Myke Phillips - Olivia.pdf

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Olivia MODERN MENTALISM BY MYKE PHILLIPS

Edited By Preston Heller Ian(RASP) Cheetham Jon Randall Mike Vance Published By Haresign Press: [email protected] Copyright © 2014 by Myke Phillips A11 rights reserved. This book or any portion thereof may not be Reproduced or used in any manner whatsoever without the express written »‘rmission of ihe publisher except for the use of brief quotations in a book review. Printed and bound in England 3 lly Haresign Press 2014

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OLIVIA By Myke Phillips

CONTENTS ‘Nothing is impossible, the word itselfsays, ‘I ’mpossible. ” Audrey Hepburn FOREWORD (BY PAUL ROFFMAN)

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INTROIJUCTION (BY MYKE PHILLIPS)

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M-TEST (Effect) This is a very easy and practical routine to perform onstage and is great for anyone wanting to add a standalone piece or an extra 15-minute mind-reading performance to their act.

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WHY DO I HAVE TO WRITE IT DOWN? (Thoughts) Thoughts on having things written down.

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A BOLD BILLET ROUTINE (Effect) A billet routine with a bold revelation that you can utilise in your existing peek routines.

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MIND READING EXPERIENCES A day in the field.

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A TWO-PERSON BILLET ROUTINE (Effect) A two-person billet routine with a bold revelation that you can utilise in your existing peek routines.

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RUBIK’S STOOGE Always be ready to create a miracle.

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FBIXATION (Effect) ficmove a fear or phobia

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OLIVIA By Myke Phillips JUST ME Getting to know me.

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NAME IN REVERSE (Effect) A method to show a hot billet blank on both sides with a cheeky twist at the end.

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DEAD OR ALIVE (Effect) A routine guaranteed to get you a call the next day.

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IN AND OUT OF PHASES Getting to know me.

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()UT OF TOUC H (Effect) A dual-reality “out of this world” effect with no moves.

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COIN LACED (Effect) A dramatic coin-bend routine.

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!)i)93 (Effect) \ practical way to have a participant unlock your iPhone.

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¡SWITCH (Effect) \ very simple way to switch a list in or out using your iPhone.

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MINI) BEADING EXPERIENCES i day in the field.

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BEG ALL (Effect) 160 llcvcal any word deleted from a participant’s iPhone or reveal the e\acl details of a photo from a their phone that you couldn’t have possibly seen before. 6

OLIVIA By Myke Phillips TIME ¡SHIFTED (Effect) A PK-style effect using a Phone.

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iMAGE (Effect) 168 Predict a photo chosen by a participant and prove it by showing that photo on your phone in any date you like. iCAN REMOTE VIEW (Effect) A dual-reality remote-viewing effect.

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¡BIRTHDAY (Effect) A practical method for a direct revelation of a participant’s Birthday/Star Sign.

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TO PROVE OR NOT TO PROVE (Concept) My thoughts on what lengths any serious performer should go to create a deceptive show.

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MAKING A STATEMENT (A cold-reading system) 200 The simplest cold-reading system to memorise or create your own cold readings. PRE-SHOW DRAMA (Thoughts on pre-show) My thoughts on pre-show.

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STORY TELLER (Effect) 212 A routine with a practical pre-show method to read a participant’s mind. ps,ACAAN (Effect) 218 A practical pre-show ACAAN for close-up and table performances. 7

OLIVIA By Myke Phillips ¡MEMORIES (Effect) A beautiful effect with a very clever handling of an old principle.

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DOUBLE PSYCHE (Effect) A revelation of two thought-of cards.

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MIND READING EXPERIENCES A day in the field.

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THE RIFFLE SHE FFLE CODE (Principle) Covertly signal any card to your accomplice by simply shuffling.

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POST-IT DUPE Effect Method (ireate an impression device with a single Post-it note.

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NO DESIRE (letting to know me.

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I II E SEARCHLIGHT

PRINCIPLE (Principle) \ principle to reveal the exact letter of which your participant is thinking.

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SEARCHLIGHT BOOK TEST (Effect) My approach to a book test that uses any book and is very hold.

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(Principle) \ startling way to reveal letters in any word.

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N IK

FINGER/

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OLIVIA By Myke Phillips MVKE’S LOCATOR CARD (Effect) A utility gimmick that allows you to locate any peeked-at card with almost no sleight of hand. Can be used for a book test, too.

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MIND READ! NG EXPERIENCES A day in the field.

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88 MPH (Effect) From a shuffled pack you are able to find the three mates of a card selected sight unseen.

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DON'T RE AN ARSE A word to “The Magician.”

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PSYCHOLOGICAL SNAP (Effect) A game of Snap with your mind.

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MIND READING EXPERIENCES A day in the field.

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NERVOUS ABOUT PERFORMING A chapter on how to deal with nerves about the prospect of performing.

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PASS-CARD (Effect) Four cards create a 1 in 10,000 code that creates another 1 in 10,000 code that genuinely unlocks your iPhone.

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THOUGH I -OF CARD (Effect) A method to force a participant to name a “freely” thought-of card. 9

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OLIVIA By Myke Phillips GOOD HITS A day in the field.

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PSYCH()L()GICAL IMPOSSIBLE CARD LOCATION (Effect/Method) A very bold but deceptive method to locate any card freely chosen whilst your back is turned.

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ADVICE FROM OTHER PERFORMERS A little rant.

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A C()1 N BEND (Effect) A practical coin-bend routine.

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KUROTS-MYKE (Effect) \ complete 20-minute act.

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BEING CHEEKY Reversing the effect on the performer.

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STOP WATCHING ME \ day in the field.

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MV KE PHIL LI PS STREET SHOW SCRIPT If von want to perform mentalism in the streets, here is my script. Take what you like.

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\ N<>TE FROM ADY LLOYD \ friend.

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S \L \11 \ \ZEI)INE (A true genius) \ short story about creating and 10producing with someone I have neycr met before,

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OLIVIA By Myke Phillips A NOTE FROM SALAH AAZEDINE A friend. OLIVIA (A bedtime story)

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OLIVIA By Myke Phillips

FOREWORD

By Paul Roffman “You couldn't erase the past. You couldn't even change it. But sometimes life offered you the opportunity to put it right. ” Ann Brashares

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OLIVIA By Myke Phillips

FOREWORD

By Paul Roffman “You couldn't erase the past. You couldn't even change it. But sometimes life offeredyou the opportunity to put it right. ” Ann Brashares

The first time I met Myke was early on in my magical journey. We were at the London society of magicians and he was there with Sergio Barros, who became one of the most well-know n street performers in Covent Garden. I melted a coin with my eyes and did a mind-reading bit, as you do! I quickly discovered Myke had an indepth knowledge of magic and cards. As I was learning I saw he was the guy to help me. We immediately became friends. In the early days we would end up sessioning into the early hours back at my place. Even then Myke was coming up with ideas. 14

OLIVIA By Myke Phillips The development to reach the arena that is mentalism came through learning the magic fundamentals. We were part of the next generation to see magic as a feasible career and entertainment, not something that was still from a generation of working men’s clubs or old-fashioned, top hat, stage illusionists. New Acts like David Blaine and Penn and Teller started the ball rolling again and then the onslaught of Derren Brown which was to influence anyone who had an interest in taking magic further into this seemingly psychological world of mentalism. Of course, all of these performers used classic material, but managed to instil an interest to look further. Also one thing we both understood was that, especially with Penn and Teller and Derren Brown, the theatre was the important part. I come from a background as a performer. I have been an actor as long as I can remember and spent three years at Mountview Theatre School in London. Through acting I rediscovered magic and its potential. I, unlike many mentalists, am not caught up in the semantics as to whether it is magic, mind magic, mind reading, or mentalism. For me they are all facets of the same being, just flavoured differently. Myke also knew that a fundamental understanding of the elements of magic would give one the core strength and ability to perform anything necessary to facilitate the overall effect, be it close-up or on stage. From a commercial standpoint magic performers need to be versatile creatures as they are very rarely the main focus of an event. They are usually what I refer to as the adjunct -they are there to fill time. Be it at a wedding, when the bride and groom are having photos taken, or during a corporate event around the tables—that, of course, is not their only reason to be there, but one that is important to realise and be able lo perform whatever is necessary for the crowd that is there and to be able lo lengthen or shorten one’s act accordingly. The same follows on stage, but hopefully not as much. 15

OLIVIA By Myke Phillips As in a booked half-hour show needing to be cut to fifteen minutes because the event has run over or the guests are too drunk, etc., sometimes one realises that one has to change an effect on the fly, as the audience is completely wrong for what you are doing. Good examples are book tests, or more convoluted feats of mind reading for crowds with very short attention spans, or the chance that an effect with a long narrative will be interrupted, destroying the rhythm. Now rhythm segues nicely to a time Myke and I were in Marbella, Spain, planning on performing cups and balls in the street. We rehearsed endlessly at my Dad’s house and finally took it out for a road test. (I think we also performed the cut and restored rope. It was exhilarating to perform something new and actually make money from it.) Now, what has this to do with mentalism? Everything! These effects are both visual and theatrical. They rely on strong structure and a good narrative arc. This sort of fundamental was perfect to add to the arsenal as a performer. What really informs and helps you develop as a mentalist is the ability to draw on many different arts and to take parts of their colours into your act. Myke’s true calling has been developing stage pieces and creating magical effects with a hint of the power of the mind. The core understanding of magic concepts has allowed that to blossom. Also art and music, in fact anything outside the magic arena, are places to draw from in order to make true miracles. Myke has battled many demons along the way, as a performer and as a creator of magic. He has had many regular jobs, but has always had an indefatigable belief and determination to be involved in the 16 magic arena.

OLIVIA By Myke Phillips All those other experiences are what gives him a worldliness. He has always pushed forward in areas that have challenged him the most. From gigging for private parties and corporate events to being a street performer, Myke has pushed himself forward. I had the pleasure of helping film some videos for his hugely successful release, iUnlockYourMind. This mentalism App on the iPhone is something most working magicians and mentalists have in their repertoire. Myke is a great example of self-education and determination in life. If you work hard and focus on something with true passion and commitment, anything is possible. This collection of works is a typical Myke production. It has been held up many times, not because he hasn’t been working on it, but because every time he finishes it, a new idea pops into his head and he feels the need to add it into this tome. Or, for example, if the actual quality of the fabric of the book did not meet his high standards, he had to find a better publisher. There are many incredible effects and ideas in this book which, I’m sure, will find their place into your act or inspire you to create your own. Always remember anything is possible if you believe it to be!

Paul Roffman

11th September 2014

(My obstacles are moving out of my way; my path is carved towards greatness.) 17

OLIVIA By Myke Phillips

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OLIVIA By Myke Phillips

INTROD UCTION “My mind is a bottomless well o f creative ideas. ”

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OLIVIA By Myke Phillips

INTRODUCTION *‘M y mind is a bottomless well o f creative ideas. ” Hello. My name is Myke Phillips and Pm a Mind Reader/ Psychological Illusionist from London. I have been studying this splendid art and performing it in London for about 10 years. But I wasn’t always a Mind Reader, and that is why, in this volume, some of the effects that appear are from a mental magic angle, with these coming from my earlier days as a “Magician”. In this book you will find effects and subtleties I have used and wanted to share with you for a long time. I have also peppered the book with short stories between the effects so you can get to know me both as a performer and genuine human being. I also placed an inspirational quote at the start of each effect, experience, or anecdote. I also placed an affirmation at the end of each section. Whether you choose to read these, and take in their meaning, is entirely up to you. I have found them helpful and inspiring and perhaps you will, too. There are a few card effects in this book that were originally designed with the intention of fooling magicians. These came about because I live and perform in London, where magical performers seem to appear on every other comer. As a result one tends to come into contact with a lot of them. Not so much nowadays, but some years back, I used to go out and meet many of them on a regular basis. The usual thing would be to show each other “a trick”. I would, however, tend to shy away, not because I thought I wasn’t good, but because the thought of performing an effect and then having ihem know exactly what I was doing sent shivers down my spine. And yes, ¡1 still does, even20to this day.

OLIVIA By Myke Phillips Eventually I created some effects for performers to use to fool other performers, especially when they would have these meetings. I’ve included three of these card effects in this book for you to use if you wish, but most of the book is centred around my true passion: performing for lay audiences. So, in this book you have those three card effects that have and will fool some of the top performers in London or wherever you perform. There is an iPhone effect that’s as daring as daring can be, and then there is something I call “The Searchlight Principle”. This piece of mentalism is the real stuff and is a teaser for what is to come. In addition, you will find some very bold mentalism effects, which I predict you will become quite fond of performing. And last, but far from least, I would like to thank each and every one of you, from the bottom of my heart, for purchasing my first real book for the Magic/Mentalism community. I sincerely hope you enjoy the book as much as I have writing it. Myke Phillips ILondon

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(I am at peace with all that has happened, is happening, and will happen.)

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OLIVIA By Myke Phillips

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M- TEST

“Success is about creating benefitfor all and enjoying the process. I f you focus on this dc adopt this definition, success is yours. ” Kelly Kim

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OLIVIA By Myke Phillips

M- TEST “Success is about creating benefitfor all and enjoying the process. I f you focus on this & adopt this definition, success isyours. ” Kelly Kim

EFFECT

You invite three participants up on stage and give them each a piece of paper on which to write a name, an object or draw a picture. You then reveal all three thoughts, ending with a drawing duplication. This is a very easy and practical routine to perform onstage and is great for anyone wanting to add an extra 15-minute mind-reading performance to their act or as a standalone piece.

METHOD

I will give you the nuts and bolts to perform this routine and then I will bring it all together at the end so you can get a feel for it. In this routine there is a combination of methods to create a very hands-off, no-peek, mind-reading performance. The methods we will be employing will be dual reality in our speech and progressive anagrams—with a limited choice of words. We will also be switching out the evidence, the pieces of paper with the limited choices on them, in a very deceptive way, and leaving a replacement for anyone wishing to read what was on them.

PIECES OF PAPER

Let’s first deal with the pieces of paper that are given to the participants. 24

OLIVIA By Myke Phillips As you can see there is a list of six choices on each piece of paper and each list of six choices can be known via a very simple divide and then a two-step progressive anagram. Below are photos of the three pieces of paper that are given to the participants on stage.

THE SET- UP SCRIPT

“In a moment I am going to give you all a piece o f paper on which to write or draw something. I wantyou to write one o f the following in the box. Now, you have afew choices o f what to write. Some of you can draw an object, or write a name or a place. It really doesn’t matter whatyou choose to write in the boxfrom the choices, but it would be great if you could attach whateveryou 're going to write in the box to someone or something in your life. ” ‘For example, the name TOM may be an old schoolfriend oryou may have even been to SPAIN recently and have some great memoriesfrom there. I f you don Vwant to or can ’t just write it in the box anyway. ” 25

OLIVIA By Myke Phillips The script is designed to create a dual understanding. The participants onstage understand that they are to write in the box one of the pre-written choices and the audience believes they can think of anything they like. The best way to understand these realities is to first imagine you are in the audience listening to the above script. After you have done that, imagine you are onstage as one of the participants, and after you have listened to the above script, read one of the pre-written pieces of paper. In the script I mention the name TOM and the country SPAIN. Tom is not one of the choices but Spain is, and I say these for a reason. I can’t mention one of the names from the list because if the participant decides to choose that name, it will not be as strong because, to the audience, there are many names to choose from, but Spain is a place they could have been to recently and it seems more of a coincidence. But, I specifically mention these because I do want them to choose one from the list and the participant with the names thinks I have just mentioned the wrong name. What is also great is, if they can attach one of the objects or names to something in their lives, it opens up to some interesting mind reading because you can apply your techniques to discover if it’s a family member or friend, whether it’s something they own or not, a place they have been to, etc.

THE PROGRESSIVE ANAGRAMS

The first participant is given the piece of paper with the list that contains three OBJECTS and three PLACES. The divide is OBJECTS or PLACES. You will ask is, “Is this an object or a place?” Once you know whether il’s an object ora place you are just down 26 to three possible choices.

OLIVIA By Myke Phillips The choices are now just a simple two-step progressive anagram away.

PROGRESSIVE ANAGRAM FOR OBJECT OR PLACE REVELATION OBJECTS PLACES IF NO (E) VIOLIN IF NO (E) = SPAIN IF NO (N) = PICTURE IF NO (N) = GREECE IF YES (N) ENVELOPE IF YES (N) = FRANCE The second participant is given the piece of paper with the list that contains three MALE names and three FEMALE names. The divide is MALE or FEM ALE. Once you know whether it is male or female the choices are now just another simple two-step progressive anagram away.

PROGRESSIVE ANAGRAM FOR NAME REVELATION MALE IF NO (E) = JOHN IF NO (T) = MICHAEL IF YES (T) = STEVEN

FEMALE IF NO (E) = LUCY IF NO (T) MICHELLE IF YES (T) STACEY

The third participant is given the piece of paper with the list that contains three MAN-MADE objects and three LIVING things. The divide is MAN-MADE or LIVING. Again, once you know whether it’s man-made or living the choices are once again just a simple twoslep progressive anagram away, but not in the same way as before because we are now dealing with a drawing. You are going to ask a maximum of two questions to know the written choice. 27

OLIVIA By Myke Phillips The first question is: “This is not somethingyou would usually hold in your hand, is it?”This is asked in a manner that allows you to turn it into a question or a statement depending on the reply. If the answer is YES, then you reply, “I thought so,” thus knowing it’s either the bottle or the flower. If the answer is NO, then you reply, “I thought not,” and move on to your next question. The second question is: “Is this somethingyou can ride?”If the answer is YES, then it’s either a bike or horse. If the answer is NO, then it’s either a house or a shark.

PROGRESSIVE ANAGRAM FOR DRA WING DUPE OBJECT USUALLY HOLD = BOTTLE RIDE BIKE NO RIDE = HOUSE

LIVING USUALLY HOLD = FLOWER RIDE = HORSE NO RIDE = SHARK

SWITCHING OUT THE EVIDENCE

In your left outside jacket pocket you wil I have three half pieces of paper that will replace the top half of the pre-written lists. These half pieces of paper will have something different written on them. They have a message on them that will have given the participant a free choice of anything to think of. These switched in pieces of paper will have written on them, “Please Write or Draw an Object, Name or Place in the box,” as shown in the photo below.

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OLIVIA By Myke Phillips

At the end of the routine, just before the revelation of the drawing duplication, take all three pieces of paper so that the writing is facing towards you and stacked one on top of the other.

h old from the left side to the right side, turn everything counterclockwise and tear down the middle. 29

OLIVIA By Myke Phillips

You will now have the pre-written lists in your left hand and the participants’ written choices in your right hand. Both of your hands go into your outside jacket pockets for a moment. Whilst, your left hand is in the outer left jacket pocket you switch for your pre­ written “free choice list.” Place everything together and throw them onto the table and leave them there. You can just leave them there and bring them out later as the participant goes to sit back down.

THEROUTINE

Invite three participants onstage.

“In a moment I am going to give you all a piece of paper on which to write or draw something. I wantyou to write one of thefollowing in the box. Now, you have afew choices of what to write; some of you can draw an object, or write a name or a place. It really doesn’t matter whatyou choose to write in the boxfrom the choices, but it would be great if you could attach whateveryou ’re going to write in the box to someone or something in your life. ” “For example, the name TOM may be an old schoolfriend oryou may have even been to SPAIN recently and have some great memoriesfrom there. I f you don't want to or can t,just write it in the box anyway, ” 30

OLIVIA By Myke Phillips Give them each the pre-written pieces of paper to wrilr down one of the listed of words. When they are done, instruct them to fold up the paper and lo hold on to it. You reveal, through the progressive anagram that the first participant is thinking of, a “recent trip” to FRANCE. Take the piece of paper from the participant and send them back to their seat. You then reveal that the second participant is thinking of “a friend from school” named STAGEY. Again, take the piece of paper from the participant and send them back to their seat. You then give the last participant a pad to draw their “thought” on so that the audience can see it much larger. Duplicate their drawing but, before revealing, place your pad face down onto your table and ask for the piece of paper back. Look at it and sigh as if you got it wrong. Pick up your pad and ask the participant to turn their pad around, and then you turn yours around to show it’s the same. Send the participant back to their seat. As they are walking back you pick up all the pieces of paper, tear them in half, and switch in your pre-wrilten “free choice.”

NOTES

\ lew noies just to clear up some31Illings before I leave.

OLIVIA By Myke Phillips • You need to take back the piece of paper from the last participant in order to clean everything up. It is done at an awkward point in the routine and seems illogical, but you can build tension here to create a bigger reaction from your audience. • I have given you the bare bones of the method and routine and it is up to you to create those little extra moments that allow you to use the progressive anagrams in a way that is deceptive. • Here is nice gambit you can use for your progressive anagrams. If you use any progressive anagrams that are long, meaning seven to ten words, please don’t start at the beginning, but start in the middle. By this I mean, if you have potentially ten words to get through to reveal the chosen word and your progressive anagram letters are (M-Y-K-E-D-E-S-I-R-E), it’s more logical to say, “I ’m seeing a ‘D ’in your word. Is that correct? ”than to start at the “M”. If you get a YES! you have just cut your list in half. If you get a NO! you have still cut your list in half because you can go to the beginning and say, “I ’m seeing an ‘M ’in your word. Is that correct?” and carry on. By using the gambit in this routine you can skip the first letter at the start. You can use “The Searchlight Principle” alongside the progressive anagrams. I have purposefully left out this information so you can experiment, but I will give you a clue. Look at some of the similarities between the words in the lists and figure out how you can use “The Searchlight Principle” to discover the words more deceptively and to create more reactions within the same routine. This effort on your part will pay great dividends down the road. (I am forthright, trustworthy, and honest in all my dealings.) 32

OLIVIA By Myke Phillips

WHY DO I HA VE TO WRITE IT DOWN?

“You miss 100percent o f the shots you never take. ” Wayne Gretzky

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OLIVIA By Myke Phillips

W H Y DO I H AVE TO W RITE IT DOWN? “You miss 100percent o f the shots you never take. ” Wayne Gretzky There are countless justifications as to why you are having someone write a name or a word down on a piece of paper. Most are great and most of the time you don’t need to justify anything. A justification in these types of routines is only important when you need to destroy the billet/business card. Simply say, "Please write down the name ofsomeone you haven’t thought about in a long time. When you ’re done, fold it up and don’t show it to anyone. "That’s it! I performed this type of effect more than a 100 times a day over a long period of time. Using the above statement I never get asked, LLWhy do I have to write it down?" Some performers are terrified of that question. Imagine if you could ask someone to write down anything on a business card and to place it straight into their pocket, all this done whilst facing away. You take out your pad and write down the exact same word they wrote a moment ago. No peeking No impression devices No electronics Nothing!

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OLIVIA By Myke Phillips Would you care if they asked you that question?
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OLIVIA By Myke Phillips

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OLIVIA By Myke Phillips

A BOLD ROUTINE

“Ifyou don’t build your dream, someone else will hire you to help them build theirs. ” Dhirubhai Ambani

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OLIVIA By Myke Phillips

A BOLD BILLET ROUTINE “Ifyou don Vbuildyour dream, someone else will hire you to help them build theirs. ” Dhirubhai Ambani

EFFECT

The performer asks a lady to write down, on a business card, the name of a person she has not thought about in a long period of time. She writes down the name Michael. The performer hands the lady another business card as he takes her original card and then holds it to his forehead. Receiving impressions as to who this person is, the performer begins describing things about this person he could not possibly know. The business card is then destroyed. The performer takes back the business card the lady still holds, writes on it, folds it and places it back into her hand. He then proceeds to tell the lady a little more about the person of whom she is thinking. “You thought o f someonefrom yourpast, a person you would not have imagined thinking about when you woke up this morning. ” The lady is asked to unfold the business card, and to read what is written. The message reads: “Michael is thinking of you, too.” 38

OLIVIA By Myke Phillips This routine is bold but very direct in method and revelation. One of the reasons why I designed this particular routine was because I struggled to find a good peek that worked for me. After having an operation to stop my hands from sweating really badly, my hands are now very dry and I find it difficult to do any kind of centre tear (I have, since writing this up, found a centre tear that works perfectly for me: Dr. Bill’s Tear).

ACTIONS & PRESENTATION

Ask a lady to write down the name of someone on a business card. “I wantyou to think o f someoneyou haven’t thought about in a longperiod, of time, but it must be someonefrom a happy memory. When you ’re done, / wantyou tofold your business card up like this, ok?” She writes down a name, Michael, and then folds it like you showed her. Vou take the folded card back as you hand her a second card. "Hold thisfor me. ” 11<>I(ling her folded card, you say, “You can’t see through this, can you?” She replies, “No!” ^ ou hold it to your forehead and start to receive impressions as to who this person is. Mullenug lo yourself, “Ok, this is someonefrom quite a while ago, someone who was aJoy to be around. Also I get thefeeling ofa bond between a Jew other people as well. ”39

OLIVIA By Myke Phillips “I ’m going tofocus on thisperson alone as I think you shared some good times together. ” You then bum her business card, destroying it completely. “I ’m going to burn the business card. What this does is, the smokefrom the burningpaper triggers something in me that I can only describe asflashes o f names andfaces o f people I have never met before. I know it s a bit weird, but the burning smell has to do with something that happened to me when I was a child. Since then I have had this gift. ” You take back the business card, and just before you write down the name of the person she is thinking of, you start to describe this person to her. “Ok, this person you ’re thinking o f is male. He looks a little taller than you, with dark hair. He’s the type of person who is always good to be around, and I also get thefeeling you had a lot o f fun together. ” You write a name on the business card, fold it, place it into her hand and say to her, “You thought o f someonefrom yourpast, a person you would not have imagined thinking about when you woke up this morning. ” You tell her to open the business card and to read what you wrote, saying, “Go ahead and unfold the card. ” She does and it reads, “Michael is thinking of you, too.”

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OLIVIA By Myke Phillips

METHOD

This routine uses only two business cards, a permanent marker pen, a regular pen, one sneaky switch and a clever bit of writing.

HOLDING THE BUSINESS CARDS & THE MECHANICS

Let’s talk about the switch first.

I have written the numbers 1 & 2 on the business cards so you can keep track of what is actually happening. Business card 1 is the spectator’s card and business card 2 is your card. You can use any switch you prefer. The switch I use is a non-switch move that is often done with cards, only we are going to do this with Iwo folded business cards. \ on have just had a lady write a thought onto a business card which she llien folded. You are holding a business card in your right hand. Because the business cards are small, you need to take care how you hold them lor (lie switch. 41

OLIVIA By Myke Phillips The business card in your right hand should be held at the tips of your fingers, and should be clipped at the top right-hand comer of the business card (this helps greatly in the switch) between your right middle finger and your index finger. Your right thumb should be extended so you can receive the spectator’s business card in that hand.

Now that you have the business card held in the correct position, curl in your fingers to hide the card. You are not actually hiding the card, you are just holding the card in your hand, but secretly in position for the move.

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OLIVIA By Myke Phillips

The business card (1) you take from the spectator will be held in your left hand. You will clip it at the bottom left corner of the card between your thumb and index finger, extending your middle finger Io receive the business card from your right hand.

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To get this business card in the correct position, you are going to ask ihe spectator if they can see through the card. In this action you are going to put the business card in the position described above. As you bring your left hand towards your right hand, your right ilium!» and index finger clips the business card from the left hand I). flie left middle and index fingers clip the business card from your right hand (2), and you give back the spectator the business card from your right hand (1), or place it onto the table. You then place l lie business card from your left hand (2) into your right hand and lake out a lighter from your left pocket.

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OLIVIA By Myke Phillips Below is the sequence:

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OLIVIA By Myke Phillips GIVE CARD BACK TO SPECTATOR OR PLACE ON TABLE

What you are doing here is giving them back their own business card to hold on to. This may seem very bold and it is. You do need certain amount of audience management once they have this business card in their hand. If you don’t want them to hold this business card, you can just plac it onto the table in front of you. 46

OLIVIA By Myke Phillips So why are we taking a business card from someone that they have* written on, and giving it back to them when we need the information they have written down?

THE SECOND METHOD

So what is different about the method in my routine, compared to most other business card peek routines? Well, you can switch a business card and, instead of secretly reading the information or blatantly reading it and having to switch again, you can just read it right in front of them. Then give it back to them as your revelation. The great thing is, you don’t even need to read it. You are going to take a business card that someone has written information on, and then give it back to them as your revelation. They are then going to unfold it, to read what’s written on the card and to be amazed that you correctly wrote down the thought-of name (or any piece of information). How do we do this without them knowing that it is their writing Iliey’re reading?

WRITING OVER WRITTEN INFO

You are going to tell someone to write a thought on a business card, and then you are going to write over it in permanent black marker or a dry erase board pen. I)on’t use a pencil as this works better with a black ballpoint pen. When you write over a piece of information (with a black marker pen) Iliai someone has written in a regular pen, you will hide what the person lias written before. 47

OLIVIA By Myke Phillips Hut how do we do that without them knowing it’s their writing? Obviously you will have to make the word that they wrote down look different. So, you have to do this on the fly really, and there are a few options open to you here. You can make the letters of their word bigger, change the shape a little or make a loop with one of the letters. If there is an “I” in their word and it isn’t dotted, you can dot it and even underline the word, too. You can make different names out of the name they wrote and then cross it out and write the name they wrote underneath. Also, adding some other details around the name will add to the deception. The examples below are neat versions done with my own writing.

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CROSSING OUT

You can trace over the word with a permanent marker and then cross it out. Then underneath you can write a similar name Mike becomes Mikey. This is a nice dodge, too, because you may even hit on a nickname. You can even blatantly black out the word they wrote, saying you made a mistake, and then write it again underneath, or you can black out part of the word they wrote, making it shorter. The basic thing here is you need to camouflage the information they wrote to look different. That’s it! Here is what I now do. Whatever the name is, I just write over it with the name James. I then cross out most of the name I wrote, but in a way that they can still read it says James. This also blacks out the name they wrote. I now write the name they wrote underneath and underline it. Another nice subtlety is to say the name James out loud as you write over the spectator’s written name. Then say, Wo/” as you cross it out. 50

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ADDING A BIT MORE INFO

\ ou can always add a little more information to the business card, making the method even more deceptive; e.g., “Michael is thinking of you, too.” So what you have done is written over their information in black marker pen, made it look different, added a bit more information to it and given it back to them. 52

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OPENING THE BILLET UPSIDE DO WN

On the occasion you unfold the card and the writing is upside down, simply leave it in this position and write over the wor< I as previously mentioned. Turning the card to the correct orientation would imply there is something already written on the card.

