

Now if you feel that the participant

didn't consciously catch your
suggestion and for him the decisions
were apparently free, utilize that and
boldly state your correct prediction.

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 But what if you "fail" and the
participant names another time?
You have a few options:
1. Have a backup method: Frame the

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whole visualization process as a
"conscious effort to create thought
reception". Now try an "unconscious
effort to create thought reception"
and use a dried out pen with a clock
printed with pre drawn hands for
selecting a random time or other
methods that you want to use.

There are LOTS of different methods

that you can use for backup. Just play
with different ideas.

2. Just move on: The participant

doesn't know about the time on the
watch because the visualization is
only framed as a prediction after the
fact, so just move on with something
else.

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 You can use this piece for close-up,
but far better, for parlor or stage, in
which the subtle dual reality aspects
can work even better.

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I only once received an after
comment that the participant just
followed my instructions in a direct
way. And you know what? That's fine.

You are using suggestion and

influencing techniques to lead your
participant's imaginative process, and
if someone told you that, just pace
their comment and do something
else.

Extra Ideas
1. If you use preshow to create this
effect, utilize a personal time from the
participant. Any method that you use
for obtaining the information is fine,
just ask for the time, a place and a

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 person that lives in that participant's
memory.

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2.I use the "Secret Seer" from
Arkanosophy, which can offer you a
special feature if you use the crystal
ball as focus point. If you know the
work of Dr. Jaks, you will understand.

3. If you need assistance in pendulum

work, the book "Ideas about
Pendulums" is the perfect one for you.
My friend Mauricio Jaramillo has other
interesting routine in the book, which
uses a pocketwatch as well.

Inspiration and References

Inspiration comes from Kenton
Knepper and Fraser Parker for similar
ideas in using verbal techniques to
lead thoughts.

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 Unconscious Time
History

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The power of a photograph as
prediction is undeniable. For that
reason, I wanted to come up with a
routine that not only predicted a
decided country in the world, but also
a freely decided hour. Some people
have a version of this in which they
use a clearly faked picture, which is
not only disappointing but even funny
as final prediction. I will offer you two
of the potential methods that I came
up using a real photo, without fake
editions.

Outer Reality
A participant is invited to choose a
country in the world and a particular
hour. After this two choices, the
performer is able to show a correct

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 prediction of that freely chosen
country and time in a photograph.

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Inner Reality

Sounds amazing, right? And it is!

I will offer, as I told you, two methods
that you can use, each one with
different compromises.

The first method uses no visible

props, just your participant and some
interactions.
You need a real photograph of
yourself, in which you are in France
(Eiffel Tower for example). In this
picture, there is a "hour stamp",
which is classic in pictures. This is the
way in which I predict the time. I
prefer this approach than others,
using a fake whiteboard which is
modified digitally, which most of the
times doesn't look credible.

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In the first approach we will combine
two propless forcing techniques. One

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of them is called "Mind Map"
(originally from my NADA eBook),
which will allow you to force a country
in the world in a propless manner.

The 2nd one will be a secret cueing

technique, which will communicate
your participant onstage to name the
hour that you want.

So, let me explain to you the "Mind

Map" Technique.

In the core method of "Mind Map" we

will use a timing force to arrive to one
particular continent traced in the palm
of your own hand and then use
"Imaginative Equivoque" to arrive to
the predicted country.

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 Time ago I was looking my hand and i
realize that I could ask a participant
to visualize in my palm a "world
map", so from there I realize that I

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could be able to force one particular
continent using a timing force
technique. I normally force "Europe",
but obviously you can go with any
one. It is obviously very important
that your participant has the typical
image of a World Map in his mind. I
was surprised to share this piece with
some close friends around the world
time ago and realize that for some
people in some cultural and
educational contexts they don't know
with certainty a world map!
So as you can understand
participant's selection is important
here. Choose someone that you intuit
will have basic knowledge of the world
map.

