lock closed! That's the secret. "So what, Mr. Redford? " you may ask.

First, no
need
to call me Mr. Redford. Second, just stay with me for a moment....
When then the subject is rotating the dials, I secretly push the button inward
while they
rotate the numbers around. This is very casual looking action. If you look closely
at the
first photograph, you can see that my thumb is actually pushing the button inward
while
casually resting on top of the case as if to steady it. In photo two, I've stepped
behind
the case and am holding it steady on my small stand with two hands. I'm also
secretly
pressing both buttons in, allowing the subject to dial in the combination of their
choice.
Figure 1. Figure 2.
If you're uncomfortable doing so, you may simply rotate the numbers yourself and
have
the subject verify each number as you dial them in. Even still, if you'd like to
remain
completely hands off, the button will "stick" in the in ward position if the first
dial is
rotated between numbers. If you turn the first dial and let it stick partly between
two
numbers, you may let the subject dial in the next two numbers on that side. While
this
method may seem the most ideal, it's not very reliable from case to case.
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Another Touch
If you choose to only utilize a three-digit combination, making both locks the same
combination, it gives further excuse to key in the other three digits for "time
sake" after
letting the subject key-in the first couple himself.
Works Cited
Thomas, Garrett. "Combination Lock" Inside the Mind of Garrett Thomas (L & L
Publishing, 2005)
Linian, Alex. Unpublished handling
Redford, Patrick . "The Forgotten" Mendacity - Experiments in lying for the
Professional
Entertainer (Redford Press, 2003)
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ADDITIONAL SUBTLETIES
Additional Forgotten Subtleties
Here are three additional techniques I'll throw in once in a while. They're not
necessary,
but they all add a bit to the effect.
An Extra Convincer
"My fingers aren't in the way, and you can see the entire card, yes? Good. You got
it?
You understand what I want you to do, right?"
This sentence further enforces that the subject is really looking at the
information he's
supposedly remembering. This works especially well when playing the effect in a
closeup
setting making use of a playing card or the back of a business card.
The Power of Touch
Anchoring the concept of forgetting not only works as a great presentational touch,
but
also will help force the subject to forget seeing the back of the card as well. I
touch the
subject on the shoulder when describing the forgetting premise, and touch once
again
when I ask if he can remember at the conclusion of the forgetting process.
It's Not All Hypnosis
Sometimes I simply dialogue with the subject about a time he forgot something after
walking into a room instead of going through the pseudo hypnosis stunt. After the
subject begins to speak, I interrupt him mid-sentence and ask him if he can
remember.
This serves as a pattern interrupt and makes the entire effect feel a more like
legitimate
Ericksonian Hypnosis.
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