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PERFORMANCE & BASIC SCRIPT

Give a lady a pen and business card and ask her to write down a person’s name. “I wantyou to think o f someone you haven’t thought about in a longperiod o f time, but it must be someonefrom a happy memory. ” “Whenyou ’re done, fold the card like this. Ok?” While she is doing this, take out another business card and hold it in your right hand in position to do the switch. She writes down a name, Michael, and folds it like you told her. Take her business card (getting into position for the switch) and say, “Now, you can Vsee through this, can you?” She replies, “No!” Now you do the switch, giving them their business card back for them to hold and saying, “Hold thisfor me. ” The lady is now holding the same card that she wrote information on, but will assume it to be a different blank business card. However, you are holding the blank card that she believes to be her business card. You hold the card to your forehead, and start to describe impressions you are receiving as to who this person is.

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OLIVIA By Myke Phillips Muttering to yourself, you say, “Ok, this is someonefrom quite a while ago, someone who was ajoy to be around. I also get thefeeling ofa bond between a few otherpeople as well. I ’m going tofocus on thisperson alone, as I think you shared some good times. ” You take out a lighter from your pocket, explaining, “I ’m going to burn this paper. What this does, is the smokefrom the burningpaper triggers something in me that I can only describe asflashes of names and faces o f people I have never met before. I know it’s a bit weird, but the burning smell has to do with something that happened to me when I was a child. Since then I have had this gift. ” You then burn her business card, destroying it completely. Return the lighter to your pocket and bring out a permanent marker pen. You now take back the business card the lady is holding and open it, casually concealing it from her view in the palm of your hand. .1ust before you trace over the name of the person she wrote down, you start describing things about the person to her. Now that you have seen the name, you will know whether this person is male or female. With that simple piece of information you can use your skills as a cold reader to give the impression that you know exactly who this person is and what type of person they are. Another thing you will know is that this is a happy memory, because you told her to think of one. So, this person had to be a fun person maybe not all the time but in this memory he was. 55

OLIVIA By Myke Phillips When saying this next line with the billet in your hand, resist the temptation to gesture with the business card in your hand. It’s easily done. This implies that the billet you’re holding is theirs and you don’t want that thought crossing their mind. “Ok, theperson you ’re thinking of is male. He looks a little taller than you with darker hair. He’s the type of person who is always good to be around, and I also get thefeeling you had a lot o f fun together. ” You can now trace over the name of the person that the lady wrote, fold up the business card and place it into her hand. You then say to her, “You thought o f someonefrom yourpast, a person not even you could have imagined thinking about when you woke up this morning. Please open that business card and read the name ofthe person I was thinking of. ” She does and it reads, “Michael is thinking o f you, too. ”

NOTES

I also use the “write-over” method in Bob Cassidy’s “name/place” routine. This is a great option for you to think about if you perform that routine. What this did for me is it eliminated any fumbling in my pocket. I am aware that Mr. Cassidy has been getting away with this for years, but if you can eliminate any funny business, then the general rule is that you should. The only downside to doing this is that you can’t give the business card with the information that you miscalled back to its owner. To be honest, in my experience with this routine, nobody is interested in tlie pieces of paper anyway. 56

OLIVIA By Myke Phillips Since writing up this routine, I no longer burn the business card as it’s no longer practical and not necessary. Instead, I switch the business cards and then after my picking up on what’s on the card, I place it onto the table and pick up the business card with the information on it, after which I write over the info and fold it back up. I then pick up the spectator’s supposed business card (actually the blank business card) and miscall the name that the spectator wrote down. I fold it back up as I ask the spectator to open and read what I just wrote.

ROTATING THE CARD

Here is just a nice little subtlety when you are misreading information on a business card or billet. When you pick up the “spectator’s business card” to read it, open it up and give it a 180 degree rotation (even if it is the correct way up) as though the writing is upside down. This sells the illusion that there is, in fact, writing on the card and also that you are reading what you say you are reading. This is made super easy in my version of the “Name/ Place Routine” because you are not reading one piece of info and saying another, as the business card is blank. (I have completely discarded any thoughts of failure that I used to have.)

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MIND READING “Thefirst step toward success is taken when you refuse to be a captive o f the environment in which you first find yourself. ” Mark Caine

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MIND READIN G EXPERIENCES “Thefirst step toward success is taken when you refuse to be a captive of the environment in which youfirstfind yourself. ” Mark Caine Throughout this book I would like to share with you some of my experiences performing mind reading in the streets for random passersby. I have performed as a mind reader for a few months on the streets of London (Southbank to be exact). I used to have a table with black cloth on it and a sign on the front that read '‘MIND READER”. Today was very interesting. Starting out I was a little nervous. I went to my usual spot to set up my table with my “MIND RE ADER” sign on it. Instantly a couple of ladies came over and wanted to find out if I could actually do it. So I did my usual Telethought wallet peek. I nailed it and one lady was completely blown away, but the other one said, “Maybeyou can see through that wallet. ”I stayed composed and handled it well. The thing I hoped would cancel her theory out was the question of how I knew the person she thinking of was her husband. Then I just shifted my focus to someone else. Afterward, I thought maybe I should think about what she said, because maybe one out of a hundred people say what they think the method is. This is ok with me, but maybe a bigger percentage of the other 99 people just don’t say it out loud. But then I thought, judging by the reactions of the other 99 people, I truly believe they think I’m doing the real thing. In any case, I had a few nice hits today. A lady thought of “William Thomas” but could only see “William.” so I wrote “Williams". 60

OLIVIA By Myke Phillips When I turned my pad around this lady went nuts and her son just put his head on my table in amazement. Why? Because the name “Williams” was their surname. So, they interpreted that as a double hit. That was nice. I seem to be hitting a lot on who specifically the person is— boyfriend, best friend, or husband, all without fishing. Nicknames are a nice thing on which to hit. If the name is short, add something to it, and if its long, make it shorter. I did get a few things wrong today. An Indian family came up and the guy was thinking of a really long name, with repeated letters. That threw me off a bit, so I just wrote down something close to what I thought it was, but it was way off. But an interesting thing happened as well, with another family. The guy thought of the name “Mina” so I said to him, “Female, right?” “No!”he said. So I thought maybe it’s the other way around. I wrote on my pad “Anim”. To me, I think Mina female, Anim male. But when I revealed the name I was wrong. It was Mina after all. But here is the really interesting thing. I turned over the paper on which I wrote the name. The ink had bled through and the correct name “Mina” was what they saw. They were quite impressed. Now, these things only happen when you are performing all the lime, repeating the same effects and methods. After I read her mind a Jamaican lady said to me, “I ’m going to play the lottery now. ”I thought about that and quickly said, “I ’m going to write down afew numbers that come to mind as I look at you. ”She got all exiled. I looked at her and really did write down numbers that just 61 popped into my head.

OLIVIA By Myke Phillips When I turned that pad around you could hear audible gasps from her friends and family. Why? Because they had interpreted the numbers I had written down to have meaning in their lives, saying, “That’s my birthday, ” “That’s my door number, ”and, “That’s my husband’s birthday, ”etc. I told them to play the lottery and if they won to come back and get me off the streets. (I have no unnecessary anxiety about things I want to do.)

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A TWO-PERSON BILLET ROUTINE

"People who succeed have momentum. The more they succeed, the more they want to succeed, and the more they fin d a way to succeed. Sim ilarly, when someone is failing, the tendency is to get on a downward spiral that can even become a selffulfilling prophecy.

Tony Robbins

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A TWO-PERSON BILLET ROUTINE “People who succeed have momentum. The more they succeed, the more they want to succeed, and the more theyfind a way to succeed. Similarly, when someone isfailing, the tendency is to get on a downward spiral that can even become a self-fulfillingprophecy. ” Tony Robbins

EFFECT

The mind reader gives a piece of paper to a man and asks him to write down the name of a pet. He now turns to a lady and gives her a piece of paper to write down the name of someone she hasn’t thought about for a while. They both write down their thoughts on the pieces of paper and then fold them up. The mind reader then burns both pieces of paper. While the paper is still burning he starts to receive impressions, giving information that he shouldn’t know. He then writes something down on two separate blank pieces paper and gives it to them. The mind reader tells them to open their pieces of paper. They do and find that the mind reader has correctly read their minds.

THE METHOD

The core method to this effect was discussed in “A Bold Billet Routine” as was the switch we use for the first business card. We are going to do a lighter switch for the second card.

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THE SET-UP

What you need for this routine is four business cards, a pen, a black marker pen and a lighter.

In your left pocket, you have a business card and a lighter. In your right pocket you have three pre-folded business cards and a pen. In your inside jacket pocket, you have a black marker pen.

THE PROCESS

You bring out everything in your right pocket (three folded business cards and a pen). Give a business card and the pen to a man on your left.

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There will be a discrepancy as to how many business cards there are, so when you bring out the business cards, do it in such a way as to hide exactly how many you have in your hand. Place the other card back into your right pocket.

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OLIVIA By Myke Phillips When you put the business card back into your pocket, it should be two business cards, so just be aware and don’t show too m uch. Ask the man to your left to write the name of a pet on his card and to fold it up.

As he is doing this you are going to do a few things at once. \ on are going to bring out the lighter and the card from your left jacket pocket, but you are going to conceal the business card behind the lighter.

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OLIVIA By Myke Phillips You need to do this for the second switch (the lighter switch). When you notice he is folding up the card with his pet’s name on it, pass the pen to the lady to your right, asking her to write down the name of someone she hasn’t thought about for a while. Your right hand goes into your right jacket pocket and you take out a business card. You are going to hold this card in position to do the non-switch move discussed in “A Bold Billet Routine.” You take the business card from the man to your left, with your left hand, saying, “You can’t see through this, can you?” As you say this you are going to put their business card in position to do the switch.

Your hands come together and switch as described earlier and place their card on the table.

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You then immediately place the dummy business card from your left hand into you right and burn it.

This is all done in one fluid movement and it should look like you have taken the man’s business card with your left hand, at the same time dropping your dummy business card onto the table to free up your right hand so you can take his card and bum it. Now that you have done this, you are going to take the business card 69 from the lady to your right and switch it for the dummy business card concealed behind the lighter in your left hand.

OLIVIA By Myke Phillips

You do this by simply placing their card at the tips of your right hand and then place the lighter and dummy business card from your left hand on top of her card. You leave the lighter on top of the lady’s card in your right hand and take the dummy business card with your left hand and immediately burn it.

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OLIVIA By Myke Phillips As the card is burning, you place the lighter and her stolen business card into you right jacket pocket. On the table is the card that belongs to the man to your left (everyone believes this to be a blank business card you placed there earlier). In your right jacket pocket you now have the card that belongs to the lady to your right. Pick up the card on the table (this they believe to be a blank business card) and open it up, and you are going to write over in black marker pen the name of the pet that the man has written. Then fold it up and place it in front of him.

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You now take out the business card from your right jacket pocket, open it up and write over the name that the lady wrote using the black marker pen. Then fold it up and place it in front of her.

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All you need to do now is recap and then ask them to open their cards one at a time, the man first and then the lady “for dramatic reasons.”

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^ % PERFORMANCE & BASIC SCRIPT

Speaking to a man on your left, as you bring out everything in your right pocket (three business cards and a pen). Remember to do it in such a way as to hide exactly how many cards you have in your hand. “I wantyou to think o f a pet. It could be thefirstpet you ever had or one you have now, and then I wantyou to write it on this piece o f paper and to fold it up like this. ” 74

OLIVIA By Myke Phillips Give one of the business cards and the pen to the man on your left. As he is writing, give a business card to the lady on your right and place the other card back into your right pocket. The reason you put it back into your pocket is to hide the fact that it’s only one card and not two. (Throughout this routine you will be taking out two business cards from this pocket.) When you put the remaining business cards back into your pocket, just be aware and remember to not show too much. When you notice the man is folding up the card with his pet’s name, take the pen from him and pass it to the lady on your right, asking her to write down the name of someone she hasn’t thought about for a long time. "I would like you to think of someone thatyou haven’t thought about fo r a very long time. Do you have someone in mind?” They reply, “Yes. ” As she is writing down her information, you are going to do a few tilings at once. bring out the lighter and the business card from your left jacket pocket with the card concealed behind the lighter. bring out the dummy business card from your right jacket pocket. I lold this card in position to do the non-switch move we discussed 75

OLIVIA By Myke Phillips Take the card from the man to your left in your left hand, and put it in position to do the switch, saying, “You can’t see through this, can yourO » He replies, “No!” Now you do the switch and drop their card onto the table. You then immediately place the dummy card from your left hand into you right and burn it. This is all done in one fluid movement. “I ’m going to burn this paper. The smokefrom the burningpaper triggers offsomething in my mind that I can only describe asflashes o f names and faces o f people I have never met before. ” Take the card from the lady to your right and switch it for the dummy card concealed behind the lighter in your left hand. “Can I take thatfrom you, too? Thank you. ” As the card is burning, you place the lighter and her stolen card into you right jacket pocket and say to them: “I know it’s a bit weird, but the burning smell has to do with something that happened to me when I was a child. Since then I have had this gift. ” Pick up the business card on the table, open it up and TRACE over the writing that’s there. “Ok, this is a pet that is coming through to me, and I believe this is a dog or a cat I could be wrong and the reason I think that is because the connection here is very strong. ” Fold it up and place it in front of the man. “Don 7 open thatjust yet. "

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OLIVIA By Myke Phillips You now take out the card from your right jacket pocket, open it up and write over the name that the lady wrote. “Ok, this is someonefrom a while ago, someone who was ajoy to be around. I also get thefeeling o f a bond between a few otherpeople as well. / think I ’mjust going to concentrate on thisperson. I think you shared some good moments with this person. ” Fold this up and place it in front of her. “You both thought o f someone or something that had ingrained a memory of the person or thatpet that you will rememberfor the rest of your life. It is my hope that when you open those pieces of paper, you will remember thisfor the rest of your life, too. ” They both open the business cards. The rest is now a memory.

REALITY CHECK

The reality is that all you need to do is one switch for this routine, hut I really like the sequence of moves: there is no dead time after the two people write down their thoughts. You can just do a lighter switch with two business cards.

THE HO W

Set up in your left pocket you have two business cards along with a lighter in your right pocket. You have two more business cards and two pens, and a black marker pen in your inside jacket pocket.

THEPROCESS

\ nu give two people one business card and a pen each from you right pocket. I lave them write down their thoughts and fold up the cards. As they do this you lake out the lighter from your left pocket, 77 concealing two other hlank cards behind it

OLIVIA By Myke Phillips Now you can do the lighter switch with two business cards. Take both business cards from the lady and gentleman with your right hand and lay them on your hand. Place the lighter and dummy business cards on top of the cards in you right hand. Switch for the concealed dummy cards in your left hand and immediately burn the dummy business cards. As the dummy business cards are burning, put the lighter and two cards into your right jacket pocket and leave everything there. After the two dummy cards have been burned, you take out one of the cards and open it up and TRACE over the information they wrote. You then fold it up and place it onto the table. Take out the other business card, and do the same. You then reveal any way you like. (I am effective in all my undertakings.)

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RUBIK'S STOOGE

“Take up one idea. Make that one idea your life—think o f it, dream o f it, live on that idea. Let the brain, muscles, nerves, everypart o f your body, befu ll o f that idea, andjust leave every other idea alone. This is the way to success. ” Swami Yivekananda

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RUBIK’S STOOGE “Take up one idea. Make that one idea your life—think of it, dream of it, live on that idea. Let the brain, muscles, nerves, everypart o f your body, be full o f that idea, andjust leave every other idea alone. This is the way to success. ” Swami Vivekananda I once hypnotised someone, giving them the ability to solve the Rubik’s Cube in under a minute. At least that was the effect as witnessed by the audience. This was a one-time effect that I will probably never repeat, but it is definitely something I will remember for the rest of my life. You see, it is always preferable to leave the person you perform for with a memory they will cherish for the rest of their life. Also why not create something that you, the performer, will remember for the rest of your life? After concluding my performance for a group of people in Spain and whilst putting away my stuff, someone noticed a Rubik’s Cube in my bag. They asked what trick that was. I replied, “Oh, that’s not a trick. ” At that point my mind started to race, thinking of how I could use it. I looked around and noticed a young boy watching. To my delight I had been chatting with him earlier about the Rubik’s Cube. He introduced himself as Laith and showed me how he could complete it in under a minute.

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OLIVIA By Myke Phillips So, here’s what happened. I turned to the crowd and said, 7fas anyone ever been hypnotised before today?”No one had. Then I lookei I at the audience intently in their eyes. I got to the young boy (Laith) and I said to him, “I ’m going to hypnotiseyou, and when I do, you will be able to complete thispuzzle. ”As I said this I gave him a wink. He smiled and said okay. Then I said to him, “You can’t complete this, can you?”He replied No! (Inside I was screaming like a big girl.) I snapped my fingers and said, “Closeyour eyes. ”I put my hand on his head and asked him to imagine being able to complete this puzzle. “Imagine all the colours coming together; see yourselfsolving thepuzzle.... When I snap myfingers, open your eyes andjust do it. ”I snapped my fingers and said, “Now, you will be able to complete this Rubik’s cube. ” I te opened his eyes and just started to solve the Rubik’s cube. As an added convincer I asked him, “Do you know how you are doing this?” I le replied, “No! I ’mjust doing it. ” Idle other people went crazy saying no way no way. When he was a couple of steps away from completing the cube, I said, “Ifhe does this you will have to give him the biggest round o f applause you ’ve ever given anyone before. ”They did indeed. This was amazing, something I will remember forever. The point here is, always be prepared to think outside the box and you, too, will be able to create a miracle effect that you will remember for the rest of your life. (I possess the qualities needed to be extremely successful.)

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FRIXA TION

“The difference between a successfulperson and others is not a lack o f strength, not a lack o f knowledge, but rather a lack o f will. ” Vince Lombardi

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FBJXATION “The difference between a successfulperson and others is not a lack of strength, not a lack o f knowledge, but rather a lack o f will. ” Vince Lombardi

EFFECT

Talking with friends, you ask if anyone has a fear they would like to overcome. One lady states she has a fear of spiders. You explain, “There are only twofears with which we are born: thefear o f loud noises, and thefear o f falling. Any otherfears have manifested themselves through the learningprocess as we have grown. However, all is not lost. Just as thesefears have been learnt, they can also be unlearnt. ” You give her a pen and a business card and ask her to write down her fear, and then to fold up the card and to place it on the table. I folding the folded business card, you talk about this fear. You take a lighter and explain that the flame will devour anything, and hence will represent her hunger for learning. You move the flame under the business card for a second, and then hand her the card to open. Her fear has gone.

THE METHOD

Firstly, I would like to state that I do believe this effect, in the right hands, has the ability to possibly cure someone of a fear. I’m not claiming that I ever have, but this was my intention when I wrote this effect. I now use ihe method in this routine to reveal a word or name that someone has written on a business84card. I’ll show you how.

OLIVIA By Myke Phillips This routine is so simple to perform and allows you to concentrate on performance. For this effect all you need is a business card, a lighter, and a Frixion pen. BUSINESS CARD,LIGHTER AMD A FRIXION PEN

If you don’t know what a Frixion pen is, it’s a pen that uses ink which erases when heat is created. In normal use this heat is created by the friction of rubbing the ink with the rubber ball on the end of Ihe pen. The heat from a flame near the ink will have the same reaction, causing the ink to disappear. This is also great because the Ncript I use is natural and the method is built in. So, all you are going to do is have someone write their fear on a business card with a FRIXION pen, and then to fold it up and to place it onto the table.

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All you need to do is to use the basic script provided. Pick up the business card and hold the flame near the card, making sure you heat both sides.

The writing will disappear. You then ask the person to open the business card and they will see the writing has disappeared.

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\ ou could have the person write their fear on the card without disclosing the information to you. Then reveal the fear they had as an afterthought. I have discovered that if you write with a Frixion pen, then heat the ink up to make it disappear, you can actually still see what the spectator wrote on the card if you look close enough. In the photo below I have tried to capture the erased ink, but the camera is not picking it up. Trust me, it is there.

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PERFORMANCE BASIC SCRIPT do

“Does anyone have afear they would like to overcome? Don ’t worry, you don’t have to say what thatfear is. ” A lady states that she would like to try. “I ’m guessing that in certain situations thisfear may get you down, make you think orfeel a certain way, or even stop youfrom doing the things you want to do in life, correct?” She responds, “Yes! ” Give the lady a pen and business card. “What I wantyou to do is, write down yourfear on this business card, but don ’tshow anyone. It’s yourfear, and the lesspeople know this, the better you will succeed in conquering it. When you ’re done, fold it like this, and place it onto the table ” She does and you explain: “There are only twofears with which we are born: thefear ofloud noises, and thefear o f falling. Any otherfears have manifested themselves through the learningprocess as we have grown. However, all is not lost. Just as thesefears have been learnt, they can also be unlearnt. ” “Fear helpsprotect us. It makes us alert to danger andprepares us to deal with it. Feeling afraid is very natural and helpful in some situations, and in some cases, fear can be like a warning, a signal that cautions us to be careful. ” 88

OLIVIA By Myke Phillips “11 hen we sense danger, the brain reacts instantly, sending signals that activate the nervous system, triggering a physical response, such as afaster heartbeat, rapid breathing, and an increase in bloodpressure. ” “This response is known as ‘fight orflight’because that is exactly what the body ispreparing itselfto do,fight offthe danger or runfast to get away. ” I’ick up the business card from the table and hold it in your hand as you explain: “/ want you to imagine that allyourfear is inside this card, trapped, waiting to get out. But before it can get to you, you are going to attack it first, catching it off guard. ” Take out a lighter and ignite it. ''Thisflame represents you, strong andpowerful, burning with a desire to befree to do the things you want to do in life. ” Now hold the flame under the folded business card. “II hen you attack yourfears you may go through somepain, but remember, on the other side o f pain is success. ” (live lliem the business card to open themselves. " Iml now thatyou have attackedyourfear, you can see that it has gone andyou can now befree. ”

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REVEAL A NAME

Here is a nice way to use this method in a simple name/word revelation. Firstly, have someone write a name on your business card with your Frixion pen and fold it up.

Take back the card and heat it with the lighter. The name will disappear.

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OLIVIA By Myke Phillips Show that the name has disappeared from the business card and then turn it towards yourself and read the name on the card.

Heveal the name in your most dramatic way. (I find it easy to achieve my goals and I set my goals high.)

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JUSTME

"Develop success from failures. Discouragement andfailure are two of the surest stepping stones to success." Dale Carnegie

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JU STM E "Develop successfrom failures. Discouragement andfailure are two of the surest stepping stones to success." Dale Carnegie There are different types of performers out there, and every one of us has the right to be here in this art no matter how good or bad you are. Always remember, it’s not about how good you are, it’s about how good you wanna be. When I perform I am Myke, but who is Myke? Myke is all his influences from living life as a human being. He is Myke because of who he associates with, who he watches, who he idolises. He is a mixture of all his influences but he is Myke. There are performers who just perform all the time. There are performers who perform occasionally. There are performers who perform for performers. There are performers who perform in their heads. There are creators and then there’s ME: I am sometimes a performer, sometimes a creator and sometimes both. Sometimes I hate performing, sometimes I love performing, but I always love creating.... (I achieve amazing results with everything I do.)

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NAME IN REVERSE

“I f you genuinely want something, don’t wait for it - teach yourselfto be impatient. ” Gubaksh Chahal

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NAME IN RE VERSE “Ifyou genuinely want something, don’t waitfor it - teach yourselfto be impatient. ” Gubaksh Chahal

EFFECT

A lady writes down on a billet any piece of information she likes. You then burn that billet. You take out another billet from your pocket and show both sides blank. You then write something down on that billet and give it to the lady. She opens it up to find that you have correctly written her thoughts. If you desire, you can open any billet right in front of the participant, showing the billet to be “blank” on both sides when in fact it is the billet on which they wrote their information. Showing a billet to be blank to the person that has just written on it is a veiy ballsy thing to do. However, these are the things that keep the routines we perform exiting for us, too.

WHAT YOU NEED

A Billet, a regular Pen, and a Sharpie.

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THE METHOD & MECHANICS

I lave the participant write a name on the billet and fold it up.

hm are going to switch out the hot billet and place it into your pocket. You are then going to reverse fold the billet so that the writing is now on the outside of the billet.

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Bring the billet out and apparently show both sides of the billet blank. You can see how your thumb and index finger can easily hide the writing.

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I Iic fillet will be hidden behind your fingers when you bring it out of your | >ocket. As soon as you can see where the writing is on the liillel, you are going to orientate it so that the writing is hidden by \our index finger and your thumb. Non can now open the billet in such a way that will hide the writing. Place your led thumb inside the billet so that three layers of the liillel are lielween your lluiml» and index finger and one layer of the i

l i i l l e l i s I ic 11 11.

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Your left index linger contacts the top right corner of the billet and you apply pressure with your left thumb and index finger.

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\s the billet springs open, tilt your left hand towards the participant, nonchalantly showing the billet to be blank inside.

'l on can now show the real blank side of the billet and peek the mime on the other side, but be careful that the light doesn’t make Ilie writing show through the billet.

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OLIVIA By Myke Phillips Now take the billet with your right hand and transfer it to your left hand, flipping it over to look at the name they have written. Take out a Sharpie and proceed to write over the name to make it look like your hand writing, not theirs. Here is how I change what they have written. The first thing I do is write FEMALE above the name. Then write the name JAMES over the actual name they have written. I then cross out JAMES, but in a way thal they can still read JAMES but not read the name they wrote. I then write the name they wrote underneath and underline it.

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You can actually have someone write a large word on the billet because once it’s folded it reduces to just a quarter of the size.

WITHOUT REVERSE FOLDING

Without reverse folding a stolen billet, you can add that hot billet (on which someone has written information) to a bunch of other blank billets in your pocket. Then bring them all out and then nonchalantly throw the hot billet onto the table. Pick it up, open it, and write over the information that the participant wrote. (Streams of creative thought flow constantly in my mind.)

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DEAD OR ALIVE

“Great minds discuss ideas; average minds discuss events; small minds discuss people. ” Eleanor Roosevelt

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DEAD OR ALIVE “Great minds discuss ideas; average minds discuss events; small minds discusspeople. ” Eleanor Roosevelt

EFFECT

Ask a lady to imagine she has a Spirit Guide and to write the name of this Guide onto a piece of paper and to fold it up. You now ask her not to say anything out loud, but only to think of a question to which she would like an answer. She confirms she has a question in mind for the guide to take to the Spirit World and hopefully to be answered. Taking a lighter, you hold the flame to the paper as you explain, “This is to send the Guide into the Spirit World. ” The lady unfolds the paper and is surprised to find it now blank. The name has vanished, suggesting that the Spirit Guide has indeed left this World and entered the Spirit World. She is then instructed to take the paper home and, at midnight, to place the paper in a very cold place. This, you explain, opens a link between this world and the Spirit World, allowing the Spirit Guide to return. When she opens the paper, the name of the Guide is once again seen along with the answer to her question.

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METHOD

This routine uses our trusty Frixion Pen, a regular pen, a bill« I. an«I a lighter.

THE PREPARATION

l sing the Frixion Pen, write any stock answer on a billet. Example: If you continue to want the thing you desire most in life for the liilu re, you will most certainly get whatever it is you set your mind lo. but, you must pursue it with a passion and believe in it and it will most definitely happen.

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OLIVIA By Myke Phillips You need to write it very lightly so that there is no imprint on the billet I’ll explain why in a moment.

Now draw a line with normal ink just under the message you wrote. This is so the lady doesn’t write over your message.

Then you are going to hold a flame under the writing, making il vanish. 108

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Fold up the billet and you’re ready to go.

PERFORMANCE & RASICSCRIPT

"Somepeople believe that it’s possible to contact spirits and ask a question. 7 ese spirits would then be able to answer a question andpeople would take the answer to be true. ” "One wayyou can contact the Spirit World is by writing a name on a piece o f paper and then waving aflame under the paper. This would then send a spirit with that name from our world back to the Spirit World with the question you wanted answered. ” ()ne would then wait until midnight beforeplacing the paper in a very coldplacefor afew minutes. That would then bring that Spirit back to our world with the answer to the question. ” Ii ouldyou like to try this?”
OLIVIA By Myke Phillips 7 ake thispen andpaper and write any name (name o f someone who has passed over ”?) “on thepaper, under the line, and thenfold it up and hand it to me. ”

“/ wantyou to think ofa question to ask the Spirit World. It’s better ifyou think o f a simple question. I f you have any dreams or goals you would like to achieve that would be a simple andpositive question to ask, if you do that, I ’m sure you ’ll get an answer. ” Take out a lighter from your jacket pocket. “Ok, let’s send the Spirit back to the other side. ” Hold the flame under the billet.

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*‘L et’s see if the Spirit has gone. ” Now give the lady back the paper to open.

“yes, it’s worked, the Spirit has gone. ” “ 11!you have to do now, is wait until midnight andplace thatpaper in a very coldplace, like afreezer. Then wait a couple o f minutes and see ifthe Spirit comes hack with your answer. ” 111

OLIVIA By Myke Phillips “I f it does, then please contact me to let me know. ” “/ hope you get the answeryou seek. ” You now leave. “Goodbye. ”

Writing has appeared on the paper along with the name. (I enjoy meeting people because people enjoy meeting me.)

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IN AND OUT OF PHASES “Success is about creating benefitfo r all and enjoying the process I f you focus on this and adopt this definition, success is yours. ” Kelly Kim

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IN AND OUT OF PHASES “Success is about creating benefitfor all and enjoying theprocess. I f you focus on this and adopt this definition, success isyours. ” Kelly Kim I absolutely think I have found myself through this art form, but it’s not as simple for me as it is for some of you. Like most of you, before I had found magic & mentalism, I had no clue as to what I wanted to do with my life. I was also a very shy person up until the age of about 26, but magic helped me. Wow! I have suffered 26 years of shyness. I wasn’t cured overnight, though, and I still have my moments. It took me two years practicing magic and reading self-help books before I built up the courage to show anyone a trick. The truth is this: I go in and out of phases. By this I mean that I love performing and at the same time I love creating. I am a very creative person with endless ideas that are firing off all day, every day. But, when I perform a lot I don’t get to create as much as I want to and I get bored, so I deliberately stop performing and start creating again. Then I start to miss the performing, and so I deliberately stop creating and go back to performing. I pretty much do this as and when I get bored. Right now, I feel that I have been creating a lot lately, and so I feel the urge to get back to performing again. If I’m honest, though, I feel much more comfortable and less stressed creating effects than I do performing.

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OLIVIA By Myke Phillips I really love the process of creating new effects, and then Ihere s 11 payoff at the end. Someone emails you or posts on a forum to lei I you and the Magic/Mentalism community that your creation is the I>est effect they have purchased, or that it changed what they perform today and the way they perform today.

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(I always find solutions that work; I am effective.)