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 indiamagicstore.com
Imagine that in your hand you have
the map of the world and you will
realize that at the base of your first
finger, you can locate roughly
"Europe". So in a basic aspect for the
first half of the core method, ask the
participant to imagine a "world map"
in your open left palm and while you
point with your first finger from your
right hand, ask him to say "THERE"
whenever he feels like it to arrive to a
random continent while you move
your finger on your palm. You will
obviously stop at the precise point in

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which "Europe" can be named (base
of your first finger)

After your participant says "THERE" (I

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use that word and not STOP due the
fact I prefer to have positive words in
my act) you stop at the precise place
and ask: "In which continent we are?"
They will say "Europe". If your
participant has some problems, just
help him. It doesn't matter, because
he already made the "free choice" of
position. You can say: "At the right
we can see "Asia", at the left "North
America", but the finger is on...." So,
you effectively force "Europe", now
let's see how we can arrive to a
particular country. In here I use an
opportunistic and
"Imaginative" approach to Equivoque,
just imaginary choices are used.

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I normally predict
archetypical/psychologically appealing
choices such as FRANCE or ITALY (at
least in my context).

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You can play with your options and
choose other countries, but the
opportunistic approach is all about
being flexible and casual in your
verbal and non-verbal
communication. A potential line is
this:

"So, we are in Europe. Name quickly

a country..."

A simple line like this will allow you to

take the appropriate route. If your
participant names other one just add
casually: "Ok, another one...
(gesturing with your left hand as if
counting)" implying that you meant in
the first place to name other ones. If
your participant names "France" now,

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 you can again, be flexible and choose
if you stop there the selection
procedure or continue. I normally
prefer to continue due the fact it has

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a better flow in terms of procedure in
my opinion. In my experience with
"Mind Map" I have never had more
than 4 or 5 countries, so don't worry
and be bold. If for some reason the
third is not your predicted country,
just open the selection to the
audience and just miscall a named
country.

After this and you have the selection

of European countries, just proceed
with a properly equivocal procedure
to arrive to the predicted country.
Because this 2nd half is highly flexible
and dependent, I will share with you
some strategies.

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Let's say again that you are forcing
"FRANCE":

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I. "Ok, so you have Germany,
France and Italy. Imagine that they
are floating around here (point a
space in the air)....strange thing to
imagine right? (let that line sink and
be part of the narrative. Those small
cognitive shifts makes the process
more entertaining)
One will be selected, the other 2
eliminated, so name one now! (snap
your fingers as added psychological
pressure)

1. France: Ok (while you gesture

in the air in a swipe motion implying
the elimination of the other two
countries)

2. Germany/Italy: Ok, another one

to continue the process, now!

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2.1 Germany/Italy: Good, that leaves
only one floating, only one
selected...The other two are a gift for
you, one in each pocket...(again,

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make the unimportant important for
the sake of the entertainment and
cognitive shift to make the equivocal
procedure less relevant)

2.2 France: Ok, so we narrow the

selection from three to two...Each one
in one of your hands. Now in a
moment you will feel something
different from one of them. You will
hand one of them to me to finish this
strange imaginative game. Do it now!
(now depending of which one your
participant hands you, you proceed
leaving "FRANCE" as the relevant
one)

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 So, you forced the country
specifically. Now, if you want, you can
force Eiffel Tower:

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"If I ask you to name a popular
monument from France..."

Most people will say "Eiffel Tower". If

your participant does it, say:

"Oh... because we have several ones.

The Arc of Triumph or the "Sacre
Coeur..but... ok, it is your choice!"

, but if he names other one, just add:

"Very interesting answer, so you can

visit the Arc of Triumph first, and then
for example, go to the Eiffel Tower,
right? Imagine that for a moment..."

Now, it comes the moment in which

you will stand at the side of your
participant and you will cue the

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specific hour that you have in your
photo. As you can understand, even
though the participant will play with
you in this second step in our core

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method, he will still experience
mystery, so we are dealing here with
Dual Reality, not Instant Stooge.

"Ok, so you will use your imagination,

but I will help you a little bit..."