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OUT OF TOUCH

“A successful man is one who can lay a firm foundation with the bricks others have thrown at him.” David Brinkley

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OUT OF TOUCH “A successful man is one who can lay a firm foundation with the bricks others have thrown at him.” David Brinkley

EFFECT

I invite a lady up onstage and ask if we have ever met. We haven’t. You then place her into an altered state of mind and explain that this experiment is about psychic feelings. Using a deck of cards placed in front of her, she is going to, with her eyes closed, discern which cards are red and which are black through feelings alone. She deals the cards face down onto the table into two piles. The two piles are then turned over, showing she has managed to separate all the red cards from the black. THE METHOD

This routine has its roots in an effect called “LIFT” by Derren Brown, and is inspired by another effect called “the IRF effect” (The Ian Rowland fooler), an unpublished effect created by myself and Sergio Barros, a great street performer in Covent Garden. I really love this effect because it is very direct and no sleight of hand is required. I invite a lady onstage and have her confirm that prior to this, nothing has been pre-arranged, nor have we even met before. The lady is seated to my right at a table which is draped with a cloth which reaches the floor. I also make sure that when she sits down, she lucks her foot well 118 under the table so her fool are bidden from view of the audience.

OLIVIA By Myke Phillips I ask the lady to shuffle the cards and to place them face up onto the table. Now I am going to set up the deception with her. This is when I place her into an altered state of mind. I do this by using the instant hand induction taught by Anthony Jacquin in his book Reality Is Plastic—highly recommended and a “must” for anyone who wants to just get out there and do it. She sits with her eyes closed as I explain about psychic feelings. I now set her up to understand what it is she is going to feel. “In a moment you will get afeeling- take your time, do not react, and do not say anything. This is how we build trust in what is going to happen. I 'll explain in a moment. ” The line “I’ll explain in a moment” is great to tag at the end of this statement, as I don’t want her asking questions at this point. I want to be a little bit vague in what I am saying so that the audience doesn’t quite understand what I mean. This also sets her up for when I touch her on the foot in a moment. I am going to be secretly lapping her on her foot to indicate what colour she is to say. I do ibis with my right foot, using the toes to tap her. I low does she differentiate the black cards from the red? I am going to be tapping her foot in two different places, the tips of her toes mid farther back, near her ankle. I pick up a black card. I now pick up a red card. “This is a black card and emits a rather dullfeeling here, towards thefront. ” I now pick up a red card. “Red is brighter, and emits a more vivid /¡•cling, here towards the back. Now thatyou understand why thefeelings originatefrom different places, let’s begin.... This is red and this is black. ” 119

OLIVIA By Myke Phillips This is clever and lot is happening at the same time. I am talking to both the audience and the lady, however their interpretation as to what I am saying will be different. I am also doing three different actions at the same time. I am picking up a black card from the table and showing it to the audience as I say, “This is a black card and emits a rather dullfeeling here, towards thefront. ”I touch my head when I say, “HERE”. At the same time I am touching my head with my other hand and tapping her on the foot. Then I pick up the red card and say, “Red is brighter, and emits a more vividfeeling, here towards the back. ”I move my hand a little farther to the back of my head and at the same time I tap the lady near the ankle. The lady understands black when I tap her on her toes, and red when I tap near her ankle (towards the back). Now the deception is set and I can go through the whole deck, showing the cards to the audience and completing my first phase. I now snap my fingers and instruct her to open her eyes and to check how well she did. She is instructed to shuffle the cards again and to repeat the experiment, but this time with the cards face down, so that neither her nor I could possibly know what the colours are. For this phase of the routine I am using markings on the backs of the cards to indicate which card is black. The red cards are not marked at all. The markings consist of four black dots on the black cards and are very obvious when you are close up, but on stage you don’t need to worry because the audience won’t see them. If I am performing this effect close up, I use markings that are very subtle. I use a razor to scratch out the four corners of the print from the back design of the card. The photo below doesn’t show the markings very well, but it’s there to show you 120 where to scratch out the ink.

OLIVIA By Myke Phillips

SCRIPT

“IVho here has at one time or another had some kind ofpsychicfeeling? ” “Mostly all women, wow! Women are more in touch with theirfeelings than us men. So it goes without saying that women are considered to be more psychic, which isprobably why there are morefemale psychics than male. ” "11 hen I was a child I would practice mypsychic ability-- by mixing up a pack o f cards and then turning over one at a time, but before I turned over the cards I would try to discern whether the card was black or red. I was very good at this! ” So with that in mind I would like a lady to help me in this next , rperiment. ” (live this lady a massive round o f applause. ” 'dense take a seat here. ” 121

OLIVIA By Myke Phillips “I wantyou to take these cards and to mix them up as much as you like. Onceyou ’re doneplace them face up onto the table. What we are going to do is show thesepeople here how it is possible topractice yourpsychic ability. ” *In a moment I ’m going to place you into an altered state. Don t worry, I ’m not hypnotisingyou or anything like that; you ’rejust going to be very relaxed with your eyes closed. Don’t worry, you have my absolute word that I will not embarrass you in any way. ” “Thank you so muchfor helping. Look at that hand. Concentrate on the lines o f that hand. Nowfix your eyes on one spot, and don’t take your eyes off that spot. In a momentyour hand will drift closer towards yourface, and as it does you are going to notice something strange happen. Your eyes will start to go out of focus andyour eyelids will get heavier. Just allow your eyes to close as you sink and drift andfloat down into state of relaxation. ” “That’s right, all the way down, all the way deep. Take a deep breath in, and as you let it out, you can drift even deeper, and deeper, all the way down, all the way deep. That’s right, that’s right. You ’re doing this perfectly. ” “Now as you sit there with your eyes closed, relaxed, I ’m going to explain something to you. In a momentyou will get afeeling—take your time, do not react, and do not say anything. This is how we build trust in what is going to happen. I ’ll explain in a moment. ” “Believing in yourpsychic ability starts with little things you may notice. ” “I ’m going topick up one card at a timefrom thispile and I want you to concentrate on whatyou feel. I t’s important thatyou believe in your psychic ability, and learning how122 to turn it on or off ispart o f the process. *

OLIVIA By Myke Phillips “This is a black card and thatfeeling is kind ofdull. Red is a slightly differentfeeling and slightlyfarther back. So now that you understand about where thosefeeling are, let’s begin. ” “So this is black and this is red. ” “Ok, I ’m holding up a card now. Can you tell everyone here, black or red? \nd this card?” “I ’m going to snap myfingers (SNAP) and you can open your eyes. Take a look. ” “That isfantastic. This time we are going to do it slightly differently. We are going to do itface down so neither you nor I couldpossibly know what the colour o f the cards is. ” '!Please shuffle the cards again and deal themface down onto the table into two piles. Just like before, trust what you feel and hopefully we will pet an interesting result. ” “Ok, I can’t wait to see how you did. Please turn over those cards. ” “So now you can see, if you learn to trust what you feel with yourpsychic f'(
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COIN LACED

“The question isn’t who is going to let me; it s who is going to stop me. ” Ayn Rand

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COIN LACED “The question

isji’t

who is going to let me; it’s who is going to stop me. ” Ayn Rand

EFFECT

You place a balled-up shoelace onto the table, and then ask to borrow a coin from someone and write your initials on it. You then vanish the coin. Ask them to hold each end of the balled-up shoelace. They are then told to focus all their energy on the ball and to pull the ends of the lace, whereupon the ball unravels, revealing the coin inside. Not only is the coin signed, it’s also bent. This routine combines a simple coin vanish and coin bend, and turns them into a performance piece.

METHOD

Method-wise you are going to be performing two moves a fake take and vanish of a coin, that’s it. You need two coins with the same date on them. Write your initials in permanent marker on the heads side of one of the coins and then bend it so that the initials are on the outside of the coin.

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I'lie bent coin is placed in a balled-up shoelace, and goes into your left jacket pocket.

I lie second coin is placed into your right jacket pocket. To perform voii are going to take out the balled-up shoelace from your left | irkel pocket and place it onto the table. Your right hand goes into ' '»nr right jacket pocket and finger palms the matching lOp. 127

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Ask to borrow a coin. As they bring out a handful of change, you are going to pretend to take a coin from them. This is simply done by placing the coin that is finger palmed into your right hand over the coins they are holding, and bringing it into view. Immediately take out the marker pen from your right inside jacket pocket. It should look like you have merely picked a random coin from the change they are holding. A lesson I have learned in my short time in magic: when you feign an action, such as picking up a coin or transferring an object from one hand to the other, do something immediately natural with the opposite hand, such as removing the pen from your pocket. This helps keep the spectator from focusing on the one action. Therefore their internal dialog goes something like this: “He wants a coin, I have one, he has taken a lOp, what’s thepen for? Ah! He is going to write on my lOp. ” Now you can see how this has very quickly shifted from apparently taking a coin from them to signing 128 their coin will) no questions as to whether it’s their coin or not.

OLIVIA By Myke Phillips

I'lie reason I put my own initials on the coin is to streamline the cfleet. I’ll tell you in a moment what I do at the end of the effect to give them something amazing to talk about. Nou need to perform a vanish of this coin—not a visual vanish, just secretly steal the coin. After I have signed the coin I recap the pen. Now I am holding the pen in my right hand and the coin in the left liiind. I place the pen into the thumb crotch of my left hand, and immediately pretend to take the coin with my right hand. The pen \\ illi the coin in my left hand go into my left jacket pocket, as my i iglil hand pretends to hold the coin.

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1 rest is easy and you can concentrate on building up the effect. 1i p

PERFORMANCE BASIC SCRIPT do

11 hen we think o f psychic energy, wepicture a person possessed with >»)sterinus, supernaturalpowers o f intuition. ” I nderstanding the concept of psychic energy becomes simple onceyou " hrst/mrl the basic laws of physics, which see all solid objects as "iiini/estalions o f vibrating energy. ” 131

OLIVIA By Myke Phillips “Invisible waves such as sound, radio, electricity, light, andpsychic energy are all vibrating energy. ” “The mind is an energy station, which creates, transmits, and receives energy. ” “Thepowers o f psychic energy can best be understood if you consider the human mind, with its various levels o f consciousness, subconscious, and unconscious as an ocean o f immense wealth o f mysteriouspowers, which can be unraveled with the development o f an extraordinaryfocused concentration and the infinite power o f will. ” Take out the balled-up shoelace from your left jacket pocket and place it onto the table. “All we need is a place to harness that energy. ” Ask for a coin. “So with that in mind, do you have any loose change in yourpocket?” Feign taking a coin from their hand and immediately take out the marker pen from your right inside jacket pocket. Write your initials on the coin and perform the switch. “I ’m. going to mark this coin. ” Pretend to squeeze the coin and focus your energy on that coin. “I f I focus all my energy on that coin, something strange will happen. ” Open your hand to show the coin gone. 132

OLIVIA By Myke Phillips “The coin has gone. ” Give them the ends of the lace to hold. “It’s now your turn tofocus your energy. Pick up each end o f the lace. ” *'Nowfocus allyour energy, sending it down the lace you ’re holding and into that ball. ” “Ok, pull the lace very slowly. ” “Look, the coin was in the balled-up lace. ” “IVow, you, too, have a lot energy. The coin has bent. ”

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When the effect has settled, pick up the coin and ask them to place their initials on the coin.

The reason 1 get them to sign the coin now, is because I’m hoping that when they go away and explain to others what happened, I wan I them to misremember that they signed the coin after the coin was bent. (I make decisions quickly and my decisions are correct because of i liis.)

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9993

“You have to learn the rules o f the game, and then you have to play better than anyone |l | else. ” Albert Einstein

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9993 “You have to learn the rules o f the game, and then you have to play better than anyone else. ” Albert Einstein

EFFECT

The spectator guesses your Passcode and unlocks your iPhone with random numbers that come to mind. The best part is, it genuinely is your real iPhone Passcode. I’m obviously a lover of iPhone effects, and since the release of “iUnlockYourMind” I have been a little obsessed with Passcodes and the desire to unlock someone’s phone without the need of a dedicated App. Unfortunately, I have not found a cleaner way to achieve this outside of using “iUnlockYourMind”. W hat I have come up with, however, is a practical method for a spectator to unlock my iPhone. There are no Apps involved nor screen shots. This really is my Passcode and genuinely unlocks to whatever four-digit number they say...kind of! Before we get into the method and handling, please set your Passcode to (9993). The reason will become apparent in a moment. You are going to hold your iPhone in your left hand in the position shown in the photo below, making sure that your middle finger is next to the 9. 136

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\ ou ask the spectator to name out loud what they think is the first digit of your Passcode. Let’s imagine they say 4. Turn the screen towards the spectator and openly press 4. Turn the phone back towards yourself and ask for the second digit. You are going to repeat this back-and-forth sequence three times because on the fourth time you are going to do something sneaky and you need your actions to be congruent. Suppose they say 8; turn the screen towards them and press 8. You do the same actions on the third digit as well. Let’s say it’s a 5. So far you have typed in 485. Now turn the iPhone towards yourself one last time. Here is where the deception happens. Whilst you are asking for the 4th digit you are going to secretly press 9999 with your left middle finger as you are holding the iPhone in that hand.

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When you press the first 9, all those previous numbers entered, 4859, will obviously not be your real Passcode, so you will get an incorrect wobble of the four circles at the top of the lock screen. This will also allow you to start again. Now you press 999 and pause.

What you have now is the first three digits of your real Passcode entered and everything is as it should be. 138

OLIVIA By Myke Phillips If you think that was a little sneaky, keep reading and find out what I have discovered and how I use it to my advantage. With the i IMione facing you, with your right thumb, press and hold down Ilie miinber 3 and then slide your thumb up to the fourth circle on your lock screen.

Hi lore we move on, let me explain a few things that are happening In iv, Firstly, by pressing and holding the last digit, 3, you are ' iiliTing your last digit of your real Passcode and at the same time 139 topping the iPhone from unlocking.

OLIVIA By Myke Phillips If you were to release your thumb now, your iPhone would unlock. The second thing that is happening is you will be dragging your Ihumb up to the fourth circle to hide the fact that the fourth circle is highlighted. You now have to pivot your iPhone around clockwise to face the spectator, making sure that you don’t release your thumb or reveal that fourth highlighted circle.

Here is another very sneaky part. When the spectator tells you what they think is the last digit of your Passcode, you can actually press that digit and it will highlight to show that you did indeed press it. Your iPhone will then unlock. When pressing the last digit, make sure you release the right thumb off the screen just before you press that digit. If you time this right, you will replicate exactly what should happen.

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You need to be quick to press the last digit, otherwise that digit will not highlight. Vou can actually press the last digit with your right thumb, the one Ihat’s hiding the fourth circle and stopping the iPhone from unlocking. Again, you need to be quick. You can create your own patter and work out the timings—that’s the fun part. A great idea is to have multiple spectators choose the digits. So, using four spectators and asking them to each name out loud what they think the digits are gives enough of a delay to do the “moves” before the last digit is called. I ill ink it’s also worth mentioning that you can change your Passcode to suit your own handling. You may have smaller or bigger hands. You may even choose to hold your iPhone in your right hand, which means that you will have to use the numbers on the far left of your iPhone. 141

OLIVIA By Myke Phillips

CREDITS

I would like to thank the amazing performer, creator, and close friend Alex Ward for the positioning of the left hand whilst entering the digits. When I first showed this to Alex, I was using my right thumb to secretly press the digits. Also, it may be worth mentioning as well that I was deleting and entering after every entry. So, I would have a number called out and have llie spectator press that digit, and then as I turned the iPhone towards myself, I was deleting that entry and pressing the 9. Alex was using his middle and ring finger to do this and he had it down perfectly. Another tip from Alex is to have an iPhone case because it greatly aids in the positioning of the fingers and makes it easier to press the 9. Alex also suggested, for those who are using an iPhone 5S, another sneaky method. Have any three digits typed in and then, just before the last digit, you place your thumb on the fingerprint scanner and straight after press the last digit. The digit will highlight and the iPhone will unlock. (I become steadily more confident with each day that passes.)

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¿SWITCH

‘7 have notfailed. I ’vejustfound 10,000 ways that won Vwork. ” Thomas A. Edison

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iSWITCH “I have notfailed. I ’vejustfound 10,000 ways that won’t work. ” Thomas A. Edison Here is a simple method to switch in, out, or even force a piece of information using an iPhone. You can use this method for the following and more: Contact revelation Add a Number List switch FaceBook revelation Here is the core method to achieve a switch or force using an iPhone: Hold the phone at the top end with the phone facing the participant. Hold it by pinching the back of the phone with your right thumb and with your middle finger on the front, just off to your right side. You must place your right index finger in a veiy specific place. This place is just at the very top of the front of the screen. When you scroll on any page through any App, all you have to do is lift your index finger and that page you are on will scroll back to the top. That is the method. Armed with this little method, we can create many different effects, not only on your iPhone but on a participant’s iPhone, too. I will give a few examples here, but then I will leave you to experiment and find your own effects to create.

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OLIVIA By Myke Phillips Contacts Effect: Voil take the participant’s phone and go into their Contacts list. You comment that they have a lot of contacts. With your left linger you are going to demonstrate that there are many contacts in their list to choose from by scrolling up and down. As you do this you ask the participant to swipe their Contacts list. Whatever contact is at the lop when it finishes scrolling, the second participant is to think of that person. You can reveal whomever the second participant is 11linking of. The How: I lolding the phone in the position explained above, you ask the first participant to scroll through the contacts. Before the scrolling stops, you turn to show the second participant. As you do so you are going lo very gently lift your right index finger and to place it back down. There is almost no movement in your finger and it will go undetected as you move your phone from one participant to the other to show them. This will shoot the Contact list back to the top of their Contact list. (You could glimpse the first contact name, then write it dow n, and fold it up as a prediction.) If the second participant doesn’t know who the person is they are thinking of in the other participant’s phone, you can ask the second person, based on just knowing the name, to try to describe the person just by •simply knowing their name. It doesn’t matter if they are wrong about the description, because you will still be able to reveal the name anyway, but if they do describe the person accurately, then you have a miracle on your hands.

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OLIVIA By Myke Phillips Notes Effect: You show a list of objects, names, and places to a participant and then ask a second participant to think of any one. You reveal whatever they are thinking of. The How: Set up your Notes App with a new note that consists of random objects, names, and places. Make sure that your list has at least 30 items all randomly mixed and separated in such a way that only one object, name, or place can be displayed on the screen at any one time. You do this by writing your list of randomly mixed objects, names, and places first and then pressing the RETURN key after each word until only one item shows on the screen. Do this with every word in your list so that only one word can show up on the page at a time throughout the whole list. As in the “Contacts Effect”, you just repeat the same actions. Add a ¡Number: You ask three participants to type random three-digit numbers into your Notes App. You then ask a fourth participant to add them all up, and the number they arrive at has been predicted. The How: By now this should be obvious. You are going to use the same switching method mechanics, but this time the setup is a little different. Set up in your Notes App three sets of random digits. These can add up to the date you are performing on or whatever outcome you desire.

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OLIVIA By Myke Phillips Suppose I want to force today’s date (16/08). Firstly, I will lyp< in mv calculator 1608, and then I will subtract a random three digit number, like 259. I will write that in my Notes as the first three digits. Then I will subtract another number, 863, and write this three-digit number under that. This will then leave me with a threedigit number, which in this case is 486. I will write this under the <»1her two three-digit numbers. This is my setup below. The digits: 259 863 486 To start the effect I open my Notes App and I just scroll down a little so that the pre-written digits are not displaying. I can then invite three different participants to write in random three-digit numbers, each below the next. l/xample of participants’ random digits: 736 921 658 \s I turn to give the fourth participant my phone, I just release my index finger to allow the Notes App to automatically scroll to the top of llie page. My three force digits are now displayed.

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OLIVIA By Myke Phillips Alternate handling: Set up as described above and scroll so that your pre-written digits do not show. Hand your phone to t he participants and have them enter their digits. As you take back your phone, just tap the top of the screen and the Notes App will scroll to the top to reveal your pre-written digits. A few quick notes: You can veiy quickly set up the above effect (Arid a Number) on a participant’s phone. You can create an amnesia type effect if you so desire. Have a participant write a word and then switch it to show the other participant what they wrote; the rest is convincing the first participant they have forgotten their word. (Everything that is happening now is happening for my ultimate good.)

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MIND READING “Somepeople like my advice so much that theyframe it upon the wall instead o f using

Gordon R. Dickson

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MIND READING EXPERIENCES “Somepeople like my advice so much that theyframe it upon the wall instead of using It. ” Gordon l\. Dickson I just got in from performing mind reading for 5 hours in the streets of London. I started by using Peter Turner’s “Confirmation Principle.” but the noise was too much, and trying to help some who doesn’t understand English wasn’t working. I still managed to read their minds, though. Today I felt like I was always trying to prove myself to the public. Having a sign that says, “Mind Reader” often brings people with the “go on then, read my mind” attitude, with arms folded. I had a guy expose the method for the TeleThought wallet. He told my audience how I was doing what I was doing and he was spot on. I suspect he had some knowledge of what I was using as he described details that only someone in the “know” could reveal. I did prove to my audience that he was wrong and I made him actually look like he was crazy. I then read some more minds. I got a few things wrong today, like mis-peeking info. I even had a lady write down a name, but the ink didn’t even print on the card. I said to her, “Take the card back and write down a four-digit number.” She did and I revealed that. I then asked her to write the name again. She did, and I got it right, too. Did a drawing dupe for two people, only this was cool because I got a natural peek and didn’t have to use my wallet. As I told them to Iurn the card face down I got the perfect peek. 150

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OLIVIA By Myke Phillips

RECALL

“Ifyoit don’t value your time, neither will others. Stop giving away your time and talents. Value what you know (■ start chargingfor it. ” Kim Garst

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RECALL “Ifyou don Vvalue your time, neither will others. Stop giving awayyour time and talents. Value whatyou know dc start chargingfor it. ” Kim Garst

EFFECT

You ask a spectator to open their Notes App on their iPhone and type in a secret word. Then you talk about word disassociation, and that it’s possible for you to know what word they are thinking of, just by knowing what word they use to disassociate from their word. You then ask them to delete their secret word and to type in a word that they believe to be disassociated from their original word. From this moment you have never looked at or touched their iPhone, but as soon as you look at the word they typed in, you are able to figure out what their original secret word was.

METHOD

This effect is fun to perform because it is very deceptive and is performed using the spectator’s iPhone. To perform this effect it is not necessary to own an iPhone, but it does help if you have one for practice purposes. This effect uses the iPhone’s memory recall bug. I have found this bug in the iPhone that enables you to create some very nice effects. This effect takes advantage of the fact that the iPhone remembers the last screen in any App that you exit out of. Now, most people know that you can double tap the home button to bring up your recently opened Apps; this is called your Apps running bar. 152

OLIVIA By Myke Phillips When you double tap the home button you can see all the Apps that are running and you can see their con ten I, loo. This is good but not great because it is easy to backtrack in my honest opinion. So, armed with this little trick, we are going lo create something great and impossible to backtrack. What I have found is that if you exit out of any App, go back into lhat App and then change the content of that App, you can still know what the original content was by using the double tap of the home button. I can hear you saying, “How Myke?” This is how you do it. The method is very deceptive and is all done in a natural action. You have someone look at anything or type anything in any App and ihen exit out of that App by pressing the home button. Then, as an afterthought, you tell them to go back into the App to change the content so you couldn’t know what that was. When they have changed the content you take the iPhone from them and look at this new content. Here is the clever and sneaky part, you are going to pivot the iPhone so that the content they looked at orientates to landscape mode and then press the home button. Now you orientate back to portrait mode and double tap home button. This will now display the running Apps bar again, but the App they looked at will display the content from when they pressed the home button and before they changed the content of the App. Now, if you tap on the screen the App will open and the content will update to the new content.

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OLIVIA By Myke Phillips So, now that you are privy to the methods I use, I can show you how I have used it to create some awesome routines. Have a spectator open their Notes App and create a new note. Ask them to type in a random secret word, or a secret word that has some meaning to them. Let’s assume they write the word “Banana”. •«•ooOM JK V

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You tell the spectator to press the home button while you explain to them about word disassociation, and how when some people think they are creating secret words, they are actually not so random. You now ask the participant to open the Notes App again and to delete their secret word. Finally, you ask them to create a new word that is disassociated from the secret word. Let’s assume they write the word “Donkey”.

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Everything so far is fair and above board, and there is no way that you could know what the secret word is. You take the iPhone from the participant and take a quick look at the word they wrote (Donkey). As you look up at the participant you will allow the iPhone to pivot, facing you to the left or right depending on what hand takes the iPhone. You must wait a beat for the iPhone to rotate the Notes App to landscape mode and then press the home button. ' \ “St 7 AOgust 2014 20:42

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OLIVIA By Myke Phillips

As soon as you have read that secret word, you tap on the Notes App to enter the Notes screen. The secret word that you just peeked will now update to the participant’s disassociated word as the Notes App is opened again. •••00 02-UK V

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PRESENTATION

“Words are interesting things to me they are anyway because lam dyslexic. Iam actually obsessed with words and why people choose the words they do when they write. ” “Do you have an iPhone?” “Open up your Notes Application and start a new note. I want you to write a secret word. Now, this can be a random secret word or you can take your time to think ofa secret word that means something to you. (face done, press the home button. ” “Right now, I have no idea what that secret word is thatyou have in mind, but I will know very soon. ” “Doyou know what worddisassociation is?Basically it’s a method psychologists use with theirpatients where they have you write a secret word on a pad, and thenfrom that secret wordyou write another word that has no relevance to it. From this thepsychologist is able to psychoanalyse you, which is a system o f psychological theory and therapy which aims to treat mental disorders, by investigating the interaction of conscious and unconscious elements in the mind and bringing repressed fears and conflicts into the conscious mind. The aim o f this is to help with the treatment o f mental disorders. ” “I'm not going to do that but I am interested in the words you choose. ” "II hat I would like you to do now is openyour Notes App again, and to deleteyour secret word, replacing it with a word thatyou believe is completely disassociatedfrom your secret word. When you have done that please hand meyour iPhone. ” 157

OLIVIA By Myke Phillips Now take the iPhone, look at the word quickly, rotate it and press the home button, press the home button twice, peek the secret word, and tap the Notes App. “Okay.. .Donkey! ” “So, I ’m looking at the word Donkey and myjob is to try andfigure out the wayyou think to backtrack your thoughtprocess. Then I will hopefully reveal the secret wordyou originally thought o f and tellyou whether you have massive emotional damage. ” “Just kidding! ” “I f I think about the word Donkey, thefirst thing that comes to mind is that a Donkey is an animal so I would say that your word is definitely not an animal. I would also say that it’s most likely much smaller than a Donkey. The colour would most likely be much brighter, too. I also think that your word is not as disassociated as you would like to think. I think thatyour new word is actually linked in a lot o f ways to your secret word. So I ’m thinking that the wordyou are thinking about now is another animal connected in some way. For some reason the word Donkey Kong’ comes to mind. Ah! I think that the animal is an ape, but I don’t think the secret word is ape. I think it is connected to an ape. Is this afood? Don’t answer that. Is this afruit? A Banana! Is your secret word Banana?” So, in the basic script above I honestly just chose those two words randomly and jazzed my way to give a pseudo explanation as to how I can figure out the secret word. First, I figured out the things that were obviously the opposite between the two words. 158

OLIVIA By Myke Phillips For example, if the word is something thal is outside and the other is something that is inside, I will bring this to their attention by saying, “Okay, I think that the word I ’m looking at now is obviously something that is outside, so you would unconsciously think of this word becauseyour secret word is something inside. ” When I have run out of opposites I will then bring their attention to the fact that their new word is actually connected to their secret word. I will then reel off all the things the two words have in common. Below I will give you a few words on which you can practice. Try to find three to four opposites and then two or three things in common. You will find that any two words can have opposites as well as things in common. Secret Word: Watch Dis/Word: Castle Secret Word: Window Dis/Word: Pig Secret Word: Holiday Dis/Word: Chair Non can use this method for a number of different effects depending on which App you are using. For example, you can use vour Photo App to reveal a Photo that you have never seen before. I lave someone open their Photos App and look at any photo and then exit the \pp. Now have them go back into the Photo App and swipe to a completely different photo. Take the iPhone from them, rotate the iPhone ami then press159the home button.

OLIVIA By Myke Phillips Now double tap the home button and the photo they looked at first will display. As soon as you tap the screen the photo will update to the newly selected photo. You can use this memory recall method for any App that allows rotation to landscape mode. (Today, I abandon my old habits and take up new, more positive ones.)

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TIME iSHIFTED “I f you want to make a permanent change, slop focusing on the size o f your problems and startfocusing on the size o f you!” T. Harv Eker

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TIME iSHIFTED “Ifyou want to make a permanent change, stopfocusing on the size of your problems and startfocusing on the size of you!" T. Harv Eker

EFFECT

Borrowing a participant’s phone, you draw attention to the time. You very fairly place the phone face down onto their hand. After a little concentration you cause the time to shift. If one wanted to, you could cause the time to correct itself.

METHOD

Take the participant’s phone and go to Settings/General/Date & Time and switch OFF “Set Automatically”. Tap on the time displayed at the bottom. You will notice a Date Time picker. You can change the time from here, but like most of my methods to create an effect with the iPhone, they are not as simple as you may think. You can choose to change the Hours or Minutes, or both. If you change the time here right now, the time will update immediately and we don’t want that. We want to have the time update later because we need to first show the participant the correct time. Here is the way you can change the time but delay the update: Firstly, flick the silent button on the side of their phone; this will silence the Time Picker. The Time Picker is a roller picker; if you flick the picker up or down, it will 162 continue to roll until it eventually stops.

OLIVIA By Myke Phillips It is during the time that the time picker is rolling that you press the home button. What will happen is, the roller will eventually stop but not update because the setting is not active. As soon as you re­ enter that setting, the time will update.

INPEKFOBMANCE

You can set this up during performance, but I think it’s better to set it up whilst performing another effect. Anyway, let me explain this as if you are setting up and performing this effect alone. Take the phone from the participant and got to Settings/General/ Date & Time and switch OFF “Set Automatically”. Tap on the time displayed at the bottom and flick up both HOUR & SECONDS so they are both spinning, and immediately press the home button. Now you draw attention to the time at the top of the screen. As you place the phone face down onto the participant’s palm, you simply tap the settings App. In this state the time has updated and the Date & Time picker is showing. To reveal the time has changed, you simply press the home button to exit the Settings App. To reset the time back to the correct time, simply go back into the Settings and tap SET AUTOMATICALLY.

PEBBLE TIME CHANGE

ll is possible to change the time on a participant’s phone and then change the time on their Pebble watch, too. After changing the time on the participant’s phone, the time on their Pebble will not have updated to the new time. Here is how you can create another effect: draw attention to their Pebble watch and point out that the time is differenl. Ask them to place their hand on top of their watch, and as Ihey do, all you need to do is tap on their Pebble App on their phone and llien exil out. 163

OLIVIA By Myke Phillips That’s it! The time on their watch will now update to the time from the first phase.

PK PEBBLE

Should you just want to do a PK time effect with their Pebble watch, just change the time on their phone and exit out. Now draw attention to the time on their watch. Have them place their hand over the face of the watch. All you need to do is press their Pebble App icon on their phone and press the home button. The time on their watch has now changed.

OTHER IDEAS

Change the participant’s time on their phone to eight minutes before or after the correct time, and then PSY force the number seven on the participant and reveal that their time has shifted that many minutes.

THE HOW

Set up as before, but instead of flicking the picker, just set it eight minutes either way, and then press General then Date & Time. Exit out of the Settings App and draw attention to the time. Press the settings App and tap SET AUTOMATICALLY and place it onto the participant’s hand. PSY Force the number seven. As you turn over the phone to show that the time has shifted, just press the home button. The reason for the eight minute change is to allow for presentation.

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VISUAL DATE CHANGE

A fun and visual “TRICK” is to flick the Date picker so that ¡1 starts spinning and then quickly to pull down the Notification Centre screen. Today’s date will display here. Just shake the phone and watch as it visually changes into the date that the date picker stops on in the background. (I am courageous and I stand up for myself.)

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MAGE

“Do one thing every day that seares you. Eleanor Roosevelt

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iMAGE “Do one thing every day that scares you. Eleanor Roosevelt

EFFECT

You give your participant a piece of folded paper to hold on to. You then give your iPhone to them and ask them to look at some landscape images in Safari. You tell them to swipe to any image they feel drawn to, and to save it to your Camera roll. You then tell them to open the piece of paper to reveal a date. You explain that on that particular date you, too, went through some images and felt particularly drawn to one image. You tell the participant to look in your photos and go to that date on the folded piece of paper. The image the participant felt drawn to is the exact same image you felt drawn to.

METHOD

Before we get into the method, let me just point out that we are using the real Safari App on your iPhone. They can chose any image they like from millions on Google and the image really is in your Photos App under the date on the piece of folded paper. You are probably way ahead of me here with what the method is, but it’s not as simple as you may think because you need to do a few things to achieve this effect to make it work. The bare bones of this method is the simple idea that you are going to change the date on your iPhone to a predetermined date. Please don't leave and try this out just yet because it won't work perfect Iy. 168

OLIVIA By Myke Phillips I need to show you how to get the image into the date and to have it stay there, I also need to show you some tips to make this deceptive because, like I said, it's not as straight forward as you may think. Firstly, go to Settings/General/Date & Time ami toggle "Set Automatically" from ON to OFF. “ < ►

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OLIVIA By Myke Phillips Now that the date is set to your predetermined dale, all you need to do is press the Home button to exit the App, and il will slay running in the background. Just before performing you wrile dial dale on a piece of paper and fold it up. This next part you can have already set up on your i I’hone, but for clarity and completeness I'll explain it here. Yon ask your participant to go to Safari and to type in the word “Landscape” inlo Google and to press search. You tell them lo lap on the word (Images) at the top of Google. This will then turn the search word Landscape inlo an image search rather than your usual Web search. The whole page will Ihen be filled with Landscape images. You now tell them to tap on the first image and to swipe through the images until they feel drawn to a particular image. They can really choose any image they like; it doesn't matter. e

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OLIVIA By Myke Phillips When they have one you tell them to hold their finger on that image and to save it to your images. When they hold their finger on the image a menu will pop up with three options: Save Image. Copy, and Cancel. We want to Save Image.

When the image is saved it will save to the “Recently Added” Album of the Photos App and be set at the date at which you set your iPhone. But, we are not there just yet; please stay with me here. You take your iPhone back and ask the participant to open the piece of folded paper you gave them at the start. As they look at what you wrote you are going to reset the date on your iPhone back to today's date. “Why? ”you ask. Well, think about it, if you leave it set to the predetermined date, then “TODAY” will be that date on your iPhone. If they were to go and look at the image in your Photos App, the image would be there but it would display under “TODAY.” which would mean that whatever the date is you are performing on is “TODAY”, so the photo hasn’t moved. 172

OLIVIA By Myke Phillips So, we need to reset the date back to the real dale to make the image move and to show up under the predetermined dale. Earlier, I had you do some strange taps going in and oul of the Date & Time setting. Like I said earlier, we need to quickly jump hack in there to reset the date. Going in and out of Date & Time setting has allowed us lo do this without any problems. If we do not do this, whim we Iry lo go hack into this setting quickly, we can't because the App will automatically jump back out to the main Settings Menu, making il a few more taps away from resetting the date. As the participant picks up the piece of folded paper, you are going to secretly tap the Settings App. This will jump you right back into the Date & Time Setting. All you need to do now is tap "Set Automatically" back ON and press the Home button. This will reset the date to the real date and also push the participant’s saved image to the predetermined date in Photos.

NOTES

If you want to have any predetermined date, then you will have to save all your recently added images to your desktop and delete them from your iPhone. The reason is this: when you set your iPhone to an earlier date and save a photo, the photo you save will disj »lay in your album, but a photo that was saved before this date will show up after the image they just saved. This will not be deceptive because it should be your last saved photo. If you do not want to d elete your Photos, then just note the date of your latest photo in albums and set your Phone to the day after that. 173

OLIVIA By Myke Phillips The saved Photo by the participant will show up as the latest Photo in your “Recently Added’’ Albums. To prove you chose the same photo on the predetermined date, you need to go to Photos and to scroll to that date and the photo will display there. Just for completeness and maybe to allow for some cool effects, you can actually set the date forward in time. If you are on a Beta iOS, never change the date forward because the certificate for the Beta version may expire. If it does your Phone will need to be reset via a computer restore. Through Gritted Teeth: I wasn’t going to share this, but because I'm such a nice person I have decided to let you have this litl le gem, as it may help you to prove something that may need proving when you don’t really have the proof. It is possible to change the date of a VIDEO, PHOTO, NOTE or EMAILS and anything else on which you wish to change the date. You can change the date on your iPhone, then record a video, and then reset the date and that video will be date stamped on your iPhone as if you recorded it on that day. You can write a note in your Notes App and have it display any date you want. You can send an email today and prove that you sent it at an earlier date. The actual send date will display on the Email that the person you send it to receives it. If you get a parking ticket you can change the time and make a recording to prove you were back in time, before your parking ticket ran out! Cool, huh?

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iCAN REMOTE VIEW

“I have notfailed. I ’vejustJoin id 10,000 ways that won’t work. ” Thomas A. Edison

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iCANREMOTE VIEW “/ have notfailed. I ’vejustfound 10,000 ways that won’t work. ” Thomas A. Edison

EFFECT

You give a lady your phone to hold. Whilst she’s holding it, you talk to everyone about how it’s possible to give the illusion of remote viewing. To demonstrate this you ask that she think of a building or a famous landmark in London. You now tell her to open your phone and to go into your Google Maps Application. Ask her to type in the name of the landmark she’s thinking of and to press search. Explain that the resultant search will show her a 3D picture (that she can move about) of the place of which she’s thinking. All this is done whilst you are facing the other way. Now if you told her where that place is, she may not be that impressed, so you tell her to pass your phone to any other participant and you ask them to look around and to think of a different building or famous landmark within that picture. As soon as they have something in mind, ask them to close the Application, to lock your phone and to hold on to it—you won’t touch it again. You now ask them to imagine that they are at that place, and to really feel the sensations of being there. You now proceed to tell them how they are feeling in this place and exactly where they are.

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OLIVIA By Myke Phillips

METHOD

Firstly, your phone will need to be connected to Ihe internet for this effect to work. Secondly, this is an instant stooge effect, bill with a bit of a twist. I like the idea of instant stooging, however ihe downside lo ibis, in most cases, is that there is no effect for the ‘Stooge’. So, I Ibought it would be a good idea to create a routine which included an effect for the stooge, too. I know this may sound like dual reality, but in this case I think it’s a little different. Tell someone to think of a particular place, and then you’re going to give someone else a free choice within that place. So, you’re instant stooging someone for the first step, and then getting back on track, so that everyone has an effect when you reveal the second place. How do we do this? There are two methods to do this. The first method I came up with is based on an effect created by Luke Jermay entitled “Synchronicity”. (It’s on his Skullduggery DVD.) You’re going to use a dry erase marker pen and to write on your iPhone, but not just anywhere: you are going to write where the “slide to unlock” bar is. This will cue the spectator to think of a particular place or famous landmark, and here is the really cool part: when you tell them to open your iPhone, they will have to use the slide bar, so they will naturally erase the method, making the effect very clean. So, in this case, we are going to cue them to think of Big lien. fhe reason I’ve chosen Big Ben is because we need to cue the speetalor to think of a famous landmark that has one other famous landmark witbin that picture. 177

OLIVIA By Myke Phillips The picture must have no other famous landmarks in it. You CAN have other famous landmarks in there, but it just means that you need to do a bit of detective work (fishing), which is ok, and can make the effect seem more real. So, you have cued someone to think of Big Ben and they have opened your iPhone and erased your method for stooging them. You now ask them to open your Google Maps Application and to type in the place of which they’re thinking. ••ooo 0 2 -U K ^

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OLIVIA By Myke Phillips

What will happen is this: when they type in your cue and press search, a pin will drop on Big Ben. At the bottom will be a bar with llie name Big Ben on it, and to the right will be a picture of a car. Now if you tap and swipe up anywhere on this bar some options will display. The option we want is at the bottom left picture and says “Street View”.

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If you tap on Street View it will open up into a 3D picture, one that you can move around with your fingers, 360 degrees.

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OLIVIA By Myke Phillips This is great because you can look at other buildings and landmarks. In this case the only other landmark in this picture is The London Eye, also known as, “The Millennium Wheel”.

All the other buildings are not well known. You ask them to take a look around and to look to see if there are a lot of other buildings in this picture. When they confirm that there are, you say, “Ok, I want you to think o f a famous building or landmark other than the one you started, with. ”You now describe the London Eye to them the best way you can. You could describe all the details about this landmark, even ask them if this is something they can get on or walk onto, and then describe what that feels like being there. Or, you could just put a pre'diction down onto the table from the start, and then reveal it that way. 181

OLIVIA By Myke Phillips

THE SECOND METHOD

This is my favourite method and uses your wallpaper for the lock screen. For this write in your Notes App, telling someone to think of Big Ben, something like: PLEASE TH INK OF BIG BEN. You will need to take a screen shot of this message by pressing the Sleep button and the Home button at the same time. This will be saved into your photos. All you need to do now is to go to your new photo and to save it as the screen wallpaper for your lock screen and you’re done.

16:23 Move and Scale

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1 P h o t o S e le c t e d

Wednesday 6 August

PLEASE THINK OF BIG BEN AND TYPE IT INTO GOOGLE MAPS.

AirDrop. Share with people nearby, tf you don't see them, have them turn on AirOrop In Control Center on IOS, or go to AirOrop in Finder on a Mac.

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OLIVIA By Myke Phillips

You may need to crop the photo for the message to show perfectly in the lock screen so it can easily be read. It’s also very important Ihat when you have the option to save your cueing message, that you only choose the option to save as “set lock screen”. This way, when your phone is unlocked, your cue to the first spectator has gone. Give your iPhone to someone and tell them to press the Home button. This will light up your iPhone, cueing them with your message (THINK OF BIG BEN). When you tell them to unlock your iPhone, the background message that cues them to think of Big Ben will have gone and will be replaced with your background screen. Vou now proceed as before. Ilclow is the lock screen background to cue your temporary stooge. 183

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18:06 100% Charged

PLEASE THINK O f BIG BEN AND TYPE IT INTO GOOGLE MAPS. THANK YOU

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NOTES

The reason I say at the beginning that I want to show them what it looks like to give the illusion of remote viewing, is because it sets up the stooge and lets them know that they’re in on it. But, when you take it in a different direction and ask them to think of a different landmark, it becomes an effect for them, too. You can use both cueing methods to cue other things on your iPhone; i.e., music, photos, videos, etc. I’ve left these out because there’s a certain amount of creative fun you can have once you start to use the methods above. Please feel free to drop me an email at [email protected] to let me know what you come up with, and maybe we can share with the rest of the community. You can also just blatantly use your phone as an instant stooging utility device. I will give you a few examples below lo let your 184 imagination and creativity run wild.

OLIVIA By Myke Phillips

20:27 Friday 8 August

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iBIRTHDAY “The most common way people glee up their power is by thinking they don’t have any. ” Alice Walker

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iBIRTHDAY ‘The most common waypeople give up their power is by thinking they don’t have any. ” Alice Walker For many mentalists, revealing a stranger’s star sign seems to be one of the Holy Grails of mentalism, but for me it never really held any appeal. However I had a change of heart after meeting a lady some time ago and seeing her reaction as I revealed her star sign, even though unbeknownst to her.. .it was just a guess! There were no unnecessary calculations or cards involved, just a direct revelation. Since then I have thought more about the idea of revealing a person’s star sign, but apart from guessing, I have no other method that allows a direct revelation that I’m willing to use that appears as clean as just guessing. With all that in mind, I have come up with a method that is clean and allows a direct revelation of a participant’s exact Birthday, and with a little memory work or a crib sheet you can reveal their star sign, but it is by no means 100% guaranteed I’ll explain why later. This brings us straight to the method. As this Effect/Method is in the Phone section of this book, it obviously does require an iPhone. The core method is that you are going to get the participant’s iPhone to tell you their exact Birthday, but you are going to do this in a very clever and deceptive way while the iPhone is locked. 188

OLIVIA By Myke Phillips There are a few tilings that you need to do before you can get a participant’s iPhone to tell you their Birthday without the participant knowing, though it is not always possible and not as simple as you may think, especially to do it deceptively. The simple method is asking Siri to tell you their Birthday, but if you just ask Siri any question two things will happen: First, when you press the Home button to ask Sir a question, the iPhone will make a sound, and second, after you have asked Siri a question, Siri will speak out loud the information you have asked for. These two things make it impossible to deceptively use an iPhone to tell you when their Birth date is. So, let’s deal with the problems that hinder the possibility of you directly revealing a Birthday/Star Sign, and then at the end I’ll tie everything up so you have a method in your arsenal to use. Silencing the alert sound when Siri is activated and speaking the information you have asked for: You cannot silence Siri from the Volume down button (not yet), and you cannot just flick the iPhone into silent mode to silence Siri. This is how to silence Siri: You will take the iPhone from the participant and press and hold your finger on the Volume down button, and then press and hold down the Home button to activate Siri. What will happen is, Siri will make an alert sound, but the Volume will quickly turn down. You will do this under the guise of taking a photo of the participant.

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OLIVIA By Myke Phillips Take the iPhone and, whilst locked, rotate it as if to take a photo of the participant. Hold your right index finger on the Volume down button and then press and hold the Home button and wait until the Volume turns all the way down. When Siri alerts, just act like you don’t know how to take the photo, saying, “How do you take a photo with this thing?” Then hand it to them to bring up the Camera. You are now set to use the Siri method to find out what the participant s Birthday is. You have just taken a photo of the person who owns the iPhone with whatever justification you have decided to use. Now, is the time to activate Siri to find out what their Birthday is. You are going to ask Siri what the participant’s Birthday is, but you are not going to blatantly ask Siri. You are going to ask Siri under the guise of speaking to the participant. Asking Siri what the participant’s Birthday is: Here is the really cool thing about Siri: Siri doesn’t recognise who the owner of the iPhone is by voice. If anyone asks Siri a question, it will think it is the owner of the iPhone. With this little-known gem, you can ask Siri, “What is my Birthday?”Now, if we ask Siri this, it is not very deceptive. We can also shorten it down to "My Birthday?” but again, you can’t just randomly say, ‘M y Birthday?”So, we will have to say it whilst speaking to the participant and also during a sentence, using the words “my Birthday” disguised in a sentence so as not to alert the participant to what we are doing. The sentence you will use is: “Whilst we are doing all o f this, I want you to constantly think, My Birthday'...okay?”It is in the moment just before you say, “My Birthday,” that you press and hold the I lome button to activate Siri. So, just to be clear, you are going to say, “Whilst we are doing all of this,190I want you to constantly think...”

OLIVIA By Myke Phillips Then stay silent and act out as if you are thinking, and Ilien press die Home button and say very clearly, “My Birthday,” then staying silent for a few beats. This will allow Siri to acknowledge your “question” and begin its search. You end saying, “Okay?" All of this may sound confusing in text, but in performance it all sounds perfectly normal. Once you have activated Siri and asked for the information you require. Siri will present you with a screen that has the participant’s Birthday

Siri Activated

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Question Asked 02-UK

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Your birthday is on the 6th of October.

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Siri’s Response

Myke Phillips “M yke” London, United Kingdom

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OLIVIA By Myke Phillips All you have to do, once you have read this information, is to press the Sleep button. You don’t need to worry, everything will be cleaned up for you. When the participant opens their iPhone, everything will be normal and there will be no evidence of your sneaky question to Siri. Now is the time to point out that you can frame any question to know any piece of information you wish to garner from the iPhone into a perfectly normal question to the participant. A few questions you can ask Siri: What is (My Wife/Husband’s Name/Birthday?) What is (My Child’s Name/Birthday?) (Where do I live?) What is (My iPhone/Phone Number?) (Who did I Call hast?) (Call History?) I did mention earlier that this method to potentially reveal someone’s Birthday/Star sign is not 100%, and here are the reasons why. 1) The iPhone needs an internet connection to connect to Siri’s sever. If you don’t have internet connection, then Siri will be disabled.

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OLIVIA By Myke Phillips 2) The participant may not have entered their Birthday into their iPhone. Not everyone enters their details into their Phone, but with all the social media Apps we have, the iPhone will grab your info and ask for you to add it to your contact and all that is required is for you to accept, so the likelihood that someone would have their Birthday on their Phone is almost certain, but not absolute. This brings us to the possibility that we may NOT get the information we are after. I don’t think this is a massive problem because we are asking the question in a way that seems to the participant that we are merely asking them to think about their Birthday. We have not openly said that we will be revealing this information. It is just a way to distract their mind so we can do what we need to do to reveal something else we may have gained. (I trust my inner light and intuition to guide me.)

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TOPROVE OR NOT TO PROVE?

“The difference between a successfulperson and others is not a lack o f strength, not a lack o f knowledge, but rather a lack o f will ” Vince Lombardi

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TO PROVE OR NOT TO PROVE? “The difference between a successfulperson and others is not a lack of strength, not a lack ofknowledge, but rather a lack o f will. ” Vince Lombardi

CONCEPT

Sometimes we over prove and sometimes we under prove, but both have their place, especially in mentalism.

PROVING OR NOT PROVING ENOUGH

When I talk about proving I'm not talking about long drawn-out patter or displaying of objects. I'm talking about subtle proving. Here is an example of subtle proving that I use in my shows. At the start of my T.O.D. routine I openly spread the cards faces towards a participant onstage and say, "You can see all the cards are different?" I then wrap the cards up with two rubber bands and proceed with the effect. I used to think that this was enough to blow away the thought that all the cards were actually the same or repeated but it is not. I know this from listening to my audience’s response. Now, when I catch the cards from the last participant, I place them into my right outside jacket pocket. I then reveal all the cards that they are thinking of and the participants all sit down one at a time. (Actually, there is something before that, however it will remain my secret for a little while longer.) 196

OLIVIA By Myke Phillips I then take out a deck of cards that looks identical to the T.O.D. from my right outside jacket pocket that I placed there earlier. This deck is wrapped with two rubber bands the same way as the T.O.D. was and has the same bottom card as well. Just lor completeness, I also keep track of these different decks by placing a dot in the centre of the T.O.D. I then unwrap and show the cards to the audience and say, "That was using cards, a simple one infifty-two choice, but let's take this a step further. " I then spread those cards face up across my table from my right to left so that the indexes are easy for the curious audience members to see. I then carry on with my set and just leave the cards in full view. I ask the performer who strikes my set after my performance to purposely drop the cards onto the floor as well. All the above is done in a very subtle way. I am not overly displaying the cards or anything of the sort, I am just subtly implying that they are all normal. So, why do I go through all this extra work just to prove beyond doubt that those cards are 100% normal in eveiy way? Because, no matter how convincing any patter is, someone out there will think along those lines. This is why I will try to destroy every possibility that might arise in their minds that the cards could all be the same. This, more than the effects themselves, is what interests me most when designing a show. If doing this it stops just one more person from thinking that the cards are gimmicked in some way, then the effort was worth it for me —and it will be for you, too. Trust me. 197

OLIVIA By Myke Phillips <>f course you may fool most of the people, but you goal should be to fool everyone. While I know this is not going to happen, Ihat should not prevent it from being your goal. In some situations or effects, like dual reality or instant stooge effects,there is a trade-off and you will not be able to try and fool everyone, but your goal is to still fool them. Your MAIN goal is to ENTERTAIN, but don't forget to FOOL them badly, too. And remember, a performer who tells you (as another performer) something like: "When I do a deck switch I just put deck in one pocket and take out the other deck from the other pocket. Nobody notices," represents yet another example of lazy thinking and poor methodology. (I acknowledge my own self-worth; my confidence is soaring.)

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MAKING A STATEMENT

“I f you want to make a permanent change, stop focusing on the size o f your problems and startfocusing on the size o f you! ” T. Harv Eker

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MAKING A ST A TEMENT “I f you want to make a permanen t change, stop focusing on the size of yourproblems and startfocusing on the size o f you! ” T. Harv Eker

GENERAL COLD READING STATEMENTS

I have always been fascinated by learning cold-reading statements. I never could actually learn the statements because I was useless at remembering them, so I wrote my own general statements. Below7is a logical way to remember, not only the actual statements, but the root behind them. You don’t even need to remember the general statements as a whole. As long as you can remember the first three letters of any star sign and the words associated with those letters, you can give a read ing.

THE ROOT

Each star sign is assigned the first three letters of its sign. For example, for LI BRA we use “LIB” and GEMINI we use “GEM”, etc. Also, each of the first three letters represents a word that can trigger a general statement about the person you are performing for. For example, “Al RES”: A for AFFABLE, I for INTELLIGENT, and R for REBIRTH. The first word represents the “PAST”, the second word “PRESENT”, and the third represents the “FUTURE”. You can learn each statement by heart or you can just learn how to translate into the words, knowing that the first word is for their “PAST”, the second for their “PRESENT”, and the third for their “FUTURE”, and you can just improvise on the spot. 200

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STAR SIGN CHART A [Res

= Affable - Intelligent - Rebirth

TAUrus

= Temptation - Affable - Unprepared

GEMini

= Generous - Empatbetic - Manners

CANcer

= Caring - Affable - Naive

LEO

= Loving - Empathetie - Obsessed

VIRgo

= Vanity - Intelligent - Rebirth

LI Bra

= Loving - Intelligent - Brave

SCOrpio

= Serious - Caring - Obsessed

SAGittarius = Serious - Affable- Generous CAPricorn = Caring - Affable - Patient AQUarius = Affable - Quirky - Unprepared PISces

= Patient - Intelligent - Serious

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COLD READING STATEMENTS AIRES: AFFABLE - INTELLIGENT - REBIRTH '"WhatI am picking upfrom you is affability. From an early age you were someone who was very easy to approach and easy to talk to, very friendly. That easy-to-approach manner aboutyou hasprovided a foundationfor you to be theperson thatyou are today. I see thatyou are someone who likes to work things outforyourself and I would say that you are a smartperson, very intelligent I can seeyourfuture and there will be some big changes in your life almost as if you are becoming a new person. I see rebirth, a new beginningfor you. From all this I believe that you are definitely an AIRES. ” TAURUS: TEMPTATION ■ AFFABLE - UNPREPARED “I can see, in the past, you sometimes had the desire to have something so badly that youjust had to have it, so you could enjoy it right then and there. But you often regretted lettingyour temptations get the better o f you, as they often affected otherpeople. However, these actions have, in part, ledyou to become someone who really thinks about otherpeople. As a resultyou are easier to approach, friendly and affable. But, I see that in yourfuture you should be mindful o f who you arefriendly with since you may be unprepared for how they may try to deceiveyou. Are you a TAUBUS?” *****

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OLIVIA By Myke Phillips GEMINI: GENEROUS - EMPATIIETIC - MANNERS “I see that in thepastyou have been a very givingperson, and most generous. I believe you were always willing to share the little things you had. As a result of your good nature you have become ver) empalhetic towards others andyou almost instinctively know how the) feel. This allows you to know how toplease them. / set good thingsfor you and your future. People tend to gravitate towards those who are kin d hearted and well- mannered, which I feel you are. Given all o f this, / would say that you are a GEMINI. ” CANCER: CARING - AFFABLE - NAIVE “/ see that in thepastyou have been a very earingperson and thatyou have had yourfair share of looking after someone less able than yourself. I feel thatyou have an aura of affability aboutyou. For this reason people find it easy to talk toyou. They naturally warm up to you and even confide in you. For thefuture I would say that at times you may be a little naive in dealings with certain people. Just be aware so that they don’t take advantage o f you. Your star sign is CANCER, isn’t it?” LEO: LOVING - EMPATHETIC - OBSESSED 7 feel that as you grew up thatyou were a very lovable person, always showing your affections to yourfamily andfriends. This has helpedyou to be theperson you are today. You are open to other'sfeelings, knowing when they arefeeling sad or depressed. You have been given the wonderful gift o f em pathy. In thefuture you mayfeelyou want topursue this gift and to work helpingpeople who need it. Just be careful not to become too obsessed with helping others. All in all I feel, quite strongly, thatyou are a LEO. ” 203

OLIVIA By Myke Phillips VIRGO: VANITY - INTELLIGENT - REBIRTH “/ would say that looking at you right now you were a little vain and I can tell that now, and in thepast, you have taken pride in your appearance, and thatpride in how you look has made you hone, not onlyyour appearance, but your intelligence, too. You come across to me as very a bright person; you know things that others don’t. I can seeyourfuture and there will be some big changes in your life almost like you are becoming a new person. I see rebirth, a new beginningfor you. I f these statements are accurate I would say thatyou are definitely a VIRGO. ” LIBRA: LOVING - INTELLIGENT - BRAVE “/ feel that as you grew up you were a very lovable person, always showing your affections to yourfamily and others. You come across as a very intelligent person, someone who knows things that most otherpeople don ’t. Also, I ’m picking up that you sometimesfeelyou lack all the courage you would like to have. My advice, if I may, is to be brave and to take some risks in thefuture. This will be easier if you view these situations as experiencesfrom which you can learn and grow, no matter the outcome. You must be a LIBRA, right?”

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OLIVIA By Myke Phillips SCORPIO: SERIOUS - CARING - OBSESSED “What I ’m picking up from you, is that in your past you have been very serious about certain things, but as a result o f your personal growth and change, you now you give them little attention. I sense that you are a very earingperson, even if it’s only towards certain people. If ith them you really know how to show your affection and caring. In thefuture you may be a bit obsessed with a hobby orjob, and I sense this has happened in thepast. Therefore it’s quite important to keep the right balance in your life so you don’t lose thepeople closest to you. f on are definitely a SCORPIO. ” SAGITTARIUS: SERIOUS - AFFABLE - GENEROUS “What I ’m picking upfrom you, is that in yourpast you have been very serious about certain things, but as a result o f your personal growth and change, you now you give them little attention. I feelyou have an aura o f affability aboutyou. For this reason peoplefind it easy to talk to you. They naturally warm up to you and even confide in you. In thefuture I see you being very giving and quite generous. Just be careful others don’t take advantage of that generosity. Are you a SAGITTARIUS?” CAPRICORN: CARING - AFFABLE - PATIENT“ I see that in the past you have been a very caring person, and thatyou have had yourfair share o f looking after someone less able than yourself. I feel thatyou have an aura o f affability aboutyou. For this reason people find it easy to talk to you. They naturally warm up to you and even confide in you. I can see that if you want to achieve the things you wantfor your future, you need to be patient, but be ready and able to make the right decisions when the time comes. Are you a CAPRICORN?” 205

OLIVIA By Myke Phillips AQUARIUS: AFFABLE - QUIRKY - UNPREPARED “What I am picking upfrom you is affability. From an early age you were someone who was very easy to approach, easy to talk to and very friendly. That easy-to-approach mannerprovided a foundation for you to be the person that you are today. Right now I can tell that you are someone with a quirky sense of humour, but all too often you keep it to yourself. In yourfuture—and Ifeel this is about work you may want to be readyfor what might be a life-changing opportunity. So, don t be unprepared. Keep your eyes and ears open. I really get the sense thatyou are an AQUARIUS. ” PISCES: PATIENT - INTELLIGENT - SERIOUS “I can see that in yourpast you tried to achieve the things you wantedfor yourfuture; you tried to be patient and be able to make the right decisions at the right time. I can tell right now, thatyou are quite intelligent and I sense thatyou know things that most don’t. In thefuture some people will testyour patience. Try to not take it too seriously andjust learn to let it pass by. I sense that you are you a PISCES. ” (I always think of how I want to be.)

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PRE-SHOW DRAMA

“We are what we pretend to be, so we most be careful about what we pretend to be. ’ Kurt Vonnegul.

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PRE-SHO W DRAMA “We are what wepretend to be, so we must be careful about what we pretend to be. ” Kurt Vonnegut I absolutely love the idea of pre-show because you can create some of the most startling direct mind-reading effects ever, providing your pre-show script, as well as your in-show script, are well scripted. When you have pre-showed a participant to take part later in your show, they must 100% believe in what you reveal on stage and that there is no question in their mind you could have known it beforehand. The reason is this: their reaction onstage has to be congruent with what you are revealing. How many times have we seen a participant onstage that has been pre-showed not react at all to what the performer has just revealed to them and to the audience? It seems to me that the reaction is greater from the audience than the participant, which is ok, but the participant on stage should have their mind blown. Now, this mind-blown reaction can be expressed verbally and with actions, or just a look of disbelief on their faces. But, what you will often see is a slight chuckle or a smile. Now, both these responses are ok, but I think we are deluding ourselves if we think that the participant on stage with us isn’t just thinking, “He already knows what I wrote down earlier. ”

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OLIVIA By Myke Phillips It’s up to us to take care and to use the most deceptive pre-show methods and pre-show scripting that we can. Sloppy “just write down a name and I’ll try to reveal it later” is just plain lazy and not acceptable. I have been a pre-showed participant onstage before and the problem is that I always felt, when pre-showed, I’m just playing along to make the performer look great. For the most part I have no problem with this, but when the performer starts to milk you for every last revelation, and then some, it is a bit off-putting and you come away feeling a little disappointed in the fellow performer. (My ability to conquer my challenges is limitless; my potential to succeed is infinite.)