This line for the audience sounds just

like you are being a nice person, but
for the participant will have a different
meaning in a moment.

"Imagine that in front of you, you can

see a watch. In a moment you will
have a special feeling (tap the
participant shoulder)...and you will
just know what to say...like thought
transference"

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This, again, for the audience has a
metaphorical meaning, but the
participant will understand that you
are cueing him to know the specific

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hour.
Let's say that you will force 3:30

"So, because your imagination is so

powerful, I know that you can see the
big numbers... up there... 1...2...3..(tap
the shoulder)4..5...6... (take a little bit
of distance)...7..8....9 (take more
distance)10...12..."

In here we are using a wonderful

subtle idea from my friend Peter
Turner, in which you will create
physical distance, and in that manner,
cancel indirectly the method used.

"and whenever you want, name one

particular hour in which you felt
something..."

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If your participant is following you
(and I'm sure that he will if you
present yourself as likeable), he will
say ”3". If you receive that answer,
you know that you can continue

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without problem.

Now you will cue the specific hour.

"Now, let's go with the minutes. You

can still see in your imagination this
big clock. You can see the 12...you
can see...the 3 that represents 15...
you can see the 6 (tap shoulder)...you
can see the 9 (take some distance
with your participant) maybe you can
feel something for 54, for 19 (take
some extra distance)....did you have a
feeling for a particular minute?"

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Again, your participant will say "30"
or "6", which then you need to
transform into minutes.

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So, you will force your participant to
say "3:30" (it can be anyone as you
can understand)

"Now... you took two decisions, first of

all, a place in the world and a
particular time. If I am able to predict
one of those decisions, maybe it could
be luck and not that impressive,
right? But both of them, it is truly a
mysterious moment... ”

This is a fantastic piece of script that

keeps the Dual Reality of the
situation. As you can understand, for
the audience is only a build-up, but
for the participant onstage is pure
honesty.

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Then, you can take show your
prediction and enjoy the moment of
Mystery.

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If this method scares you a little bit,
don't worry. You can use other one, In
which you need the "Mental Post
Cards" (which are available at
Arkanosophy in the Parlor Act) and a
couple of "Paper Clocks" (a DIY prop
that you can just construct using
some printing paper and carton to
give it extra stiffness) using the "dry
pen" principle (you can get our
"MultiSharpie at Arkanosophy)

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Just keep "France" on top of your
cards, and use a mechanical forcing

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technique to let the participant decide
forthat country (a classic Criss Cross
Force is highly effective in this
context).

Then, you will bring some of your

"Paper Clocks". One of them will be
ready to force the time that you need.

Show one of them (which doesn't

have any previous strokes) and ask
your participant to take it along with

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your Sharpie Marker to select an hour
in a random an unconscious manner.

As you understand this marker is a

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"dry-marker", which will not make
any stroke. The nice thing about using
a circular object, is that you can ask
your participant to turn it and to do
one long stroke, then turn it again
and do other short one. After this
procedure, you can ask the
participant to show this "Paper Clock",
and discern which was his freely
decided hour.

As you can see, two methods to

achieve this great piece of
precognition.

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 Extra Ideas

1. Obviously, you can share the

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photograph in Instagram or other
social media (or even send it via
email) to create digital networking.
2. Another option that you can take in
the mechanical methodologies, is
by Bev Bergeron method to force a
time.
3. You can expand the double
prediction if you want and make it a
triple one. You can add a favorite
food, or something similar.

Inspiration and References

The idea of using a photo as a
realistic way to predict information,
using propless methods. Mark Eidson,
Kenton Knepper and others have
interesting uses for photo-predictions.

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Conclusion

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An exploration in time, watches, and
interesting routines and thinking.

I truly hope that this ideas can

stimulate your creativity and move
your mind, so you can perform this
routines for your audiences.

Time is essential.

Anything that you need, just contact

me at pabloamira@gmail.com

Thanks for your time!

Pablo Amira, 2019

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