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STORYTELLER

“Everyone is a genius at least once a year. The real geniuses simply have their bright ideas closer together. ” Georg Christoph Lichtenherg

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STORYTELLER “Everyone is a genius at least once a year. The real geniuses simply have their bright ideas closer together. ” Georg Christoph Liehtenberg You’re onstage and you point to a group of people and ask, “Which o f you has the best memory?”They point to a lady in the group and you invite her up onstage. You take her by the hand and instantly she drops into a trance state. You explain that she is going to focus on a recent memory, something that is vivid in her mind. She does, and you appear to concentrate. You then proceed to tell her specific details about this memory, including dates that you could not possibly know, places, names of people, even smells. You also draw a picture she has only in her mind. All the information you reveal is written down and shown to the audience before she verbalises specific details about her memory .

BACKGROUND

This is something that I have been working on for quite a while, I have never shared this with any other performer until now, and I do so in the bope that you can expand upon it. run with it, and take it to the next level.

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OLIVIA By Myke Phillips This routine resembles an effect by Derren brown, entitled “Reminiscence”. I didn’t plan it that way; it was just a natural progression of my own routine that has all the little touches “Reminiscence” has. I obviously can’t give you those little details because they are not mine to share. So, I will give you the bare bones of my routine and leave it up to you to tweak it and make it something special.

METHOD

This effect is based on pre-show work, but not in the way you would expect. Nothing is written down, there is no selection process, nothing is forced, and no background checks are made. It can be done just before your show, or a few days or in some eases even weeks. Before your show you are going to approach a group of people and to tell them an interesting stoiy, during which they are to commit to memory as many details of the story as possible, as later you are going to propose a little experiment in memory recall.

SET-UP SCRIPT

“Hi, guys, my name is Myke. We are going to start the show shortly and I wondered if you could takepart in a little warm up piece?” “During my show I ’m going to be talking about memory and how it is possible to visualise and remember specific detailsfrom a story that we have onlyjust been told. Then I ’m going to demonstrate how it is possible for others topick up on this memory and to know specific details even though they have never heard the story before. ” 213

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THE STORY

While at Battersea Park one sunny day, you sit down next to a man called Tom on a bench near a playground. “That's my son over there! "you say, pointing to a little boy in a red jumper and blue jeans who is having fun on the slide. “He’s afine looking hoy, "Tom says. “That’s my daughter in the white dress, on the pink bike. ” Tom looks at his watch; it is 4:27. He calls to his daughter. “Let’sgo now, Melissa. ”Melissa pleads, “Justfive more minutes dad. Please? Just five more minutes. ” Tom nods and Melissa continues to ride her pink bike to her heart’s content. Minutes pass and Tom stands up and calls again to his daughter, “Time to go. ”Again, Melissa pleads, “Five more minutes. Justfive more minutes!”Tom smiles and says, “OK. ” “My, you certainly are a patientfather, ’ you respond. Tom smiles at you, saying, “Her older brother James was killed by a drunk driver lastyear while he was riding his bike near here. I never spent much time with James and now I ’d give anythingforjustfive more minutes with him. I ’ve vowed not to make the same mistake with Melissa. She thinks she hasfive more minutes to ride her bike. The truth is, I getfive more minutes to watch her play. ” There are two simultaneous effects happening: one for the audience and one for the spectator on stage and the group she is with. The audience, apart from the group of friends, will believe that you are revealing specific details about her memory. The spectator and her group, however, will believe that the214audience is picking up on specific details aboul the story you told.

OLIVIA By Myke Phillips

PRESENTATION

You point to a group of people sitting together. “1ou look like afun bunch ofpeople to tty this with, which o f you is the best at remembering tilings?” You invite her up on stage. As you shake her hand, she drops into a trance like state. “/ wantyou to recall a recent memoryyou have and tofocus on it. Does that make sense? ” Now, you will ask her to think of a specific detail about “her memory,” like the colour of the bike. You then ask the audience to try to imagine what colour they think the bike is. You then write on your pad the colour PINK and show it to the audience at the same time that she verbalises it. The group of friends will believe that you are just giving a visual aid and the rest of the audience will think you have correctly written down the colour. If for some reason she can’t remember a piece of information, you can write it down and show her so she can “remember it”. She will confirm that it is “correct”. Or you can ask anyone from her group if they know what that information is. But, here you don’t write it down, and you let someone in the audience take credit for it. (I am always relaxed and assured in everything I do.)

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ps, ACAAN

“Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world. ” Harriet Tubman

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ps,

ACAAN

“Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and thepassion to reachfor the stars to change the world. ” Ilarriet Tubman

EFFECT

You approach a table and ask for two participants to help you create a miracle. You place a deck of cards onto the table and ask one of them to think of a card and the other to think of a number. They change their minds a few times before they eventually settle on their choices. The number is called out and dealt down to. The card is named and then turned over to reveal that any card named is at any number called.

METHOD

This is a practical pre-show script to create the perfect ACAAN in close-up performances. You don’t have to have a stage show to use pre-show effectively. Using it before hitting the tables is very appealing to me, not just for ACAAN, but for words, names, and anything you can peek during the reception performances. You will be setting up your Any Card at Any Number effect via pre­ show and in a walk-around setting, just before they all go to sit at their tables. In a walk-around setting, towards the end of your set, you ask two participants if they would like to try something of a miracle. 218

OLIVIA By Myke Phillips You say to one participant, “In a moment 1 wantyou to call out stop at iA NY CARD ’ as I riffle these cards andjust to remember it. 1ll I want you to do is remember it. We will call this cardyour ‘ IAT> C IHD'. So, if I ask you to think o f ‘A NY CARD. ’ this is the cardyou will think o f Does that make sense?” You riffle the cards towards the participant, and 11i«»y call out stop and remember that card. You then peek that card with your favourite card peek. If you don’t know a card peek, just force the card or control it to the top or bottom of the pack, and then take a peek by just blatantly looking at it. The method for knowing the card is not important, but you must use a deceptive method. In addition, there should be no question that this is a fair and free choice of any card, and there should be absolutely no suspicion that you know what that card is. Once the card is peeked, you then immediately give those cards out to be shuffled. When you take back the cards, place them inside the box and ask the other participant to name any number from 1-52. “Tow have no idea what card she is thinking o f do you? And you have no idea howfar down in thepack it is right now, do you?” “NO!” “/ wantyou to name 1A NYNUMBER' between 1-52; the numberyou name we will callyour ‘A NYNUMBER. So, if I ask you to think o fiA NY NUMBER', this is the numberyou will think of. Does that make sense?” 'Name ANY NUMBER. ” ‘77.

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OLIVIA By Myke Phillips “Perfect!” You explain: “Later Fm going to ask you to name afew different cards and a few differen t numbers. I don't want you to name the card or number you 're thinking o f right now, but I do want you to name any card or number that comes to mind in the moment. I obviously know your number, but I'm hoping that, with the choicesyou make later, I will be able to figure out what cardyou are thinking of right now. Then with a bit of luck, I want to see if that card is at that number. But it never works so don't getyour hopes up too high. ” “So let’s give this a try now. Name a card. ” “6H. ” uName another. ” “9S. ” “Now think o f any card. (Pause.) So, right now, you should be thinking of the cardyou looked atjust now. ” “YES!” “/ have absolutely no idea right now whatyou 're thinking of. I hope this works later, otherwise I will look a rightfool. ” At corporate and work events they tend to seat departments together at the same tables. This is especially true where a company has warehouse staff. They will have the “warehouse staff’ all sitting at the same tables. At weddings you will have family members sitting at the same tables. 220

OLIVIA By Myke Phillips So, when you are going around performing your reception mentalism you can definitely set up the pre-show for these types of effects and be certain that those people will he silling at the same tables. If not, and you spot them close by, just take the other person and bring them over to help you out for a momcnl. I have demonstrated above how you can create a nice ACAAN using pre-show in a close-up setting. I chose to write this effect to get the method across. But it doesn’t have to be cards. It can he any piece of info you can gain during drinks reception performances names, words, even drawings. You are only limited by your imagination.

PRE-SHOW NAME SET- UP SCRIPT

“I wantyou to write down ‘ANY NAME’, preferably the name ofsomeone very close to you. Onceyou have done thatpleasefold it up. ” “This name you are thinking of right now, we will callyour ‘A NY NAME'. So, if I ask you to think o f‘‘A NY NAME’, this is the nameyou will think of. Does that make sense?” “Later, I will ask you to say some names. I wantyou to say whatever names come to your mind in that moment, but do not name the ‘A NY NAME’you are thinking o f right now. Em hoping that the names you say will help me discover the ‘A NY NAME’you are thinking of right now. Does that make sense?”

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IN-PERFORMANCE NAME SCRIPT

Mi, Jane, and welcome to my show. You have my absolute word I will not embarrass you at all, unlessyou're the type o f person that likes to play games, but I don't think you are, are you?” *Wor “Great! I wantyou to think of a name. Have you got one?” “Yes!” “What is the name?” “Alice!” “Okay, name another!” U rrt

f

Tom!

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“Okay, and one more. ” “Tracey!” “Now, I wantyou to think o f ANY NAME, preferably someone close to you. Do you have that in mind right now?” “Yes!” “Perfect! Let me explain myprocess. I have asked Jane to name afew random names thatjust came to her mind right now. These names could be peoplefrom herfamily orfriends. I'm not surejust yet, but this allows me to get a sense of the types ofnames Jane has in her circle o f friends and family. So, using somepsychological techniques, non-verbal communication, and a bit o f logical reasoning, I will attempt to tell everyone here who Jane is thinking o f right now... ” 222

OLIVIA By Myke Phillips *'Now, Jane, youfirst named afemale, then a male, then anotherfemale. However, you may not have been aware ofthis at the time, butyou were following a pattern. So I would guess thatyou followed this pattern and are thinking o f a male. Is that correct?” “Yes!” “The names you named are all short names ...so I would sa) that this is jprobably slightly longer. ” “Yes. ” “Is this someone close to youT “Kind o f” “Yes, not likefamily but.. .a closefriend, right?” “Yes!” “Okay, I think this name is about eight or nine letters long. So, it's probably one o f these.. .Nope! I think it’s this one. ” Write two names on your pad and then cross out the one it isn’t. The reason for this is to add a more realistic feel to the whole explanation and a logical reason as to why you are using a pad in the |)erforrnance, too. "(Huxy, I have committed myselfand ifs is on thepad. ” 7 hadyoujust think o f‘A NYNAME'. Is that correct?” >es. “(ireat. So now, wouldyou be so kind and tell everyone here who that is?” 223 Michelle!" U

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ft

OLIVIA By Myke Phillips “Please take a look at what I wrote. ” The pad has Katherine and Michelle written on it.. .with Katherine crossed out.

NOTES

You don’t have to use this reasoning and script. You can use a mind-reading style script and performance, but this is a nice change up and creates the sense that something impossible is, in fact, possible. In more social settings you can set up this kind of pre-show for when the two pre-showed people join you later, whilst you are sitting and chatting with other people. If you meet up with another performer or friend and during the day you decide to “randomly” go for a coffee with them, just visit the coffee shop earlier that day, before meeting them, and set up the card pre-show first with one of the staff. When you meet your friend ask them to name any number from 1-52. When they reply 31, just say, “Okay, keep that number in mind, ” and then ask them if they would like to go for a coffee. In between getting to the coffee shop and settling down to sip your Frappuccino, you will have ample time to place the card you know the coffee shop worker is thinking of at the number your friend named earlier. Now it’s all up to you to create a miracle. (A river of compassion washes away my anger and replaces it with love.) 224

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iMEMORIES “Ify ° u don’t design your own life plan,

chances are you ’llfa ll into someone else s plan. And guess what they have planned for you?Not much. ” Jim Rohn

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MEMORIES aI f you don’t design your own life plan, chances are you ’llfall into someone else’s plan. And guess what they have plannedfor you? Not much. ” Jim Rohn So, what I have here to offer you is a basic script that you are welcome to use and a clever dodge with the old one-ahead principal. In a classic one-ahead effect you place all three cards onto the table or in a glass one at a time throughout the routine and then mix them so that the spectator is unable to track specific cards. In the routine I’m about to explain, I am combining the iUnlockYourMind iPhone Application and the one-ahead principle with a very clever dodge that will kill the notion of a one-ahead principle being used. You can use this same handling in any of your one-ahead routines where the last piece of information is forced. I like to use iUnlockYourMind because in the process of the spectator trying different Passcodes, I can gain their bank pin number and their date of birth. With my handling you are able to give the “forced” piece of information to the spectator in a natural way.

EFFECT

The mind reader is able to reach into the minds and to see memories of two spectators. The third spectator is able to reach into the mind of the mind reader and to see his memory from when he was a child. All this is written down ahead of time and then shown to the spectators to be correct. 226

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BASIC SCRIPT

You, the mind reader, look intently into a lady’s eyes. You then take a business card and write down a though». You fold up the card and place it into your pocket. You then say to her, “I ’m seeing a memory of you in a different country. Have you recently been on holiday?” The spectator replies, “Yes! ’ “Great!” “Tell us where that was... ” “PARIS!” replies the lady. You smile at her and turn to the next spectator, saying, “I ’m seeing a memory of you. You ’re shopping, you ’re in London and you ’re with another lady—do you know who this lady is?” “Yes, ”she replies. Vou then write a second thought, fold it, and place it into your pocket. \ ou then say to her, “Please tell them the name o f this lady you ’re with. ” “I ERONICA, ”she replies. 'l ou turn to the last person, a lady, and you say to her, “Mygift is being able to see memories o f people I have onlyjust met. Some people have this gift and don’t even know it. Wouldyou be amazed if you had 227 that gift?”

OLIVIA By Myke Phillips “Yes, ”replies the lady. You then write something on another business card, fold it, and give it to the spectator to hold. You then say to her, “I have a beautiful memory o f when I was a child. Pm outside my house and I ’m playing with some friends. I ’m not going to tellyou exactly how old I am, but I wantyou to get a sense of how oldyou think I am. Don’t tell mejust yet. ” “Haveyou got an age in mind?” “Yes, ”she replies. “Great! I ’m playing outside and there is this girl, Desire, the most beautiful girl I have ever seen standing across the street. All the boys want to go out with her but none of them have the courage to ask her out. I pluck up the courage to ask her out. I walk over to her, and on my way across the street I ’m thinking, ‘What do I say to her? I hope I don’t mess this up. ’ Then the worst thing ever happens: I tripped andfell right infront o f her and her friends, and everyone laughed at me. I quickly got up and ran away to hide. ” “I ’m sitting with my back against a tree, my trousers are ripped, my hands are grazed, and I don’t know how I canface her again, let aloneface my friends. All of a sudden, I felt a hand on my shoulder, I turn and look up, and it’s Desire. She smiles at me and says, ‘Wouldyou like to walk me home?’ ‘Yes, please, ’I replied. I got up, dusted myselfoff, and started walking with her. She held my hand as wepassed all ourfriends that laughed at me and went all the way to herfront door. She thanked mefor walking her home and gave me a kiss on the cheek. She went in her house and, just before she closed the door, she gave me a beautiful smile. She 228 then closed her door. ”

OLIVIA By Myke Phillips “I was left standing and staring at herfront door number. I stood therefor whatfelt like an eternity. ” “Canyou see what that door number is?” “Yes, ”replies the lady. “Good, Do not say what it isyet, but keep that in mind. ” You then take out the two business cards from your pockel and say to the lady, “You went on holiday. There is no way that / could have known where this place was, is there?” She replies, “No!” You tell her to open the business card and to read aloud what it says: PARIS. The first thought is correct. You turn to the second lady and ask her to open the second business card. She does, and it reads VERONICA. You are correct again, proving that you saw their thoughts. You then turn to the last lady and say to her, “You have my age, and a door number in mind. Please open that last business card. ”She does and it reads “iPhone Passcode”. You give your iPhone, that has been on the table from the beginning, to the other two spectators and ask them to try as many different combinations as Ihey want to unlock it. They can’t. You then ask the last spectator to tell you how old she thinks you were in your memory . Twelve, ’ she replies. 229

OLIVIA By Myke Phillips \ ou tell the other spectator, holding your iPhone, to type those two digits into your Passcode. You then, as an afterthought, tell the spectator that you think it will be more meaningful if the lady enters the digits herself. You tell the spectator to delete what they entered and to give your iPhone to the lady to enter the numbers herself. She does. You then ask her, “What door number did you see in my memory?” “76! ” she replies. You tell her to type that in, too. She does, and your iPhone unlocks, proving that she saw your memory.

THE HOW

Here I will explain the handling for the one-ahead dodge. Take five business cards and fold three of those business cards the exact same way so they look identical. The reason for the pre­ folding is to alleviate any fumbling during the routine. On one of those folded business cards write, “iPhone”. Place the three folded business cards on top of the other two business cards, making sure that the business card with the word “iPhone” is uppermost.

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What you are going to do now is ask the spectator to think of a city. When the spectator confirms that they have a city in mind, you write on the “iPhone” business card the word “passcode” beneath it.

^ on fold this business card and pretend to take it with your left luml and to place it into your pocket. In actual fact you retain the l<>l
OLIVIA By Myke Phillips

You then transfer the folded business card from your right thumb to your left thumb, hiding that folded card behind the other business cards.

You then ask the spectator to name out loud of which city they are thinking. Let’s assume they name “PARIS”. You now ask the spectator to think of someone that is close to them. You then write down the name of the city “PARIS”, that the spectator named earlier, on the business card that is behind the folded business card. 232

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Now transfer the folded business card willi “iPhone I’asseode” written on it to the right thumb.

I' old up the “PARIS” business card with your left hand and really lake lhat folded business card and place it into your left pocket, still hiding ihe original folded business card that has the words “iPhone Passcode” on it. 233

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You then ask the spectator to name out loud the name they are thinking of. Let’s assume the person’s name is “BRANDON”. (At this point you can run through the script above.) You then slide the business card back to your left thumb and ask them to think of a four-digit number. They confirm they have one in mind.

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You now write down the name “BRAN I)()N”.

\ ou then slide the business card back to your right thumb and, with your left hand, fold up the business card.

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You are now going to press down with your left thumb on the folded business card on which you just wrote the name “BRANDON”.

With your right hand you take the business card that says, “iPhone Passcode” and give that to the spectator to hold on to.

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You now take the remaining two business cards willi your right hand, retaining the folded business card dial has I.lie name “BRANDON” on it hidden in your led hand.

\s you place those business cards down onto the table, your left hand goes into your pocket and takes out what appears to be the two business cards you placed there earlier. In reality what you are doing is placing the business card with the name on it into your pnekrl and taking out the other business card along with it. 237

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You now reveal the city and then the name.

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Vou then ask the spectator to open up the business card they are holding. The spectator is expecting that business card to contain the four-digit number they named earlier. When they open up this business card, it will say, “iPhone passcode”.

'i on then give the spectator your iPhone and ask them to try a few different codes. They do and none of those codes work. You then tell llie spectator to try the four-digit number they thought of earlier. They do and your phone unlocks. 239

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If you don’t have iUnlockYourMind, you can use the method from my effect “9993” or just use a card force at the end with the actual name of the playing card on that business card. (My goals become closer with every day that passes.)

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DOUBLEPSYCHE

“Watchyour thoughts; they become words. Watch your words; they become actions. Watch your actions; they become habits. Watch your habits; they become character. Watch your character; it becomes your destiny. Lao-Tze

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DOUBLE PSYCHE “Watch your thoughts; they become words. Watch your words; they become actions. Watch your actions; they become habits. Watch your habits; they become character. Watch your character; it becomes your destiny. ” Lao-Tze

EFFECT

A spectator shuffles the cards as much as they like. You take back the card and look at a lady to your right. You then take out a card and place it on the top of the deck, explaining that this is the card you think she is going to name. You then tell her to name the first card that comes to mind. “It’s the 9 o f hearts, ”she states. You immediately turn to a man to your left and riffle the cards and ask him to remember one. It can be any card he likes. You look intently into the gentleman’s eyes and say, “I ’vegot it. ”You then run through the deck, take out one card, and place it on top of the lady’s card. You then show this card to the rest of die audience and say, “I think this is the card he is thinking of.”You now ask him to name the card he is just thinking of. You turn over the card and it’s a perfect match. You now turn to the lady arid say, “You may not remember, but at the start I placed a card on top of the deck before you even named a card. I said to you that I thought this was the cardyou would name. O f what card are you thinking?”She tells you, and of course it is that card.

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OLIVIA By Myke Phillips METHOD

Have someone to your right shuffle the cards. Take back the cards and remove a card sight unseen. I find it is best lo take out a Heart card between 4 and 10, or the Queen of Hearts. Tin* reason is, I find that when riffle forcing the top card, a Heart is easy to remember and it is also recognisable in all countries. Another point is, most people (especially women) will name these cards; if they do or are one off, then reveal that as the outcome and Ilien end the effect there.

Place this card on top of the deck without drawing attention to it. Now ask the spectator to name a card. As soon as they do, you turn to the second spectator on your left, remembering the card the first spectator named. Let’s say it’s the Six of Clubs. Now you are going to riffle force the top card of the deck, the Eight of I learts. 243

OLIVIA By Myke Phillips Now this is a thing of beauty because it seems so fair, as they believe l hat the card is chosen from somewhere in the middle of the deck. Hold the deck in the Biddle grip. Rotate your right hand so that the bottom card is facing to your left. Place your middle and third fingers so they are on the front edge of the deck and your left thumb is on the bottom of the deck, facing the floor.

You are now ready to force the top card. You have to tilt the deck slightly towards the spectator so that they can see the selection. With your right thumb riffle the cards. There is no need for any pause in this action; just let it riffle to the end and you will force the top card.

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So now they are thinking of your top card, say the Eight of Hearts. You look at this spectator as if you are reading their thoughts. You now run through the deck and take out the card that the first spectator, the person to your right, named. In our case it’s the Six of Clubs.

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You place the Six of Clubs on top of the deck. This puts the Six of Clubs directly on top of the Eight of Hearts. Now you are in position to do a double lift to show to the audience what you think is card for the spectator on your right. You turn over the double, showing the Eight of Hearts, and ask the spectator what the card is that they are thinking of. When they name their card, you show it to them on top of the deck.

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OLIVIA By Myke Phillips As they are reacting you are going to perform a KM move. This move will allow you to, whilst turning a double face down, slip the card that is hidden behind it to the top of the deck as you place the card onto the table. You do this by pinching the double with the right thumb and index finger. You turn the iwo cards face down and, with your left fingers, apply pressure to tlx lop card. When pressure is applied, let the face card slip awa) and up as die hidden card falls to the top of the deck face down.

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You now explain to the person on your right that you place a card on top of the deck at the start. You then ask them what card they thought of. (This is important.) You must ask them like you’re asking them for the first time because it makes the effect much stronger. Many times people have said to me after, “But there is no way you could have known what my card was. ” All that’s left to do is to turn over the top card and to drop it in front of them.

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I move steadily and single-mindedty towards my chosen goals.)

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MIND READING “Courage is not the absence o f fear, but rather thejudgment that something else is more important than fear. ” Ambrose Redmoon

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MIND RE,ADIN G EXPERIENCES “Courage is not the absence of fear, but rather thejudgment that something else is more important thanfear. ” Ambrose Red moon I planned on doing a few shows, but unfortunately the weather played against me today. During my only show today, I selected a lady who 1 thought would be great for my show. As it turns out, she was not. That was my fault for selecting her. Just before my show, I do a little close-up and pre-show a lady. I need her to think of specific things, like a colour, a word, a name, and a picture. I also set up some “Dual Reality” where the small audience believes she is only thinking of one word, but she is thinking of a few things. Anyone who comes after that will believe that she is thinking of all that information from a memory of when she was at school. I have worded my script to set this up the best I can and feel that the participant understands without having to say or ask what I mean. The woman starts asking questions about what she is supposed to be thinking about, but in a way that seems like she is trying to screw with me. At this point I cringe because it has ruined the deception for the small crowd and consider using someone else. However, I carry on because I know that as the audience grows, it won’t really matter for them and they will believe that what I am doing is reading her mind. 252

OLIVIA By Myke Phillips I send her into the crowd and start my show. I did all I could do to come across as a nice guy, and someone in control. I introduced the pre-show lady and she is happy to be part of my show, but is a bit worried that I will embarrass her. So, I bring her on “stage” and tell her that I will not embarrass her. But she just starts giggling and I’m thinking to myself, “This is going to be interesting. ” I am convinced that I am in conlrol of the situation and can turn this around. Then the lady just starts randomly talking, “You ’re not going to do this? You ’re not going to do that? ”1 tell her that from now on I only want her to say yes or no, unless I ask her to answer a specific question. She says ok, but then just starts rambling again. So, I remind her again and tell her it’s just yes or no from now on. I’m thinking, I have to send this lady back, but I am also aware that this could detract from the effect and I may not be able to get someone else out of the crowd. I carry on because I want to see if I can turn this around. So, I start to set her up to perform the “Lift” routine, but I can feel her not cooperating with me, not because she is being awkward, but because I genuinely think that she was shy and a bit scared of what I might do to her (I freaked her out earlier before I started my show). I’m thinking I need to abandon this show. I am worried that this lady is not going to remember any of the information. Then the heavens open up, giving me the perfect excuse to stop my show. I do ihis as quick and best as I feel I can given the circumstances. I do regret that I didn’t get to show the audience something amazing. I could have revealed some or all of thoughts that the lady was thinking of, and it pains me that I didn’t. But I made a choice in the moment and went with that. 253

OLIVIA By Myke Phillips A lesson to be learned. Initially I thought the lady was (intentionally?) Being awkward, but in reality she was nervous about being in the spotlight. All the rambling was probably a nervous reaction to her being the centre of attention. (I naturally move towards solutions rather than away from problems.)

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THE RIFFLE SHUFFLE CODE

T have made this letter longer than usual because I lack the time to make it shorter. ” Blaise Pascal

JŠ*

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THE RIFFLE SH UFFLE CODE “I have made this letter longer than usual because I lack the time to make it shorter. ” Rlaise Pascal Here is a nice simple way to code any chosen card to your accomplice. Have a card selected and placed back into the deck. Whilst shuffling the cards you can code that selected card to anyone who cares to learn this veiy simple code. A wife is preferable. I am aware that there are other great methods to code a card to an accomplice, but I wanted mine to work without any visual or verbal clues. The Riffle Shuffle Code is exactly what it sounds like it is. You are going to riffle shuffle the cards and at the same time code any card to an accomplice. It is not a visual code but an audible code so the person you are coding to does not need to look. The code is veiy simple to learn. I will provide you with two simple charts to follow. The code works like this: The shuffles are made first, and then the cuts are made to cue the suits. How to make the riffle shuffle sounds: Riffle shuffle sound A is made by breaking half the cards into your other hand silently, and then riffling them together making one 256 sound.

OLIVIA By Myke Phillips You then push the cards in together, silently squaring the deck. Riffle shuffle sound B is made by breaking the deck silently, then riffling them together to make your first sound, and then springing the cards together to make the second sound. Riffle shuffle sound C is made by riffling half the cards into your other hand to make the first sound, breaking the deck and riffling them together to make the second sound, and then springing the cards together to make the third sound. The riffle shuffles are broken down into four sub-groups. Shown in t he chart 1>elow: Example: If you want to code the 2 of Hearts, you shuffle the cards making riffle sound A and then cut the deck twice, making two slapping sounds. If you want to code the 5 of Hearts, you riffle shuffle, making sound B once, and then you riffle shuffle again sound B, coding a Five, followed by two cuts coding the Hearts.

THE RIFFLE SHUFFLE CODE

AGE 1 x RIFFLE SHUFFLE SOUND A TWO - 1 x RIFFLE SHUFFLE SOUND B THREE - lx RIFFLE SHUFFLE SOUND C FOUR 2 x RIFFLE SHUFFLE SOUNDS A FIVE 2 x RIFFLE SHUFFLE SOUNDS B SIX 2 x RIFFLE SHUFFLE SOUNDS C 257

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SEVEN 3 x RIFFLE SHUFFLE SOUNDS A EIGHT - 3 x RIFFLE SHUFFLE SOUNDS B NINE 3 x RIFFLE SHUFFLE SOUNDS C TEN - 4 x RIFFLE SHUFFLE SOUNDS A JACK 4 x RIFFLE SHUFFLE SOUNDS B QUEEN 4 x RIFFLE SHUFFLE SOUNDS C KING NO RIFFLE SHUFFLE SOUND - SILENT The cut sounds are made when you complete the cut, making a slapping sound. SPADES HEARTS CLUBS DIAMONDS 1 CUT 2 CUTS 3 CUTS SILENT (I possess great energy; the more I use it, the more I have.)

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POST-IT DUPE

'I f the lessons o f history teach us anything it is that nobody learns the lessons that history teaches us. " Anonymous

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POST-17 DUPE "Ifthe lessons of history teach us anything it is that nobody learns the lessons that history teaches us. " Anonymous Here is a drawing duplication you can do in a one-on-one performance situation, although it can be done with others around, too. Keep in mind as you read the effect that there is only one Postit note and pen used by the participant. EFFECT

You stick a single Post-it note onto the table in front of a participant and ask them to draw anything they like. They are then asked to crumple the Post-it note and to place it into their pocket. This is done whilst you are facing the other way. You then place their hand on their forehead, tell them to close their eyes, and ask them to visualise the drawing, which you then reveal by duplicating on another Post-it note. In this effect there is no peek required of the Post-it note before they place it in their pocket. The effect is achieved via an impression which has been made directly onto the surface of the table. For explanation purposes I have had to draw the impression that you would see in a real performance onto a black surface, as an actual impression will not show up on camera, but on the plus side it will also go unnoticed by the participant during a performance. The “impression” is also made more deceptive in the way I orchestrat e the routine with the careful placement of items and use of correct timing. 260

OLIVIA By Myke Phillips Needed for this routine are a Post-it note pad, a pen, and a piece of chalk. The best chalk I have found that works is "Crayola AntiDust" made by Binney & Smith. *

•f

/¡ r .

Take the top sheet of a Post-it note and make an upward crease along the gummed edge. This is to avoid smudging the impression as the Post-it note is removed from the table. Then take the piece of chalk and rub all over the underside of the Post-it note.

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Once clone, rub the surface with your finger to remove any excess chalk dust. You can get it to a point where the chalk will not show and not leave any chalk residue on your lingers.

Now that you have prepared the Post-it note you are ready to perform.

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OLIVIA By Myke Phillips Take the Post-it note and stick it onto the table in front of your participant, but oriented so the Post-it note is facing towards you. By that, I mean so that the sticky part of the Post-it note is nearest to them. The reason for this is twofold: it helps to shield the impression made on the table after they have made their drawing, and it aids in removing the Post-it note from the table without smudging the impression. If the Post-it note were facing the other way it would automatically lift up because of the crease we made and eyes may be drawn to the impression.

The participant draws anything they like, lifts it from the table, and places it into their pocket.

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Now you can do any presentation you like, but essentially you need them to close their eyes so you are able to get a good look at the impression left behind, and hence know what they drew. I facilitate this by taking their hand and placing it to their forehead as I do a pseudo-type induction. I don’t say I’m hypnotising them. I just say I’m placing them into a heightened open frame of mind that will help me get in tune with their thoughts. 264

OLIVIA By Myke Phillips This means that I can actually stand up and move myself around the table so that I am standing next to them as Ihey have their eyes closed. I can now look over their shoulder or blatantly look closely at what they just drew. I then wipe the chalk dust away with my hand, destroying the evidence. I then sit back in my seal and tell them to open their eyes. Then, I duplicate their drawing on another Post-it note. Now they are asked to remove their Post-it note from their pocket and to compare the two drawings. If you have applied the correct amount of chalk to the Post-it note, it is undetectable after performance. Below is an exaggerated drawing of an impression on the table. As I stated, the impression is unnoticeable to the participant on a regular table, however I recommend not using black or dark wood tables as the impression is too noticeable and may be seen by an observant participant.

265 ;l am naturally enthusiastic and enthusiasm gives me energy.

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I HA VE ABSOL Y NO DESIRE TO PERFORM FOR OTHER PERFORMERS “Let him who would enjoy a good future waste none o f his present. ” Roger Babson

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I HAVE ABSOLUTELYNO DESIRE TO PERFORM FOR OTHER PERFORMERS *Let him who would enjoy a goodfuture waste none of hispresent ” Roger Babson Why not? It’s simple. Nearly every performer I have ever met is always in performance mode. They become the very person they complain about when they are performing: the audience member who constantly has something witty to say and tries to break your flow of performance. It is such a disrespectful thing to do to another performer. My advice: switch off the performing mode and enjoy the performance. (I expect to succeed because I am a naturally successful person.)

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THE SEARCHLIGHT PRINCIPLE

'I f you don’t value your tune, neither will others. Stop giving away your time and talents. Value what you know Ac start chargingfor it. ” Kim Garst

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THE SEARCHLIGHTPRINCIPLE “Ifyou don’t value your time, neither will others. Stop giving away your time and talents. Value what you know & start chargingfor it. ” Kim Garst

EFFECT

Someone thinks of a letter in a word, any word, and you can tell them exactly what letter it is they are thinking of. You can then go on to reveal the word of which they are thinking. You ask someone to think of a word. You tell them to imagine that word written in big block letters, like the Hollywood sign. But it’s dark and they can’t quite see the letters. You tell them, “Imagine a searchlight shining on the word, moving back andforth, lighting up each o f the letters in turn. ”You say this while you wave your hand back and forth as if it were a searchlight. Then you say, “Stop.” When you do, you stop your hand. You want them to focus on that letter and then you proceed to tell them exactly of what letter they are thinking. You repeat the procedure, stop on a different letter, and correctly name that letter, too, and then go on to reveal the word.

BACKGROUND

I love Banachek’s “Brain Game”, and have been very successful with it. But the thing is, if you ask someone to think of a word and then ask them to think of a letter in that word, saying, “You ’re thinking of a K, it is possible they can say no! You then reply, “But there is a ‘K ’ in your word isn’t there?”The answer may be, “Yeah, but that’s not the letter o f which I was thinking. ”I know this is not a massive problem, and it can be covered, but what I wanted to come up with was a method to actually know the exact letter the spectator is thinking of. 270

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METHOD

In this method we are aiming for a direct hit of each letter as they lliink of it. To start, you must know the word they have selected. This can be achieved by forcing a word or peeking a word they have written. Then say, “Imagine this word written like the Hollywood sign, in big block letters. ” The reason for this is twofold. First, it makes the word very clear, and second, it separates each letter in their mind as they imagine it written in the air. You now gesture with your hands in the air about two feet away from the spectator as shown in the photo below.

Wil li your right fingers spread, ask the spectator to imagine your band is a searchlight that will illuminate the individual letters as it moves along Iheir word. 271

OLIVIA By Myke Phillips Start from your right and say, “I want you to imagine the wordyou ’re thinking ofstarts here, and as the searchlight travels alongyour word, it lights up each letter in sequence. When the searchlight reaches the end of your word, it sweeps back in the other direction to the beginning. ”

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*

What you are doing here is showing them the overall length of their word, not how many letters there are. CM' course you already know that. In your mind you are picl unng their word as you gesture, but remember, it’s backwards to you. Vou start from your right and slowly gesture to your left, saying, “I want you to imagine this is thefirst letter in your word, and as the Searchlight moves acrossyour word, lighting up each letter, it eventually gets to the last letter. ” but here is the clever part: As you move your hand, you are going to arch Iheir word in the air. This gives them (and you) three reference points. You both now know where their word starts, where the middle is, and where ¡1 ends, and you now have three letters that you can definitely hit. 273

OLIVIA By Myke Phillips Tliis arching also helps greatly with your timing. And, as with all searchlights, it goes back the other way, from left to right, making that same arching motion. What you are doing is timing your hand gesture to stop on a letter of the word of which they are thinking, like the first or last, but it’s far more impressive to stop somewhere in the middle. However, when first practicing this, I recommend you stop them on the first or last letter, as it’s much easier to do. I can stop them just as I leave the first or last letter, stopping them on the second letter in their word or second to last letter in their word. It’s a hundred percent hit -you won’t miss. When you get your timing right, you can stop them on a letter somewhere in the middle of their word. You can also use a pad on stage to guide the spectator to think of a particular letter. You perform the exact same motions, only this time using your pad to give a point of reference for the end of their word.

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BASICPATTER

hm: “Ok, / wantyou to imagine the wordyou re thinking o f is on a Sign, like the Hollywood sign. ” The only thing is, it' dark, so you can ’tsee the lettersproperly. ” 275

OLIVIA By Myke Phillips Them: “Ok!" You: “I wantyou to imagine my hand is a searchlight. ” Them: “Yes!” You: “Imagine the light is illuminating thefirst letter. As it moves across your word, it lights up another letter. When it gets to the end it sweeps back the other way. Going back andforth, back and forth.... Stop.... Think o f that letter that’s lit up right now. It’s a T. ” Them: Yes! You: “Ok, carry on, sweeping back andforth, stop.... That’s an E. ” Them: “Yes, that’s right. ” You: “And ifI look closely, the light is illuminating a little bit o f the letter next to it. I can see that’s an L. ” Them: “Yes!” You: “Perfect, I think I know what wordyou ’re thinking of. I ’m going to write it on thepad.... Hold on to the pad, but no peeking. For thefirst time, tell everyone here o f what wordyou ’re thinking. ” Them: “KETTLE!” You: “Please take a look at what I wrote. ” Them: “Wow!” You: “Please show the rest o f the audience. ’ 276

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YOU ARE NEVER WRONG WITH THE SEAR CHLIGHT PRINCIPLE

Let’s say you know that the person is thinking of the word (HOUSE) and you have just gone through the gestures and stopped them on a letter that you believe is the letter l . You tell them to concentrate on that letter, and then you write it on your pad. You now ask them to name the letter they are blinking of, and they name a letter that is not the one you have written. It is most likely the letter next to it. So this is what you do. You have just written the letter U on your pad and they have told you the letter they are thinking of is S. You say, *Fantastic, now I wantyou to go back one letter and to think of that one, too. Have you got that in mind?”When they confirm they are thinking of this new letter, you don’t need to ask any more questions, as you know it is a IJ. You can now write down the letter S on your pad in the correct position and say to them, “You thought o f two letters, didn’t you?”Now you turn the pad around and get an audible gasp.

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You have just guessed two freely thought-of letters. Asking someone to go back one letter, or forward one letter, still gets amazing reactions. You can also apply this same dodge to Banachek’s “Brain Game” if you miss the letter.

NOTES

You can, when gesturing back and forth, ask the spectator to call out stop, and then ask them to think of that letter. You then reveal it. Stopping on the middle letter in a very long word can be a bit tricky. I recommend words that are five to seven letters long. You can also use lids principle 278 to reveal anything a letter in a playing card, a liumfier williin a phone iiiiinhcr, <•!<’.

OLIVIA By Myke Phillips I’ll let you use your imagination. You can also use the “Searchlight Principle” to fish for a little information that will lead you to a larger piece of information. (I always think of myself in a totally positive way.)

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THE SEARCHLIGHT BOOK TEST

“When I dare to be powerful - to use my strength in the service o f my vision, then it becomes less and less important whether I am afraid. ” Audre Lorde

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THE SEARCHLIGHT BOOK TEST “When I dare to bepowerful - to use my strength in the service o f my vision, then it becomes less and less important whether I am afraid. ” Audre Lorde

EFFECT

Random words are called out from any book given to you. The participant thinks of any one of those random words and you are then able to reveal that word with 100% accuracy.

METHOD

You are going to apparently be calling out random words from any book, when in fact, you are just calling out a list of memorised words. You will also be using the “The Searchlight Principle” in a very clever way to know what that word is. In the effect you will ask the participant to think of any one of the words you call out from a book. Actually, you are going to call out your list of words in such a way that it seems as though you are choosing them from random pages from any book given to you. This should look and sound like you are really paging through the book and calling out words that just seem random and unimportant. Then you are going to use “The Searchlight Principle” to gain the first letter that cues you to what the word is.

THE LIST

I have a list of 16 words that I have memorised and each word contains a letter exactly in the middle of the word that will cue me to what word the participant is 11miking of. 282

OLIVIA By Myke Phillips Ml 16 words will also have the same vowel (E) after the letter that rues me to what the word is. And all 16 words have their defining letter in the middle, being the 4th letter along in that word. Once I know what the letter is in the middle, I know the exact word they are thinking of. ^ ou don’t have to learn all 16 words from the list. Yon can just learn night words from the list and then later you can learn the other eight words. You can then combine the two lists to create a longer list or keep them as two separate lists it’s up to you. What is nice is, if you do decide to keep two separate lists, you ('an repeal the effect using your second list.

1-Numbers. - (B) 2-Percent. • (C) 3-Academy. - (D) 4-Surgeon. - (G)

5-Highest. - (H) 6-Variety. (I) 7-Carkevs. - (K) 8-Topless. - (L) J

4* **s 4* 4* «4»it* *«t» 1^4* 4* *1; *5**íi* 1*4* *1? **j*it; **«4; »î»4; *î»4*1*' 4; 4* 4*4*4« »n*4*4 ' 4* 4* 4* *2* 4* 4* *it* *'«4* *t*4*4;4*4*4*4*4»4* *,'•4 **4^4* «p 4 *■»?■*4* «Î*4*4*4*4*4* 4*

9-Farmers. 10-Nunnery. 11-Diapers. 12-Actress.

- (M) - (N) - (P) • (R)

13-Nursery. - (S) 14-Fastest. (T) 15-Harvest. (V) 16-Seaweed. - (W)

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OLIVIA By Myke Phillips You ask the participant to choose any book from a bookshelf. The participant is then asked to think of one of the words read from that book. You then take that book, page through it, and call out eight words from your list of memorised words. You may have already noticed that CARKEY S is not actually a single word. I call out CARKEYS (apparently a word from the book) knowing it’s not a single word, but 1 do this for a reason. The purpose is to give the impression that I’m really reading random words from the book. I say, “CARKEYS? Actually that’s not a single word; that’s two words together, ”and make a face as though the author has made a mistake. By doing this, I am implying that I am really reading these words from the book I’m bolding. This is a nice subtle gambit. You then tell them what letters are in their word, writing them down before they tell you what letters they are thinking of. You then proceed to write down the exact word they are thinking of.

USING “THE SEARCHLIGHT PRINCIPLE” FAILSAFE

Using the fail-safe method from “The Searchlight Principle,” you are able to find out what word the participant is thinking of. To better understand how this all works, after calling out your list of words, let’s assume the participant is thinking of the word “SURGEON”. Using “The Searchlight Principle” you are going to stop the participant in the middle of their word on the letter that you know is the defining letter for each words. You tell them to think of that letter that you have stopped them on. 284

OLIVIA By Myke Phillips At the moment you know that you have stopped them on the defining letter, but you don’t know what that letter is yet. You tell them to think of that letter, and then after some “Mind Reading” you write down the letter E on your pad, which is Ibe same letter that follows all the defining letters. You then ask Ilietn to name the letter of which they are thinking. They will, of course, name the letter G. At this point you can’t show the pad because it has an E on it. You then tell them to think of the letter next to it, gesturing towards the letter that we know to be the E, the one we just wrote on the pad. You now write down the letter they named first, tlie defining letter G on the pad. You then ask what letter that is, and they will reply E, which is, of course, the first letter you wrote. You turn your pad around and show them that you correctly identified those two letters. \ ou now know exactly what word they are thinking of and you can reveal it however you like.

WORST CASE SCENARIO

What happens if the first letter the participant calls out is the E you just written on the pad? No problem! You just turn the pad around and show you were correct. Gesture back towards the defining letter and ask them to think of that letter, too. You now ask an audience member to guess what that letter is. It really doesn’t matter what they say if they are correct, great! This will be a hit on your part because you chose that audience member. But, if they are wrong when the original participant reveals the letter it’s not an issue, ■mec you now know what the word is and can reveal it. 285 I wake up today with strength in my heart and clarity in my mind)

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FINGERZ

“You can’t connect the dots lookingforward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in yourfuture. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. ” Steve Jobs

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FINGERZ “You can’t connect the dots lookingforward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in yourfuture. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. ” Steve Jobs Here is a little Idea you can use in your revelations.

EFFECT

Hold up your ten fingers spread out, palms towards your spectator. Ask her to imagine that your fingers represent the letters in the word of which she is thinking. You now ask her to think of a letter and to touch one of your fingers that corresponds to their letter in the word. As soon as she touches your finger, you immediately tell her what letter she has in mind. You tell her to touch another finger. You tell her that letter, too. You then reveal the word of which she is thinking. This is something I came up with because I like the idea of revealing a letter in a thought-of word and actually getting a startling reaction from it. When you do this, you will get an immediate reaction, a startled reaction. They will literally jump and say the first thing that pops into their head, which is usually profanity. This is almost as strong as revealing their word in my opinion. (I expect others to approve of me because I approve of myself.)

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MYKE’S LOCATOR CARD

“Take up one idea. Make that one idea your life, think o f it, dream o f it, live on that idea. Let the brain, muscles, nerves, every part o f your body, befu ll o f that idea, andjust leave every other idea alone. This is the way to success. ” Swami Vivekananda

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M IK E ’S LOCATOR CARD “Take up one idea. Make that one idea your life, think o f it, dream o f it, live on that idea. Let the brain, muscles, nerves, everypart o f your body, be full o f that idea, andjust leave every other idea alone. This is the way to success. ” Swami Vivekananda

EFFECT

You riffle the cards towards the spectator and ask him to call out stop and remember the card at that position. Without any suspicious moves you close the deck, and whenever you feel the need you can find that card without any sleight of hand. What I have here for you is not an effect but a method to use. I have always loved peeks and I use them all of the time. This is a very nice way to get a peek of a playing card without any suspicious-looking moves. This is something I’m proud of because it is very versatile, and it is also a great way to delay a peek.

EXPLANATION OF GIMMICK

The gimmick is almost invisible and is made even more so by the handling. The gimmick is made up of two cards glued together with a piece of plastic sticking out the right side of the cards and then folded up at a ninety degree angle and creased.

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The gimmick stays on the bottom of the pack with the piece of plastic resting up the right side of the deck until it protrudes slightly above the top card.

W hat you’re going to do is bevel the cards slightly to the right. You lake the cards in your left hand in position to do a riffle peek, with your leh pinky resting on top of the piece of plastic. \V itli your right index finger, you are going to riffle the top right of the deck so that the indices will 291 he seen by the spectator.

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When the spectator (-alls out stop, you break the deck open at that point. The piece of plastic will automatically fire into that point and stay at that position when you close the deck.

You can now put the deck onto the table or just hold it in your hands, but whenever you like you can find their peeked card. When you spread the cards face up you will get a natural break at the peeked card. The safest and most reliable way to get your natural break is to grab the deck292with your right band, palm down.

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Holding the deck in your right hand, you arc going to rotate the deck face up. In doing so you are going to spread the cards, pushing your thumb to the right. You will now have a visible break of that peeked card.

\s soon as you see the card, you start to spread the rest of the cards with your left hand. 293

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You now go to the peeked card, take it out, and show it to be correct. Here, I am going to teach you how to engage and disengage the gimmick. With the gimmicked card on the bottom of the deck, and the rest of the deck on top with the piece of plastic tucked in, you are in the disengaged position. To engage the gimmick all you need to do is slide the bottom card back towards you and then forwards again, squaring up with the deck. This action will engage gimmick and rest alongside the right side of the deck.

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OLIVIA By Myke Phillips To disengaged the gimmick from this position, all you need to do is pinky pull-down the right side of the gimmicked card, pressing your pinky against the plastic. The plastic will tuck in and be hidden from view. If you have just had a card peeked and the spectator decides they want to change to a different card, all you have to do is spread the cards in your hands from left to right past the gimmick. This action will release the gimmick from the position peeked at. Squaring up the deck will allow the gimmick to rest along the right side of the deck again, allowing a new card to be chosen. You can have a card selected from a spread and placed back into the deck and track exactly where that card is. With the gimmick engaged, spread the cards and have a card selected by a spectator. After the spectator has replaced their card, squeeze with your left pinky on the gimmick. Now place all of the cards in your right hand on top of the gimmick. This will mark the position where the selected card is. You can now spread to that card and find it very easily. If you can classic force a card, you can force that card on someone else. You can also place the cards on the table and cut exactly to that selected card. You can riffle force any card in the deck on a spectator. You do this by having the gimmick engaged and running up along the right side of the deck. With your right thumb lift up the inner end of the deck and peek any card and remember it. The plastic gimmick will fire inside the deck at that point. 296

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Now, with the cards in your left hand, you can perform a thumb riffle force on a spectator. Just riffle down the side of the deck with ;your left thumb.

VVlien the spectator calls out stop, lift up with your right hand at the nalural break created by the plastic gimmick. This will be the card \ oii

peeked earlier.

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You can attach this gimmick to the back of a book for a book test. You can perform the same riffle action as you did for the card peek, marking the page with the plastic gimmick. Then you can place the book down onto the table and pick it up later to get your peek. The type of see-through plastic you need to make this gimmick is the kind that you get from a florist. 298

OLIVIA By Myke Phillips I know this because I was trying to source the plastic but was |si~itoggling to find it until I got a call from Alex Ward, who was Tlfcrchasing flowers for his fiancee, Anna. So, had Alex not been I'Bfing guilty about something he did, he would not have been purchasing flowers for Anna, and thus I would probably still be lookingo now. I am my own person, the equal of all others; nobody controls me.)

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MIND READING “Even if you re on the right track, you il get run over if you just sit there. ” Will Rogers

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MIND BEADING EXPERIENCES “Even if you ’re on the right track, you ’ll get run over if youjust sit there. ” Will Rogers Just got back from performing on the street in Canterbury. I only performed one show today. I did my usual “suggestibility test” to build a crowd. Then I performed “Lift” for a lady called Georgia. I still perform this routine standing, but now I use a table and stick her hand to it. The table also helps to give the audience a point of reference. The one thing I have learned to do in the “Lift” routine is to select a lady from the left of my audience and not the centre. This is because the audience tends to stand in a semicircle, so that when she moves her hand up and down, the audience can see both hands move at the same time, instead of them having to look back and forth at each participant’s hand. I proceeded to read Georgia’s mind and tell her the colour of her teacher’s top, then the name of a friend in her class. I then revealed a word that was written on the blackboard in her classroom. I could have done a drawing duplication at the end but didn’t. I decided, instead, to cut the show short. The reason is, I felt I wasn’t as entertaining as I thought I could have been.

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OLIVIA By Myke Phillips I’m not claiming any originality in methods for the mind-reading I»art of my show, but what I love is, a magician was watching my show, and even though he knew how I got Georgia to think of what I wanted her to think of, when it came to the mind-reading part of my show, he had no idea howTI was revealing wlial 1was revealing. The dual reality I set up in the show completexpress their amazement, and this one guy was very nice. I le said, “That’s amazing, I ’m a born-again Christian and 1 have seen some things in my time, but that was amazing. You obviously have a great mind. ” I still have a lot of work to do. I think it is harder for me to perform and build a mentalism show on the street than someone starting out
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88MPH

“Sometimes I worry about being a success in a mediocre world. ”

Lily Tomlin

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88MPH “Sometimes I worry about being a success in a mediocre world. ” Lily Tomlin

EFFECT

A magician is in a bar showing off his card skills. After wowing nearly everybody there, he looks over to see a mysterious stranger sitting in the comer. As the magician approaches the stranger, he notices an old deck of playing cards on the table. The magician asks, “Do you know any card tricks?”The stranger replies, “Ionly know one. Wouldyou like to see it?”The magician gets a sense that he’s being sucked into the world of real magic. He replies excitedly, “Yes, please!” The stranger asks the magician to shuffle the cards as much as he likes. While he’s doing this he’s to think of any card. He can change his mind as much as he likes, but as soon as he settles on a card he’s to stop shuffling. He is then told to take it out and to put it into the card case. He’s to show no one. He is then asked to shuffle the cards again. There's no way the stranger could know the identity of the card. The stranger goes through the cards one by one, putting the deck down onto the table when he is done. The stranger explains he knows what the magician’s card is, but he would like to show the magician something more amazing. He asks the magician to deal to the 13th, 36th and 42nd card and to put them face down onto the table.

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OLIVIA By Myke Phillips The stranger turns over the three face-down cards to reveal they’re Ihe three Sixes, and, of course, in the box is the fourth Six. The magician goes home questioning whether he could make someone feel what he himself had just felt.

A QUICK NOTE

Now this is something I’ve been working on for a long time. I’ll be honest from the start, not everyone will want to do it. There’s a lot i>1practice involved, but I think the practice is worth it as the effect is very baffling. I’ll is is based on a very old idea, which is actually something my older brother Brian showed me when I was very young. He had me pick a card and then he spent the next five minutes going through II te deck. When he had finished, he just named my card. Now at that time I thought this was amazing. Many years later I asked Brian about this trick. The weird thing is, he doesn’t even remember showing me this trick, let alone the method behind it. What I’ve done is taken a simple method and made it into what I ihink is a baffling effect for laypeople and magicians alike.

THEMETHOD

The core method behind this wonderful effect is based on a very old mathematical principle. f rom a full deck of cards you remove one card let’s say the Four of (Hubs and you begin counting the cards one at a time, adding Ibcm up as you go. Every time you get to ten you start back at zero. W lien you get lo the end of the cards you will be left with a number in lliis case it’s ibr number six. 307

OLIVIA By Myke Phillips So that leaves you with a balance of four to make ten. Now you know the number of the card that has been taken from the deck. At this point, you could just quickly go through the deck and work out what suit they have taken. I think this is an OK effect, but we are looking to take this a step further and to make it look like you’re a memory expert or something else. Now, there’s a little snag in this method. The Tens, Jacks, Queens and Kings all have a count of ten. While this makes the counting easy, if someone takes out one of the above cards, this won’t work. This is because you will end up with a total of ten at the end of your count. I’ll explain later how I get around this for laypeople and for magicians. So, let’s get you working on this simple method just so you get a better idea of how it works. Let’s imagine that you have five cards left in the deck. They’re a 5, 8, 7, 2 and a 4. You’re starting from the count of zero. So, 5 plus 8 equals 13. Because you got to ten your new number is now 3. Add 7 and that equals 10. 10 plus 2 is 2. Remember, because you got to ten you started again at zero. 2 plus 4 is 6. You’re finished. You are left with the number six. 6 plus the 4 that’s missing from the deck, equals ten.

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OLIVIA By Myke Phillips I'hat’s how easy this is. The hard part is doing it without making it look like what it is. When I’m counting the cards I don’t say in my mind, “5 plus 8 is three. 3 plus 7 is ten,” etc. This makes the counting very slow and confusing. So when I count in my head I say to myself: “5, 3, blank, 2, 6.” When I count and get to 10 I always say in my mind, “Blank.” I think this breaks up the counting and is kind of like a new starting point for me. You don’t have to do it this way. You may find a better Way of doing this. It’s just what works for me in my mind. So now that you know what number is missing from the deck, how do you know where the other three Fours are? Well, you don’t, not yet anyway. You need to go through the deck once more, but because you’re doing a demonstration in memory mid because you openly admit from the start that you have a less than average memory, you can justify why you need to go through the cards again by saying, “I think I rushed it! Shuffle the cards and I’ll try it again.” Also, I think this adds some weight and believability In the effect. Ilemembering the positions of the remaining Fours is something ilia) you will get good at with practice. VVliat I did when I first started practicing this effect was to try and remember the positions of four cards. So when I needed to remember three, it was a piece of cake. Now, even though you only know the number at this point, you can openly stale that you know what their card is. Now that would be a bit boring just lo name their card, so you want to show them something more amazing. 309

OLIVIA By Myke Phillips At this point you tell them to deal the cards face down, but to place the cards that are at the positions you have remembered, to one side. So if you have remembered the positions 11, 26, and 41, they are to put them in front of the pile they’re dealing.

After they have done this, you recap: “Ok! Rememberfrom the start, you took the cards and shuffled them as much as you liked. Then you took out a card, placed it inside the box, and then you shuffled the cards again. All this was done while my head was turned away. There s no way that I could have known what cardyou took. Honestly, if you think that somehow I could have known whatyour card was, we can start again because I don’t wantyou to think later, that’s how it s done. ” I love that last line. If you have an effect where you keep getting a response like “You must have known what my card was, ”then you need to get that out of the way early on in the effect. I’m aware that mentioning this will put the idea in their heads, but I think by pointing it out at this stage of the routine adds some honesty lo whnl you say. I mean, why would you mention this if it were true? 310

OLIVIA By Myke Phillips The reason I say this is I really don’t want them to go away thinking that I knew what their card was before. Now when they agree that you could not know what their card is they won’t question this later. All that you have said above regarding shuffling of the cards, is done matching actions to words. So when you say that they shuffled the cards, you shuffle them for real. This is all done for one reason. The reason being, that if you’re following the theme that you’re using memory for this effect, then you may be asked, “Whatpositions are the Aces at? I’ve tried to remember the positions of the four Aces at the same time as remembering the other three matching cards, but it gets a bit confusing. It is possible, though. So, the idea is that you’re destroying the order and thus ending the effect.

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SO HOW DO YOU PERFORM THIS FOR LAYPEOPLE?

I start this with the opening statement: “Nowyou may or may not be aware that whilst some people have quite average memories, there are somepeople who have exceptional memories. Wouldyou consideryourself as having an exceptional memory?”99.9% of the time the response will be, “NO!” If the answer is, “YES! ”then let them do the effect for you. I then continue, “Well, I don’t wantyou to worry about that because, to be honest with you, I ’ve what I think is a less than average memory. Let me show you how easy it is to make it look like you have an exceptional memory. Take these cards and shuffle them as much as you like. While you ’re shuffling I wantyou to think ofany card. Now you could think ofa picture card, but I don Vwantyou to do that because, well.. .you ’re an intelligent guy and also I don’t wantyou to think, ‘A h! That’s how he did it!’” The above statement is just a flattering line and also stops them from choosing a picture card. Think about that for a moment. 312

OLIVIA By Myke Phillips If you were to tell someone that they are intelligent enough to understand what you mean, do you think that they will then openly ask what it is that they’re supposed to know? The reason they don’t is because they’ll feel they’re saying that they’re not as intelligent as you assume them to be. “/ want you to change your mind, but as soon asyou hav< a card in mind thatyou want to keep, I wantyou to stop shuffling. Does that soundfair? ” They agree. “Ok, now thatyou have a card in mind, I wantyou to take it out and to place it into the card box andyou’re to show no one. Have you done that?” “YES!” “And couldyou please shuffle the cards again? Can I turn around now?” “YES!” “/ think you will agree that I could not know whatyour card is. I mean, honestly, if you think that there’s any way I could know what that card is then we can start again. ” “NO! It’s Ok, I ’m sure you don’t know what my card is. ” “I ’m going to go through the cards and, by remembering the ones that I ’ve seen, I ’ll try to work out what cardyou have taken. Now if I were to do this and take an hour, it wouldn ’t be very amazing, would it?” “n

o

r

“So, instead I ’m going to try and do it in less than a minute. Ok, I ’m 313 ready, ”

OLIVIA By Myke Phillips “I think I messed up. I ’ll go through againjust to make sure. OK, I know what your card is, hut if I were tojust tellyou that, I think that’s a bit boring, so I wantyou to do this. Take the cards and deal them one at a time, and when you get to the 12th, 25th and the 43rd, put themface down into a rowjust here. ” “Ok, rememberfrom the start, you took the cards and shuffled them as much as you liked. Then you took out a card, placed it inside the box, and then you shuffled the cards again. All this was done while my head was turned away. There Vno way that I could have known what cardyou took. Honestly, if you think that somehow I could have known whatyour card was, we can start again because I don’t want you to think afterward that that’s how I did this. ” You turn over all three cards one at a time and reveal that they are all the same value. “Here is the 3 o f Clubs the 3 of Hearts and the 3 o f Spades, so that means in the box you have the 3 o f Diamonds. Take it out and show everyone. And that’s how you give the impression you have an exceptional memory. ”

.ANOTHER QUICKNOTE

I sometimes use a riffle peek for the selection. I think that the effect is still as strong this way. It does cut out the calculation process, bul the downfall to this is it doesn’t have that hands-off feel to it, which I think is the real strength of this routine. All you have to do is peek their card, and then ask them to shuffle as much as they like. Then ask them to take it out and to put the card in the box. Then shuffle the cards again. 314

OLIVIA By Myke Phillips Now all you have to do is remember the positions where Ilie other cards lie. When first performing this effect, it may be better to peek or force the card so you don’t have to worry about whether or not )ou have got the right card. I would like to add that, at the start of the effect, you’re staling that you have only a less than average memory. The idea is that you want them to go away thinking that maybe you wen* lying and that, in fact, you have a super memory.

PERFORMING FOR MA Cl \NS ( 7

Ifyou’re performing this at your local magic meet for your friends, it’s easy. You don’t really need to patter about not picking the picture cards and limiting them to only the number cards, because magicians do this themselves. You see, if you ask a magician to think of a card, there’s a good chance that he will not pick a picture card. If your count is ten, then you can be fairly confident that it’s a ten that he has taken. So you just proceed with the effect. If by slim chance you find out that he has taken a picture card, then you can just state that he has taken a picture card. You don’t need to name the card; just act like this was a warm-up and that you want him to make it a bit more difficult this time. (I am naturally a solution-orientated individual.)

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DON’T BE AH ARSE

“When I dare to be powerful to use my strength in the service o f my vision, then it becomes less and less important whether I am afraid. ” Audre Lorde

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DONT BE AN ARSE “When I dare to bepowerful to use my strength in the service of my vision, then it becomes less and less important whether I am afraid. ” Audre Lorde I’ve said it before, but magicians can sometimes be arses. And in London, there seems to be more than I care to think about. This is for you “magicians”. If you approach another performer and ask them to show you something, at least respect what they show you, even if you “think” you know exactly what they are doing. There is nothing worse than performing for someone and they are just plain awkward, and then afterward they tell you they are a “magician.” too. Not cool! (I always think of what I can do, what I will do, because I want to.)

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PSYCHOLOGICAL SNAP

“A wise man gets more usefrom his enemies, than a foolfrom his friends. ” Baltasar Gracian

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PSYCHOLOGICAL SNAP “A wise man gets more use from his enemies, than afoolfrom hisfriends. ” Baltasar Gracian

EFFECT

You are sitting with friends and you offer to show them something that you have been working on for a while. They seem a little intrigued to find out what it is that you have been hiding from them. You ask to borrow two decks of cards and you insist that they be shuffled until their heart s are content. You take one of those decks and give the other to the person who is most excited. You then ask if they believe if it’s possible to send and receive images through thoughts alone. They’re a little skeptical but very keen to see. You both take turns in mentally sending images of cards to each other. It takes nearly half the cards before you both are successful in your thought transference. You then explain that, “I f we really could send each other thoughts, then why did it take us nearly halfthe cards to do so? I ’ll tellyou why, ”you explain. “The reason is because I wantedyou to receive a specific card at a certain point in the deck. Please count how many cards we dealt to get to this outcome. ” They do and 23 is the number. You then tell them to open up the deck of cards that has been on the table from the beginning. They’re told to deal to the 23rd card and to turn it over—it’s their card at that number.

THEMETHOD

This combines two methods to create what I think is a very sneaky and baffling effect. The first of the two methods is a memorised stack. I really hope you’re not disappointed at this, as the stack is used in a way that I think will open your eyes to other ideas. So what do you do? Do you just bring out a deck that’s already 320 stacked?

OLIVIA By Myke Phillips You could do that, but it’s much better if you know a memorised stack. If you don’t use a memorised stack, don’t worry, I’ll explain later how you can do this effect with a deck that you have shuffled into a random order. The reason I suggest that you use a memorised stack is because you can have a borrowed deck of cards shuffled, and then you can seemingly take out cards at random and place them down, whereas in fact you’re stacking the deck in your memorised order. So, why are you putting cards down in your memorised slack order? Placing the cards down in a memorised order means that when the spectator puts a card down that matches a card you just pul down, obviously it will be in the same position in the deck that is in the box on the table from the start. This means that if your spectator counts how many cards they dealt before the cards matched, it will be at the same number that’s in your stack. So, why do the spectator and I take turns in sending our cards? Well, you’re try ing to hide the fact that you’re just pulling out cards that you have remembered. This helps to break that up and also gives you some time to think about what card is next in your stack. So how do you guarantee that the cards will match? You can’t! The reality is that you can go through your whole stack and you may not even get a match. However, you do have a good chance that the cards will match. This brings us to our second method. Try this out, just to give you some confidence in the method. Take two decks of cards and shuffle both of them as much as you like. Now put the decks side by side and deal one card from each pile 321 simultaneously.

OLIVIA By Myke Phillips

You will, most of the time, get a match and, in some cases, you will even get a match up to four times throughout the entire deck. I hope that this gives you the confidence to do it. So what do you do if you don’t get a match? You change the effect into a coincidence effect, but you leave a slight question as to whether it 322 is or not.

OLIVIA By Myke Phillips When you get to the end of the deck and the cards haven’t matched, they will be in your complete stacked order because you dealt them lace up. You tell your spectator to pick up their cards and to shuffle Ihem as you pick up yours, but instead of a regular shuffle you give them a false shuffle, keeping your stack in order. Now you change the effect slightly. You say, “Ok, so thatjust proves that neither o f us has anypsychic ability, right?” “Now coincidence is an interesting thing, because coincidence can be mistakenfor psychic ability, I'll show you what I mean. ” Now you say that you’re going to deal the cards face up onto the Iahie and that you’re going to stop dealing when a card from your pack matches a card from their pack. 't on start dealing and the cards match. You explain, “Now that’s a mulch. Let me show you how someone canframe this outcome and make it look likepsychic ability. They would say something along the lines of: ‘You sec, I was sendingyou a cardpsychically and hoped thatyou wouldpick up on it, andyou did. You see, you didn’t pick it up at a conscious level, but l on certainlypicked it up on a subconscious level. You have subconsciously ' baffled the card I was sendingyou into the 24th position in your deck, and that’s why our cards matched. ’” S'o that’s how someone could make a coincidence look like psychic phenomenon. But I ’m notjust someone, and I did sendyou that card psychically, and I canprove it. That box of cards has been there throughout all o f this, right7” ()pen the box and count down to number 24. ” I hey l urn over Ihe card al ihe 24th position and it matches their i ml, proving that you two actually323have some psychic connection.

OLIVIA By Myke Phillips I absolutely love the idea of explaining to someone how you could make an effect look like it was done using psychic ability when it wasn’t, and having that person agree with you and then taking it all away from them by proving otherwise, making them question whether you really are psychic.

IDEAS AND ALTERNATIVE EFFECTS 3NAP

Two decks are in play. You both deal cards at the same time. When the cards match, you ask the spectator to count their cards. They do and 33 is the number. You explain that even though they shuffled the cards, you have predicted it. You turn over your card and it has the number 33 on it.

THEMETHOD

In this method you will have your stack or a random order of cards with numbers 2 to 52 on the backs. The first card in your stack won’t have a number on it because it’s not necessary. It also hides the true nature of the deck. You can fan the cards, but be careful not to flash the numbers. You start dealing the cards face up, but you do it in a way that hides the numbers on the back. You hold the cards in dealing grip in the left hand. As you take one card at a time, you’re going to do it with your right hand palm up. You take the card and rotate it towards you, palm down, as you put it face up onto the table. This hides the numbers on the back. When the cards match up, all you do is put your matching card to the side and ask them to count the cards they dealt. As they’re counting you gather up the cards and spread them on the table, hiding the numbers on the back. 324

OLIVIA By Myke Phillips When they tell you the number they dealt to get to that card, you explain that you predicted it. You turn over your card and it has the number written on the back in permanent ink.

INVISIBLE SNAP

You ask someone if they have a deck of cards. You tell them that you do have a deck of cards, but they’re invisible and only you can see them. You both shuffle your cards as much as you like. You then fell the spectator that you’re going to deal your cards down at the same time as them, and when the cards match, you’re going to stop, kind of like Snap. The spectator looks at you as if you’re crazy. They ask, “How am i supposed to know when the cards match?”You say that you will let them know when it happens. So, you start dealing the cards one at a time face up onto the table. You get more than halfway through the cards and shout, “Stop.” ou say, “Look, we have a match. Your card, the Five o f Clubs, matches my Five o f Clubs at the samepoint in ourfreely shuffledpacks. ”They still look at you as if you have lost the plot. You say, “Ok, you don’t believe me, do you?”You mime putting the cards back into the pack and say, “Ok, I ’ll make them visible. ”You snap your fingers and the onceinvisible cards become visible. You then ask the spectator to count how many cards down in their deck the Five of Clubs is. They do, and it’s 32 cards down. You tell them to open up the now visible cards and to deal down to the 32nd card. They do, and of course it’s indeed the Five of Clubs.

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THE METHOD

Ok, so this is a nice effect to do and was going to be the main effect for the description. If you only have one deck on you and, of course, it’s in your memorised stack order, all you do is tell them to shuffle their cards as much as they like and you will shuffle yours. Here you just mime shuffling cards. What you do is tell them to deal their cards face up onto the table. At the same time you mime dealing yours. All you’re going to do is this. In your mind only, not out loud, start saying the cards in your memorised stack. So every time they put down a card, you say in your mind the next card in your memorised stack. If you don’t know a memorised stack or you’re not confident with the one you know, then you can make a crib sheet of your stack and have it palmed in your left hand as you mime dealing. You’re waiting to get a match of the card they're putting down. When the cards match, say, “SNAP! ”All that’s left to do is to produce the pack of cards that’s stacked and to tell them to deal down to the number they dealt to get to their card. Personally, I think this alternative effect is very strong and in some circumstances even stronger than the original effect and well worth giving it the attention it deserves.

CALL SNAP

You send two sealed decks of cards (one red, one blue) to someone with a note telling them not to open cards and that you will call them on a particular date, to try an experiment in telepathy. 326

OLIVIA By Myke Phillips The date has arrived and you phone the person. You explain that you want them to choose a deck of cards, red or blue, and that you want them to shuffle them as much as they like. You tell them that they are to start dealing the cards one at a time face up onto the table. You, the telepathist, are going to try and receive the cards that they're dealing. Vou try to receive the cards but you’re not successful until nearly halfway through the deck. You tell them, it’s not a coincidence that IVe called out this card at this point in the deck. Count how many cards you dealt down before we got to this outcome. They do, and the number is 24. You tell them to open up the other deck of cards you sent to them and to deal down to the 24th card. They open up Ihe cards and count down to the 24th position. They turn over the card, and it’s their card.

THEMETHOD

I iis is similar to the second alternative effect. You send a red and Idue deck of playing cards to someone. Both decks are stacked in your preferred order. The great thing here is, you can have your slack right in front of you when you call the person. You just call oul cards in that order.

VIDEO SNAP

\ ou and your spectator both have a deck of cards. You start dealing logether. When the cards match, you show them a video on your mobile of you dealing down to that number. In the video, you turn over the card, and it’s their card at their number. You then turn over the rest of the cards, and they’re all blank.

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THEMETHOD

This takes a while to set up, but once you have done it, it’s set forever. So, what you need to do is make 52 videos of you dealing down cards. You start with the blank deck and the 1st card from your stack on top. You then film yourself dealing the first card face down and reveal that card. Then you reveal the rest of the blank cards. Now, for the second video you place the second printed card in your stack at the second position and film yourself dealing two cards down and then revealing the card in the same way as you did in the first video. You’re going to do this 52 times, shifting the card from your stack into its position in your blank deck. This does take some time, but you can break it up by filming five videos per day. You don’t need the videos to be the exact same because your spectator will only be aware of one video. A little note. Be careful not to accidentally skip one card, because if you carry on filming, all the videos from then on won’t match. I’m telling you this from experience. I filmed 22 videos, and then skipped one card by accident and carried on filming. That was a big headache, trust me. Also, the videos do not have to be of high quality. If you have a mobile phone that has a video camera on it, you can use that. You can also do this with pictures of you holding up their card in one hand and the number in the other hand. Recordings of you predicting the card at the number, out loud, can also be done using your mobile phone, too. 328

OLIVIA By Myke Phillips You’re only limited by your imagination. You can also use this effect in conjunction with Jason Messina’s “TUBE”.

HELP! SNAP

You are at a magic convention and are asked to show something. You ask two magicians to shuffle their cards. You then say that you want them to take turns in trying to psychically send each other cards. They try. It’s not long before they both think of the same card. You explain that, of course, this may look like a coincidence. But it’s not, you tell them. You didn’t pick up on each other’s thoughts, but you did pick up mine. You explain that you were trying to send them a particular card, and they both got it at the same point in their shuffled decks. You then turn to the deck of cards that has been on the table from Ihe beginning. You tell them to deal down the same number of cards they dealt to get to this outcome. They do, and it is the card at Iheir number.

THE METHOD

()k, you might be ahead of me here, but this uses a stooge. The stooge must know your stack, and is going to be pulling out the cards in that order and placing them face up onto the table. So, in other words, your stooge is going to do all the hard work and you’re going to take tremendous credit, for doing nothing more than pointing to a deck of cards that has been on the table from the start. Sounds great, doesn’t it?

CREDITS

(>k, so Pavlo, Daniel Stanbridge, and I are in a bar in London.

V\ e're all silting there flicking our cards and talking about magic in general, and how it would be nice to maybe create some effects that 329 would fool magicians.

OLIVIA By Myke Phillips So I mention that if we were to come up with something like that, the method must be very simple and self-working, and we just need to cover it up. I said to Pavlo, “You know that ideafrom Billion Dollar Bunko? Where you have 2 packs ofcards, andyou both start dealing at the same time, andyou get an exact match at the exact sameposition in the deck? Yeah! Well, I think we can use that idea to get a specific outcome. ” Pavlo’s mind starts spinning and all these ideas start to come out, and Pavlo and I are exchanging ideas back and forth like a duel. We turn to Daniel and ask, “So what do you think?”He looks at us and says, “That’sf***ing very clever and veryf***ing sneaky. ”Pavlo and I look at each other and just grin—we knew that we are on to something very deceptive. So, the next couple of days Pavlo and I exchanged ideas over MSN Messenger. We literally came up with about 20 or so ideas. Some were more crazy than others, and the ones we thought were good, you have them here. So, although I came up with the idea and methods, Daniel and Pavlo were there all the way and gave me their approval and encouragement. A big thank you to them for that. (I am a naturally popular individual and I exude warmth to others.)

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MIND BEADING “D on’t let the fear o f losing be greater than the excitement o f winning. ” Robert Kiyosaki

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MIND READING EXPERIENCES “Don’t let thefear o f losing be greater than the excitement o f winning. ” Robert Kiyosaki Ok, today was another weird day. I started off a bit shaky, with my head down while I was performing, and I was aware of this. When I got to the end the audience was amazed at my mind-reading skills, but I was far from happy with my performance. The rest of the my performances were far better. A lady approached my table today. She said she was a spiritualist medium. I read her mind and told her she was thinking about her mother, “Tina”. She almost hit the floor in amazement. She was so impressed with my mind-reading ability and asked me if I was psychic. I asked her a few questions about how she does what she does. She said that she can see images of dead people and can describe them accurately. I was tempted to let her loose on me, but I hate that sort of thing, especially when it involves the dead. She liked me on Facebook. lol. I was using Matt Mello’s “Thread of Life” today. Killer reactions, although twice it didn’t work. A man thought of a card and I read his mind, but he was adamant I was wrong. I gave him the paper with the name of his thought-of card and said, “You can keep this as a souvenir. When you get home, every time you look at it, you will know that I was right. Thank you, the exit is that way! ”

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OLIVIA By Myke Phillips Mind reading is very intimate, strong, and personal. I like it: but T love performing for bigger audiences. It’s less scary in my opinion. This was just another day in the streets of London. (I plan for success and therefore easily find success.)

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NERVOUS ABOUT PERFORMING?

“No one can make you feel inferior without your consent, ” Eleanor Roosevelt

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NERVOUS ABOUT PERFORMING? “No one can make you feel inferior without your consent. ” Eleanor Roosevelt First of all, let me quickly tell you a little about myself and how I have suffered from stage fright from the prospect of performing. I grew up in London—Battersea to be exact with three brothers and two sisters. We spent a few years of our childhood in and out of children’s homes. We were known to everyone in the area as “the poor family”, or as they call you in school, “the tramps”. We had no money, the food cupboards were always bare, and I was constantly teased about what I wore. This constant teasing I believe to be the direct result of the low self-esteem and lack of confidence that plagued me until I was at least 26 years old. With no friends, low self-esteem, and lack of confidence, I found myself hiding away from everyday life. Then I found magic. Like all of you reading this book, I had finally found something with which I felt a connection. I read and studied every sleight-of-hand move I could and perfected it to a high standard. I absolutely loved learning all the secret moves and I would also get lost in an imaginary world where I would envisage myself performing for others.

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OLIVIA By Myke Phillips It took me about two years to actually perform my first trick to someone, but I did it and it felt great. Fast forward lo the present day and I have performed in all sorts of situations and environments. Whether you are a performer or a hobbyist, I am willing to bet that at one time or another you have suffered from that dreaded stage fright or panic about the prospect of performing. As performers we all go through those little nerves just before approaching a table or group of people. This I think is perfectly normal. What I want lo address here is that extreme form of anxiousness and help those who are plagued with severe forms of performance-related panic attacks, and for them to understand that I, too, have been there and am still on my own journey tow ards fear-free performances. 1 say, “journey towards” because I very much still go through a mild form of anxiety when performing, but not as extreme as I did back then. I could tell you many stories of how I have suffered about the prospect of performing, thinking I will embarrass myself or not be able to fool anyone. Worried about people noticing my hands shaking or the fear of being the centre of attention, but the one thing I can definitely tell you is this: I have always been wrong about what I thought could happen. On every single occasion that I managed to stick in there and perform, I did indeed go through (»very emotion possible before performing, but afterwards I always fell like I had been set free from the chains of my own mind. “On the other side of fear is always success.” <)nc of the best ways to help get rid of that fear is to go out and perform in the street like a busker does. I can vividly remember my first time performing on the street. I was in Gibraltar and I had 337 out. practiced and knew my act inside

OLIVIA By Myke Phillips I got to Gibraltar about 10 AM, but I was so scared that I sat in Casemates Square for nearly 5 hours trying to talk myself into setting up my table to perform. That day I can honestly say that I went through every emotion possible. I was imagining every bad scenario possible. It was a battle with my mind that I eventually won. I managed to walk into the street with my head down and to set up my table. I spread the cards on the table and looked up, and there were 3 ladies and a kid standing in front of me. I was shaking but I did my act for them, and you know what? They were amazed and they loved it. So, it took my 5 hours and all that suffering to go out there and have a great time. I did six weeks in the streets of Gibraltar and gained a lot of experience, but this wasn’t the end of my fear by a long shot. I was to go through this same day of emotions more times than I care to think about. I can even remember that on one day I wasted 6 hours sitting on the grass at the South Bank London trying to persilade myself to go out there and perform. I remember calling my wife and bursting into tears because I wanted more than anything in the world to perform, but I just couldn’t do it. So, what is it exactly that cripples us and stops us from performing? It is the mental picture that we build up in our minds of a future or anticipated bad performance and that fear of being the centre of attention. Think about that for a moment. We are nervous about something that we think may happen in the future, not about something that will happen in the future. The truth is, it will probably never happen the way you imagine. The question is, how did I free myself from this fear of performing? 338

OLIVIA By Myke Phillips I did read a lot of self-help books, that’s true, and I do believe that by reading those books and by implementing some of the techniques, they did help. However, what I know helped me with that fear the most was taking the bull by the horns and actually performing for people, being bold and not giving a damn about what might happen. The cold hard truth of the matter is this: you must perform to release your mind from that fear of performing, but you can take small steps to get there. I used a combination of the techniques you’re about to read below, coupled with a few tricks of my own.

SO WHAT OTHER TECHNIQUES DID I USE? THE TRAFALGAR TIME WALK

In central London I often have students walk around Trafalgar Square asking every other person if they could tell them what time it is. What tends to happen before we contemplate performing is we go through a long period of time with no communication with others. We spend a lot of time talking to ourselves, compounding the fear and anxiety of performing. This. I believe, has a direct effect on your nerves toward performing.... I had to analyse exactly when and why I was going through all these unpleasant thoughts. I realised that my main fear was being the (‘(Mil re of attention. What I realised was that even time I thought nhniil performing I would immediately have a picture of myself standing there and everyone staring at me. When I had that picture in my mind I would start to feel isolated, which in turn fuelled the anxiousness. 339

OLIVIA By Myke Phillips To help combat this I discovered it helped if I continually communicated with strangers on my way to a performance and so stopped the feeling of isolation. On my way to perform I would continually ask people on my travels what the time was. I started by asking a single lady first, then gradually asking a few ladies, then guys, and then groups of guys. This helped as it did not give my mind the chance to wander off and to let those little demons in.

THE SWISH PATTERN

For me the Swish pattern absolutely works.

How to use the Swish from a fear of performing point of view. My version of the swish pattern is this. Number #\ With your eyes closed imagine in your left hand a film playing of you performing and all those unpleasant feelings that you go through. Really feel and relive those horrible feelings. The nerves, the twist in your stomach, everything. Number #2 Slowly bring your left hand up towards your face. As your hand gets closer to your face, allow those feelings to grow stronger and stronger until your hand touches your face and it becomes so unpleasant. Repeat this five times until it becomes an automatic trigger. Number #3 With your eyes closed again, imagine a film playing in your right hand of a time when you felt great, when you felt happy and confident. 340

OLIVIA By Myke Phillips It doesn’t matter what, when, or where it was, just relive it. Number #4 Slowly bring your right hand up towards your face. As your hand gets closer towards your face, allow all those great feelings to grow stronger and stronger until your hand touches your face and you are filled with a feeling of great confidence. Repeat this five times until it becomes an automatic trigger. Now that we have set up the triggers the left hand containing your negative response and your right hand containing your positive response let’s swish away those unpleasant thoughts about performing. Number #5 Slowly bring your left hand up towards your face, and as soon as you start to get an unpleasant feeling, immediately drop your left hand and quickly bring your right hand up towards your face, allowing all those good feelings to take its place. Now that you have done that you need change to a completely different thought. Number #6 'll link about the colour of your front door. We have completed the Swish pattern but we are not fixed yet. We need to drill this over and over until our minds automatically say, when you think about performing, we feel confident. Nil in her #7

llcpeat sleps #5 and #6 len limes.341

OLIVIA By Myke Phillips What you are doing here is training your brain to switch from the negative feelings that you currently get when you think about performing, for the positive feelings you want to get when you think, about performing.

AFFIRMATIONS

Having a list of memorised affirmations is a great way to stay in the right frame of mind. Throughout this book you have read some of the affirmations that I say to myself when I know I will be performing.

SHADOWING.

You can use this technique for confidence, too, but I’ll explain how I use it. Often, when I have finished my performance on stage some people comment on how good my posture is. This is something I have worked on a little in the past by shadowing myself on how another person stands and walks onto the stage. Shadowing yourself on someone else is a quick way to get you to where you want to be as a performer. My only advice is try not to shadow yourself too much on another performer within this art form, for obvious reasons. The one thing I have taken and shadowed from someone within IIn < art is the way Derren walks onstage and the way he carries himself. Now, I don’t want to be Derren, although I do admire him and believe him to be the greatest performer out there. I do want to portray the same confidence whilst walking and standing on Ilie stage, but Tdo not want to become him. 342

OLIVIA By Myke Phillips I’lie point is, we already shadow ourselves unconsciously on people we know and love, and that’s why we are all different. So, why not lake a trait from someone you admire. Maybe shadow someone who you think portrays confidence. I have to fully believe that I am the best performer out there and lhat I am confident. You must first act confident, and then you will become confident. \et it and you will become it.

HAVING A 3 SECOND RULE

I have a three-second rule that I stick by. I force myself to make the decision as to whether I am going to perform or not within threeseconds as I approach a table or person and introduce myself as the entertainer. If I allow myself more than three-seconds to think about performing at that table, I am allowing my mind to create a scenario of what may happen at that table.

KNOW WHAT YOU ARE PERFORMING.

()ne of the most important things to relieve you from anxiety is knowing exactly what you are going to perform and what you are going to say. Ijoarn just one trick that doesn’t require a difficult sleight . Practice vonr patter and presentation and know it inside out. I am very good .it a riffle peek of a playing card, and so I decided to perform only this one effect. I would give the cards to a spectator and ask them to hullle the cards. What this did for me is it allowed me to ground my self and relax in the moment. I would then take back the cards and do a riffle peek. 343

OLIVIA By Myke Phillips Once the spectator had remembered a card I would place the cards back inside my pocket and go through my presentation to reveal what card they were thinking of. I started to get great reactions from this and it gave me the belief and confidence in that what I was doing was amazing. (I have no unnecessary fear of failure in my performances.)

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PASS- CARD

“Perfection is achieved, not when there is nothing more to add’ but when there is nothing left to take away. ” Antoine de Saint-Exupéry

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PASS-CARD “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away. ” Antoine de Sainl-Exupery EFFECT

The magician asks the spectator to name any four-digit number. The freely named four-digit number creates another four-digit number using playing cards. That four-digit number just happens to be the magician’s iPhone passcode.

PRESENTATION

“Say out loud anyfour-digit number. ” “3753!”

“Okay! Let’s remove some cardsfrom this deck to represent those numbers. For example, the Three of Spades, Seven of Diamonds, Five o f Spades, and Three of Hearts. 3753. ” “Think about thisfor a moment. Hadyou been restricted tojust thosefour numbers, there are 24 possible combinations you could have called out. But, you were not restricted tojust those four numbers; you could have chosen numbersfrom 0 to 9 in each position. So, that’s 10x10x10x10 = 10,000 different possible combinations that you could have called out. But you didn ’t. You called out 3753. ” “Here’s the thing: if I turn over the remainder o f the cards, you will note that each has a numberprinted on the back. For example, this one, the King o f Hearts, has afive; this Ten o f Diamonds a two; Jack o f Clubs has an eight, and so on. Every single card has been given a random number. Let’s see what’s on the backs o f the346cards thatyou chose. ”

OLIVIA By Myke Phillips “7943!” “Just to recap, knowing the cards have different numbers on the backs and that had you been restricted tojust thesefour numbers these numbers here, it could have been a different way round. Is that correct? But, you were not restricted tojust thosefour numbers. You could have chosenfrom 0 to 9 andyou had 10,000 differentpossible combinations you could have chosen. So, it isfair to say thatyour one in 10,000possible combinations has created another one in 10,000possible combination?” “Therefore 7943 must be a completely random number! ” “Does this number mean anything to you?” “What if I toldyou that the numberyou created out o f all those thousands of possible combinations actually means something to me, and is in fact the passcodefor unlocking myphone?” “Here, take my iPhone and type in anyfour-digit number and see if it unlocks. Now try 7943, the numberyou ‘randomly’created.. .et voila! ” “It’s amazing how things weperceive as being random are not really so random after all! ”

METHOD

I,
OLIVIA By Myke Phillips How do we do that and make it look fair and deceptive? The crux of the method is, the cards do not allow a free choice of numbers on the back and are in fact stacked, but in such a way as to yield a lot of freedom. The cards are stacked into four separate groups which are shown in the photo below (before they are mixed). Fourteen cards in each group comprise of using the Ace through King, and a Joker acting as zero. All these cards are mixed up in different suits.

Let’s set up the four groups and then I’ll show you how to put them all together so you can produce your four-digit passcode from any four digits called out. The first group, on the far right in the photo below, starts (With all the cards face up) King on top and then cards from Ace through Queen all mixed together, and a Joker on the bottom. 348

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In this first group, on the back of every spot card and Joker (except Ilie ten) you have written the first digit of your passcode. In my case Ilie first digit of my passcode is a 7. On the picture cards and the ten you will write any number on the back that is not in your passcode. I’his means that for the first digit that the spectator calls out, when you take that number out of this group, it will have written on it the lirst digit of your passcode. In the second group you will have a Queen on top, and beneath that every spot card from Ace through Ten, including the Jack and King, and then place a Joker on the bottom. In this group, on the back of e\ cry spot card and Joker (except the Ten), you have written the •croud digit of your passcode. In my case the second digit of my passcode is a 9. On the picture cards and the Ten in this group you will have written any number on the back that is not in your passcode. This means that for the second digit the spectator calls iml when you take that number out of this group, it will have n nllen on it ihe second digit of your passcode. I lie lliird group will consist of a Jack on top, and beneath that every pul card from Ace through Ten, including the Queen, King, and 349 thru place a Joker on the holloin.

OLIVIA By Myke Phillips In this group, on the back of every spot card and Joker (except the Ten), you have written the third digit of your passcode. In my case the third digit of my passcode is a 4. On the picture cards and the Ten in this group, you will have written any number on the back that is not in your passcode. This means that for the third digit that the spectator calls out, when you take that number out of this stack it will have written on it the third digit of your passcode. In the fourth group you will have a fen on tire top and beneath that every spot card from Ace through 9, including the Jack, Queen, King, and then place a Joker on the bottom. In this group, on the back of every spot card and Joker (except the Ten), you have written the forth digit of your passcode. In my case the fourth digit of my passcode is a 3. On the picture cards and the Ten in this group, you will have again written any number on the back that is not in your passcode. This means that for the fourth digit that the spectator calls out, when you take that number out of this group it will have written on it the fourth digit of your passcode. Now that we understand that every spot card (except the Tens) and Joker have written on it a digit from our passcode on the back, let me recap again what happens with the picture cards and the Tens in the deck. Every picture card and Ten in the deck have written on the back any digit that is not in your phone’s passcode. Now let’s assemble our stack. The group of cards that contains the fourth digit of your passcode goes into your left hand face up so that the Ten is uppermost. 350

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The group that contains the third digit of your passcode goes face up on top of the Ten with the Jack uppermost.

I lie group that contains the second digit of your passcode goes face up on top of die Jack with the Queen uppermost.

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Finally, the group that contains the first digit of your passcode goes on top of Queen with the King on the face.

Now with the cards face up in your left hand, you can spread the cards from left to right and take out any number from each stack and it will match your phone’s passcode. As the spectator calls out their four digit number, you are going to take out the cards like this. 352

OLIVIA By Myke Phillips Let’s assume they call out the numbers “3753”. You will take out the 3 from the first stack and lay it down onto the table.

You then take out the 7 from the second stack and lay it to the left of the 3.

The 5 is taken from the next stack, which you lay to the left of the 7. 353

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The last digit, the 3, is taken from the last stack and placed down to the left of the 5.

Laying down the cards this way, from right to left, is aesthetically pleasing and in the correct orientation for when you are performing for a real person opposite you. Now is the time to talk about the 10,000 possible permutations they could have created and thus reinforce the randomness of their 354 particular number.

OLIVIA By Myke Phillips You now draw attention to the fact that every card has a random number written on the back of it. This, as we know, is not strictly true, and therefore we spread through the cards face up and casually show the backs of some picture cards, the Tens, and a couple of number cards from different parts of the deck.

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After showing the cards have random numbers on the backs, you place the deck face up onto the table.

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OLIVIA By Myke Phillips You now turn over the four cards to reveal the number they have randomly created.

As you turn over the cards, they will be orientated the correct way, facing the spectator. All you need do now is hand the spectator your phone and ask them to enter a few freely chosen numbers to prove it is actually locked, and then to enter their randomly created number. I also want to point out that it doesn’t have to be a passcode. You can simply write a four-digit number as your prediction on a piece of paper and leave it on the table from the start. (I am a naturally lucky person; good luck seeks me out.)

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THOUGHT-OF CARD

“People often say that motivation doesn’t last. Well, neither does bathing that s why we recommend it daily. ” Zig Ziglar

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THOUGHT- OF CARD “People often say that motivation doesn’t last. Well, neither does bathing that’s why we recommend it daily. ” Zig Ziglar Here is a nice way to have someone think of a card and to know exactly what it is. Using dual reality, a spectator (believing he has a free choice), is going to think of a playing card. However, in reality he is going to be thinking of a card that you want him to think of, whilst the audience will believe he is having a totally free and fair choice of any card in the deck. Let the spectator shuffle the cards as much as they like, thus eliminating the assumption that the deck may have been set up in some way. Using a borrowed deck would be even better. In the process of taking back the cards, peek the top card. Having taken back the cards, you are going to riffle force the top card on the spectator. Explain that you are going to riffle the cards and, as you do, they are to remember one. As an afterthought you are going to change your mind and say, “Do you know what? Just think of thefirst card that comes to your mind. Have you got one? ” As you say the above, start shuffling the cards and then snap your fingers, prompting them to think of it quickly. This should get them to think of the card that you just forced on them, but to everyone else this looks and feels like it’s any card thought of. 360

OLIVIA By Myke Phillips So, it should look and sound like you’re explaining what you are going to do; then you change your mind at the last minute and give them a totally free and fair choice. Everything tied together is very fast paced and should sound like this: “Shuffle the cards untdyou ’re happy they are well mixed. ” Take back the cards (peeking the top card), and riffle llie cards towards the spectator.

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“In a moment, I ’m going to riffle the cards like this, and I just wantyou to remember one that goes by.... Do you know what? Just think ofthefirst card that comes to your mind. Have you got one?” As you say the above, start shuffling the cards and then snap your fingers, prompting them to think of it quickly. Look at the spectator as if to read their mind. 362

OLIVIA By Myke Phillips “Okay, just think o f your card. ” Take out the card you forced on them and place it face down onto lhe table. “For thefirst time name the card thatyou ’rejust thinking of. ” They name their card. You ask them: “Please turn over the card on the table. ” And you are correct. What if they don’t name the card you placed down? Well, we all know a few ways to get out of that, don’t we? (I like myself and I’m pleased with everything I do.)

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GOODHITS

“You miss 100 percent o f the shots you never lake. ” Wayne Gretzky

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GOOD HITS “You miss 100percent of the shots you never take. ” Wayne Gretzky I seem to be hitting a lot on who, specifically, the person is, like a boyfriend, best friend, husband, and names. All without fishing! I had a few nice hits today. A lady wrote down the name “William Thomas”, but I could only see William in the peek, so I wrote “Williams” on my pad. When I turned my pad around this lady became quite excited and her son just put his head on my table in amazement. Why? Because the name “Williams” was THE IR surname. So they interpreted that as an even bigger hit. Nicknames are a nice thing to hit on. If the name is short, add something to it, and if it’s long, make it shorter. Example: MichaelMikey, Tommy-Thomas, Vera-Veronica, etc. An interesting thing happened as well. A gentleman thought of a name and wrote it down and I got my peek. I said, “Female, right?” The response was, Wo/"Then I thought, “Maybe it’s the other way around. ”1 wrote “ANIM” on my pad. I thought, ‘Mina?Female, Anim? Male?”It didn’t make sense. When I revealed the name ANIM, I was wrong. It was MINA after all and a male name, but here is the really interesting thing. When I turned over the paper I had written the name on, and the ink bled through, it read the correct name, MINA! They were quite impressed.

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OLIVIA By Myke Phillips These things only happen when you are performing all the lime, repeating the same effects and methods over an< I over again. A Jamaican lady said to me, after I read her mind, “I ’m going to play the lottery now. ”I went with that idea and said, “I ’m going to write down afew numbers that come to mind as I look atyou. ”Immediately she got excited. I looked at her and wrote down numbers that just popped into my head. When I turned the pad around, there were loud gasps from her friends and family. Why? because they had interpreted the numbers I had written down to have meaning in their lives. ‘T hat’s my birthday, ”one said. ‘T hat’s my door number, ” someone else said. That’s my husband’s birthday.... ” Make no mistake, I have gotten a few things wrong before. Whilst performing for an Indian family, the gentleman was thinking of a name, which looked like (from a quick peek) repeated letters. This threw me off a bit, so I just wrote as close to what I thought it was, but my guess was way off. It happens. The point is sometimes you just have to go with your gut. You’re either right or you’re wrong, but you certainly won’t die because of a miss. (My memory improves as my concentration becomes more intense.)

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PSYCHOLOGICAL IMPOSSIBLE CARD LOCATION "The cure for boredom is curiosity. There is no cure for curiosity. " Ellen Parr

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PSYCHOLOGICAL IMPOSSIBLE CARD LOCATION "The curefor boredom is curiosity. There is no curefor curiosity. Ellen Parr I present this effect to you as a no patter, straight to the point, impossible card location...to fool magicians!

EFFECT

Give your cards to a magician and ask him to shuffle, and then to select any one card while your back is turned. The magician shuffles, takes out a card, and looks at it. He places the card back into the deck. While still facing the other way, you then ask him to shuffle and to cut the cards as much as he likes. When you take back the cards, you go through them, and up-jog one card. You place it onto the table. Now ask the magician to name his card. He does. You tell him to turn over the card. It is his card. When you perform this effect "for magicians" the reactions will always be mixed. The most common reaction is: “How the hell is that possible?”Some will just acknowledge that it is a good trick. Let’s face it, as magicians we don’t like to admit we have been fooled. Those that did not react at the time will come back to you weeks later and say, “You know that trick you showed me? Well, it’s been driving me mad ever since. Can you show me again?”My advice... don’t do it. This has happened once, and it's still driving him mad. The thing is, they’re just looking for the method, so let them stew. 370

OLIVIA By Myke Phillips *It’s not a stacked deck. *There are no crimps or breaks. *No double sticky tape or bodily fluids. *There is absolutely no peeking. *No markings on the cards. *Yes, they really do shuffle at the beginning. *They cut and shuffle the cards after the selection has been made. *You don’t have to be in the room, until it’s time for you to find their card.

SOME NOTES

This effect is for fooling your magician friends and, trust me, it will. This will appeal to the regular visitor of their local magic club. I also KNOW the method is something you might want to consider using in your professional performance for lay people as well. Like I said, this is a no patter, straight to the point, impossible card location. You could, as I do, use this method for so many other effects.

THE METHOD

This whole effect was an idea I had based around how magicians shuffle cards and the things they do without consciously thinking about it. I have found that if you give a magician a deck of cards and ask him lo shuffle, almost without thinking about it, he will false riffle shuffle the top and bottom stock. This is because we, as magicians, have conditioned ourselves to retain a selected card either on the top or on the bottom of the deck. Combining ibis with something sneaky, Trealised I could gain an 371 advantage and create an impossible card location.

OLIVIA By Myke Phillips So what is the sneaky thing I am using? Well, it's a simple short card, but the type that is short on the long side and short side so basically it's a small card. After coming up with this idea I realised that it is very hard to stop the small card from falling first when performing a riffle shuffle.

In our case it is perfect because it’s exaclly where we need the small card to be. Start with your small card on the bottom of the deck.

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DECK

CARD ON BOTTOM

O F

THE

Now perform a couple of riffle shuffles while you ask a magician. “Wouldyou like to see something that I have been working onfor a while?” The magician says, “Yeah, sure, why not? ” Give the magician the cards and tell him “just give them a quick shuffle”. Don’t use your hands to gesture doing a riffle shuffle. I have seen a lot of magicians do this when they need to have the cards riffle shuffled. The response at the end of the effect is always the same: “Does it work if I do afaro or overhand shuffle?” The reason is because to magicians, it’s like saying, this can only be done if you riffle shuffle the cards and, therefore, you are giving them a method. I lowever, if yon lei) a magician “just give them a quick shuffle.” you give the impression that it really doesn’t matter, and that you just waul to move on to the selection 373 process.

OLIVIA By Myke Phillips He will almost always do one riffle shuffle and then stop. If you don't want to take that chance you can simply ask him, “When you 'reperforming, do you overhand shuffle the cards, or do you riffle shuffle the cards?”As you say this, match actions to words by overhand shuffling the cards, keeping the smal I card on the bottom. Then riffle shuffle the cards, again keeping the small card on the bottom. If they say riffle shuffle, you simply say, “Okay, give them a quick shuffle, please. ”This way you are telling them to riffle shuffle the cards, but in a way that is very subtle. So now the cards have been freely shuffled and the small card is on the bottom of the pack. You tell the magician, “Go through the cards and take out any card. You can change your mind as much asyou like. ” ***Note to reader - this is interesting*** Try this. Get your cards out and go through them. You can change your mind as much as you like, but as soon as you have one in mind, I want you to take it out and to hold it in your hand. Have you done that? Did you go through the cards and up-jog the card you're holding before you took it out? If you did, then this trick would have worked on you.

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If it didn’t I would have done something else. What is interesting is that we magicians, for some reason, automatically go through the cards and up-jog one card, and then we take it out. This is perfect because it ensures that the small card stays in the position you need it to be (on the bottom). Now back to the patter. Magician: “Okay, Done!” You: “Pleaseplace the card on the top o f the deck. ” Magician: “Yep!” The reason for the card being put on the top of the deck is because you need your small card to go directly on top of their selection, otherwise this will not work. 375

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Now that the selection is on top, tell them to cut the deck and to complete the cut. At this point say, “I fI turn around now, I couldprobably tellyou what the card is. Because you know, that if the cards were marked, it would be an easy matterfor me to read the markings at a glance, so please cut the deck, burying the card somewhere in the middle. ” Magician: “That's true. Okay, I ’ve done that. ” You: “I fI were to go through the cards, there may be some method tofind out whatyour card is, correct? ” Magician: “Correct. ” You: “To make sure I really do not know what or where your card is, please shuffle and cut the cards as much as you like. ” They really can cut (riffle shuffle) and even table riffle shuffle as much as they like, because your small card is now on top of Iheir selected card. 376

OLIVIA By Myke Phillips This means that, if they riffle shuffle the cards, the small card and their selection will not separate.

You see, it’s like the Svengali principle. When you shuffle the cards, you will skip the small card, leaving it on top of their selection. That's the beauty of this method. Magician: “There is no wayyou are going tofind this. ” You: “Can I turn around now?” Magician: “Yes. ” You: “Now, I wantyou to remember thatyou shuffledfrom the start. You then chose a card. You put it back into the deck. You then cut and shuffled as much as you liked. All this was done while I was looking away. Is that correct?” Magician: “That’s correct.” Al ibis point you lake Ihe cards377back and run through them. Von arc going to lake nul the card llial is in front of your small card

OLIVIA By Myke Phillips This will be their selection.

You: “I ’m going to place one card onto the table. Wouldyou, for thefirst time, name your card?” Magician: “The 3 o f Clubs. ” You: “Please turn over that card. ” They do, and it is the 3 of Clubs. I think that you will have to agree...that was an impossible card location. Magician: “Wow! Is that Benjamin Earl’s Ramjollock?”(Side joke) And there you have it, a hands-off impossible card location that will fry your magician friends.

YOU MAY BE THINKING...

“What if they overhand shufflefrom the start?”

You take back the cards and cut your small card lo the bollom of Ilu* 378 deck. Do this by holding ihe deck in an overhand shuffling position.

OLIVIA By Myke Phillips Then riffle from left to right with your righl thumb. When you feel that click, break the cards at that point and do an overhand shuffle. This I find is better than thumb riffling from the bottom of the deck up. I have no worries about giving them the cards back to make their selection, however now I change the effect. I will cover that later. Or. I strongly suggest that you do another effect for them because I think that the strength of the effect is gone. You have lost that hands-off feel.

OR...

“What if they overhand shuffle after their selection has been made?” This is okay, just don’t let them shuffle too much and you should be fine.

OR...

“What if theyfaro shuffle the cardsfrom the start?” Chances are that they will not faro in the bottom card. Just keep an eye on them. If they do, then you do the same as you would in the overhand shuffle situation.

AM) FINALLY...

“What if theyfaro shuffle after their selection has been made?” You can allow them to faro shuffle up to three times. The first faro will put their card into the position, two cards in front of your small card. The second faro will position the card four cards in front of your small card. The third faro will position it eight cards in front of your small card. I would oidy recommend a maximum of two faros 379 for obvious reasons.

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CAN I PERFORM THIS FOR LAY PEOPLE?

Yes, you can! Most lay people don’t riffle shuffle cards, and the ones that do, let’s be honest, don’t do it very well. With that in mind, I would not let them shuffle from the start, or for that matter, at all. What you do is change the effect. Shuffle the cards, keeping the small card on the bottom of the deck. While you are looking the other way, deal the cards off one at a time from the top of the deck. Tell them to call out stop whenever they like. When they do, tell them to remember that card. You now place their selection on top of the pile on the table. You now drop the rest of the cards on top of their selection. This places your small card on top of their selected card. Pick up the deck while still looking away. Cut and riffle shuffle the cards until the ink has rubbed off. Now give them the cards and tell them to deal them face up into your hand. You are now going to use a Gipsy Glimpse. This is where you apparently cover both eyes with your left hand. In reality your left fingertips are pressing on your right eyelid. The rest of your hand is covering your left eye, but you actually have your left eye open and you leave a small gap. This allows you to peek through the gap that is created between your left hand and your left eye very deceptive and very effective. Another nice way to have a card selected is by dribbling the cards and asking for the spectator to call stop. When they do, let them take the top card. As your hands come together for a second, perform a classic pass but do not let the packets come together. It should look like you have done nothing you are still at the same position when they called stop. Now have their card placed back. Then place the packet with the small card on top. I often use my 380 small card as a way of keeping control of a selection.

OLIVIA By Myke Phillips The way I always use it now is to have my small card on top of the deck. Then have a card selected. I then spread the cards in my hands and break the cards about halfway down and have the card replaced. I close the spread, keeping a break. Then I perform a cover pass. This puts their select ion under my small card. Now I just cut and shuffle as much as I like. When it’s time to find that card I can simply do a riffle shuffle, bringing their card second from the top, putting me in position for a double lift. Again this works well to fool magicians because even if they catch you doing your cover pass when you cut and shuffle, and even asking them to shuffle the cards, they will most likely wonder how you are keeping track of their card. Or they might think the cards are marked and I just passed their card to the top, noted what their card was, and then cut it into the middle. Just a thought!

SOMETHING TO THINK ABOUT

I am aware that there are two small weak points in this effect. And it is those that stop this effect just shy of being the holy grail of impossible card locations. The first point is that you are using your own cards. However, you could, if you’re sneaky like I am, just add a small card to your magician friend’s pack. The second weak point is that after they select their card, they put their selection on top of the deck, and then cut the deck. I know to a magician this screams "key card”, but consider the following. When Ihey reconstruct the effect they will remember that they shuffled from ihe start, which cancels out that method. They may think along Ihe lines of a stacked deck, but again, they shuffled from the start and llien shuffled and cut the cards. 381

OLIVIA By Myke Phillips So, their internal dialog will be something like this: “Okay, it must be a key card, but I shuffledfrom the start so it can’t be. Okay, maybe it was a stacked deck. But I shuffled the cardsfrom the start. Maybe it was a stack thatyou can shuffle once or twice andyou can still work out what the card is. But I shuffled and cut lots of times after the card was put back. So maybe it was a key card after all. Crap.. I have no idea. ” I hope you see how this method can drive a magician insane. If you are worried about this effect going wrong, like I did when first showing this to other magicians, think about it for a moment. You could perform the effect as if it were something you're working on, providing a context of openness and honesty for the idea “it might not work”. Then if it doesn’t go the way you want, no problem. But if it works, J can assure you that you will be the talk of the night and for many weeks to come. Tom Weil has a nice effect where he has a card selected sight unseen and then replaced back into the deck. The magician shuffles the cards and stops whenever he likes. The deck is put onto the table. Tom now tells the magician how far down their card is in the deck. He then deals down to that number and it is, indeed, their card—a very deceptive effect with almost no sleights. I apply my hands-off method with Tom’s effect and it’s extremely misleading, too. What Tom's method (for his effect) has over my method (for his effect) is that the magician can shuffle any way he likes and it doesn’t matter. What my method has over bis, is dial 382 you don’t need to touch the deck at all.

OLIVIA By Myke Phillips So it’s a tradeoff: both methods have their strengths and weaknesses. I can’t say what Tom’s method is, but it’s very clever. Maybe he will release it one day. As for my method for Tom’s effect, just follow as before the shuflle and selection process and the replacement of iheir card. Tell them to put the deck onto the table. When they do that, you look at the end of the deck and spot your small card. You won’t miss it. Now all you have to do is guesstimate. All I can say is practice working out how far down their card is in the deck. You will surprise yourself by how close you will get on your first try.

MAKING A SMALL CARD

I’m adding this for completeness. To make a small card, take a pair of scissors and cut a thin strip off both the short and long ends of Ihe card.

HOW TO MAKE PERFECT CORNERS FOR YOUR SMALL CARD

The problem most people have when making their small card is the corners. l ake a piece of elm board (wooden nail file) and press it flat against Ilie short end you just cut. As you pull down to sand the card, you pull away at the bottom BUT KEEP CONTACT AT THE CORNER <>K THE CARD. This will round off the corner nicely and you end up wilh a perfect small card!

DON'TSHARE

I sincerely hope that you have fun performing this effect. Ilemcmber, the fewer magicians that know this method, the more Sou can Ihnl. So please don’t waste the method and tell other 383 magicians

OLIVIA By Myke Phillips If you share this method with other magicians, then you have just paid for something you can't use. When they pressure you about the method, just grin inside and know that you have fooled the pants oi l of them. Please remember, this is to fool your friends, not to share with them. (I am a natural optimist; I can always turn a setback to an advantage.)

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ADVICEFROM OTHER PERFORMERS

I used to want the words ‘S he tried’on my tombstone. Now I want ‘S he did it. ” Katherine Dunham

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ADVICE FROM OTHER PERFORMERS “I used to want the words ‘She tried’on my tombstone. Now I want ‘She did it. Katherine Dunham Right after a bad performance I have been asked: “Can I give you some advice?” Through gritted teeth I say ok. And they proceed. “When you are performing, look at your audience,” and they go on to tell me to do this or do that. And I think, “I know that, mate. Piss off and give me a break. I haven’t had a chance to process it yet.” I have no doubt, that when another performer offers you advice about your performance, they do it with all good intentions. But, when you come offstage after stubbing your toes you pretty much know what went wrong. We all know how to perform the “right way.” but when another magician gives you that “amazing” piece of advice, it’s often hard to take it the way it was intended. It may very well put you in a defensive mode where you start to question that magician’s ability to perform well. I recommend you never offer advice to a performer just after a show has finished, even if you are friends. Deep down they probably won’t like it and may even resent you for it, even if you are right and what you say is true. Or there exists the possibility that just maybe they wanted to achieve a different style of show. Take them to the pub for a pint. Your comments can wait for a bit. (I do everything that is necessary to achieve my goals.) 386

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I

A COIN BEND

“Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world. ” Harriet Tubman

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A COINBEND “Every great dream begins with a dreamer. Always remember, you have within you the strength, thepatience, and thepassion to reachfor the stars to change the world. ” Harriot Tubman

EFFECT

You write something on a business card, fold it up and place it onto the table. You then take a coin from a participant and turn it over to show the date. The participant is asked to pick up the business card and to read that you have predicted the date on the coin. As an afterthought you sign your initials on their coin and ask the participant to take out a handful of change, cupping their hands around it. You then place the signed coin veiy fairly into their cupped hands, adding it to the other coinage. Then you cause that signed coin to bend.

METHOD

For this you are going to need a pre-bent coin with your initials on the side that does not have the date on it. You also need a duplicate coin with the same date on it and a Sharpie that has dry erase ink in it as well as a real Sharpie.

SETUP

The pre-bent coin is finger palmed in your right hand. A duplicate, un-bent coin is finger palmed in your left hand. The Sharpie is in your inside left jacket pocket, or any of your outside right pockets. In the action of taking the participant’s coin you are going to add the pre-bent coin to the rest of the change they are holding, and to tell them to put their change back into their pocket. This may seem a little bold but there is really nothing to worry 388 about.

OLIVIA By Myke Phillips I have had people look at their change after I have loaded the pre­ bent coin into their hand and they never noticed. When you have taken the participant’s coin and loaded the pre-bent coin you are going to immediately switch it for the coin with the same date as the pre-bent coin (unless you are lucky enough to have taken a coin with the same date as the pre-bent coin). Simply mime placing the participant’s coin into your heft hand and take out the Sharpie from your pocket. In actual fact you retain the participant’s coin in your right hand, reveal the coin in your left hand and take out the Sharpie from your pocket, leaving the participant’s coin behind. You now draw attention to the date on the coin and then ask the participant to pick up the business card and to read your prediction. Now write your initials on this coin, but with the Sharpie pen that is loaded with dry erase marker ink, not permanent ink. Ask the participant to take out their change and to cup their hai ids around it. You are going to place the coin that is signed with dry erase ink into the participant’s cupped hands, and in the process rub your thumb against the coin and erase your initials. Another idea is to write on a business card, to fold it up and to place into a participant’s pocket. Secretly you are going to fold the business card around a bent coin. This will allow you to load a prebenl coin into their pocket without them being aware of it. Hold lhe folded card with concealed coin al your lingertips and 389 place il inlo the participant's pocket,

OLIVIA By Myke Phillips

You can now release pressure and allow the coin to fall into their pocket. (I am naturally and inevitably drawn towards success.)

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KUROTS-MYKE

“Between natural ability and education choose natural ability; as it will keep you happy and willfetch you the glory sooner. Amit Kalantri

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KUROTS-MYKE

“Between natural ability and education choose natural ability, as it will keep you happy and willfetch you the glory sooner. ” Amit Kalantri

EFFECT

You show a sealed envelope to the audience, front and back. You tell them that this is your prediction. You then place the envelope onto your table. Invite five randomly selected spectators up to the stage, and number them from 1-5. Four select a black ball; only one of them can select a white ball. Before each person selects their ball, they are told that if they choose a black ball, they are to write any word they like on a piece of paper, to fold it up, and to seal it within the ball they chose and to place it into their pocket. Whoever chooses the white ball must write down the name of someone close to them. They are then told to sit in any one of five coloured chairs. All this is done whilst the performer is facing away and talking to the audience. When the performer turns around, he asks the spectators if they would like to switch chairs or to stay as they are. The performer then correctly states who has the black balls and reveals the words they sealed inside their balls. The last person obviously has the white ball. If all this is not as amazing as it sounds, and it is, an envelope has been laying on the table from the beginning and inside is a prediction.

THE PREDICTION

The prediction reads as follows:

Myke Phillips did show you this envelope at the beginning of his show, and told you that, “THIS” is his prediction. 392

OLIVIA By Myke Phillips I think that you will all have to agree, that so far, what Mvke has demonstrated to you is pretty damned impressive even if I say so myself. Myke predicts that what you are about to read, will have you scratching your heads for a very long time. Even though five lovely people came up here, even though each of you could have written down any word in the English language. Myke may struggle a bit, but he will manage to tell you, what words you thought of. Each of you had a free choice to sit in any chair. He even gave you the chance to change your minds, and any one of you could have chosen the white ball. However the white ball will reside with person number “3.” who is sitting in the blue chair. What's more, the balls will have been chosen in the order: Black, white, black, black, black. I know this sounds amazing, and the hardest part was influencing each of you to make particular decisions. Think about it.... If only one person had made a different decision, this would have all gone pear shaped and I would have died on my arse. So you had to be in the order you are in now. However, there was a certain amount of “control” on Myke’s part, to ensure that you would be in the order you are now. Myke hopes to leave you with a memory that will annoy you for the rest of your lives, and that is this...393

OLIVIA By Myke Phillips How the hell could he have known that the random number created by you all would be: 5 3 4 12? And that the name of the person would be... “GEORGE”. Thank you so much for your time!

INSPIRATIONS & IDEAS

I love the premise of the Kurotsuke effect but wasn’t happy with the methods used to accomplish this effect. With the “Mind Buster” I think you can create a very baffling effect, especially when combined with words, names, and number revelations. I was also in the process of creating a chair test routine, so I thought it would be a great idea to combine elements of a chair prediction with the Kurotsuke effect and to make it a performance piece.

t h e m ethod In this routine, there is so much going on, methodological wise, but the core method, and the part that separates this effect from many others, is the revelation of the words created in real time with the “Mind Buster” and the prediction at the end. It’s probably obvious in the description of how you know who has what ball, but for those who find it less obvious, I’ll explain.

THE DECEPTION

What you are going to do, is invite five people to the stage and number them from one to five. Then line them up in that order. 394

OLIVIA By Myke Phillips You now give them instructions to choose a ball and to write down a piece of information, and then to fold it up and seal it in the ball. Here is where the deception lies. You tell them, if you choose a black ball, you are to write any word you like, and then to fold it up and place it inside the ball. If you chose the white ball, I want you to write down the name of someone close to you. You will know who has the white ball, because it will be the only name written down, and this name will match the number on your screen, as the “Mind Buster'’ shows you (in order) the information written down. This will also match the number you assigned to that person, too.

BALL ORDER METHOD

When the spectators have chosen a coloured chair to sit in, you will give them the opportunity to change. When they settle on the chairs they want, you go to your case to get your pad. This is your opportunity to know where the white ball is by peeking at your receiver and taking out one of five window envelopes that matches where the white ball is. In this envelope is your prediction with the necessary blank spaces to fill in the number of the person, the random number the spectators have created, and the name. The only pre-written difference in all of the predictions will be the colour of the chair they are sitting in and the order of the balls. Envelope 1: The person with white ball - Yellow Chair WHITE,black,black,black,black. Envelope 2: The person with white ball - Blue Chair black,\V 11ITE,black,black,black. 395

OLIVIA By Myke Phillips Envelope 3: The person with white ball - Green Chair black,black, WHITE,black,black. Envelope 4: The person with white ball - Red Chair black,black,black,WHITE,black. Envelope 5: The person with white ball - Black Chair black,black,black,black, WHITE.

THE PAD SET UP

You could have five pads in your case, with the envelopes three pages down in each one, and just remove the one that matches where the white ball is. Or you could just have the five window envelopes in your case, set up ready to add to one pad. This pad is set up with three pages flipped to the back, so when you add the window envelope, you replace the three pages covering the envelope. After the third revelation, the window envelope will be staring at you.

THE WINDOW ENVELOPE

We know who has the black balls, and we know how to reveal those words, but how do we get all that information in that envelope that has been sitting on the table from the beginning? We use a window envelope and a switch. You can use any envelope you like, all you need to do is cut out a square window on one side of the envelope. On this side, your pre­ written prediction is showing, with the necessary blank spaces to fill in. 396

OLIVIA By Myke Phillips THE PROCESS

Let’s imagine that we have revealed three black balls and the three words that go with them. For the first word, you write down on your pad the word, and then you ask the spectator to take out the paper from the black ball, to open it up, and to show it to the audience. You then turn the pad around to show that you got it right . The second word, you do the same. On the third word you change the revelation slightly to cover for the deception needed for the information inside the envelope. You write down the word on your pad, but you are going to act like you’re having difficulty. Then show it to the audience, and you now ask the spectator to show the word they wrote down. You get this right. On the fourth word, you are going to act even more unsure that you have got it right, writing something, and then crossing it out, being really unsure.

FILLING IN THE PREDICTION

This is when you write down in the window envelope all the information needed in your prediction. There are only three pieces of information you need to write down: the name the person wrote, the number they are, and you are also going to write down the random number that the spectators have created themselves. When you’re acting like you’re so unsure, you place the pad down onto the table, directly on top of the prediction envelope. You then Iurn to the fourth spectator and say, Tm not sure, was the word (you actually say the word they wrote)?”The spectator confirms that you are correct. 397

OLIVIA By Myke Phillips You tell them to take out the piece of paper and to show it to everyone. In this moment you are going to switch in your window envelope.

THE ENVELOPE SWITCH

The pad and window envelope are resting on top of the envelope ready to be switched out. You do this by picking up your pad with your thumb going under the bottom envelope (the envelope that was on the table from the beginning) and your fingers on top of your pad. You now scoop forward and lift your hand up, tilting the pad and envelopes towards you. It is an easy matter to let your window envelope slip down between the other envelope and the pad, leaving your window envelope on the table. Pick up your pad and place it into your case albng with the switched-out envelope. This is not a move, and is a very7natural thing to do. You’re just picking up your pad and placing it away as the audience are applauding.

RECAPPING

All you have to do now is recap and ask the last spectator to show the white ball. You now draw attention to the prediction envelope on the table. You don’t need to do any over-proving that it is sealed all the way around, because you did that at the start of the routine. Open the envelope and give the prediction to the spectator to read. So there you have it, a very baffling routine that you can perform with your new partner in crime, “The Mind Buster.” 398 (I can easily bring great concentration to hear on anything I wish.

OLIVIA By Myke Phillips

BEING CHEEKY

“Work like you don Vneed money, love like you ’ve never been hurt, and dance like no one s watching. ” U nknown Author

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BEING CHEEKY “Work like you don’t need money, love like you ’ve never been hurt, and dance like no one’s watching. ” Unknown Author This is a short story about being bold and cheeky. I have a magician friend I used to meet up with once in a while. He wasn’t particularly great with handling a deck of cards, but when we met he would always say to me, while spreading a deck, “‘Name any card. ”I would and he’d search for it, try ing to make me bring my finger down on it with the deck fanned facing him. After not seeing him for quite some time we met. “Please don’t do that trick, ” I thought. But, of course, he did it and I named a card. And he started searching for it, with no success. After a minute or two I got the feeling the card was not in the deck, so I boldly and confidently said to him, “I betyou re wondering how I could have done that even though I have never touched or seen those cards before?”! sat there pokerfaced and just stared at him, believing I just did whatever effect he may have thought I had done. After a moment he looked at me laughed, “Shutup, Myke!” But I could see his mind was spinning. “To« 're going to be up all night now, aren’t you, mate?” “Whatever, Myke!” “Doyou wanna try again?”I asked. “Ok!”

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OLIVIA By Myke Phillips I named another card. He looks through the deck and, once again, it’s not there. He freaked out. “No way, nofucking way! ”he said, some of the colour gone from his face. To him, I’m a god and a legend. (I work hard to succeed and I will succeed because I deserve to succeed.)

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STOP WATCHING ME “Believe those who are seeking the truth. Doubt those who find it. ” A n d r é G id e

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STOP WATCHING ME “Believe those who are seeking the truth. Doubt those whofind. it. ” André Gide

A few years ago, I was in London with my friend, a great street performer, Sergio Barros, who performs in Govent Garden. We were sitting in a coffee shop and I told him that I want to perform a “mentalism” street show. Sergio is always full of wise words, so he said, “The Streets are allyours mate. Just go out there and do it. ”But, I say, “I ’m really nervous. What if there are other magicians watching? I don’t want them to see mefail. ’ Anyway, to cut a long conversation short, he said, “Listen, Myke, the onlypeople who willjudge you and the onlypeople that matter are thepublic, and if you suck, you are never going to see them again, so don’t worry mate. And anyway, there are no other magicians around, just you and me. ” So off we go. I’m all pumped up and ready. I stand on “Magic Comer” in Covent Garden, and start to gather my crowd. I get my show off and running, although I am extremely nervous. At the start of my show, I use the line, “Putyour hands up if you believe that mind reading ispossible. ” I look out into the audience and guess who is standing there staring at me and raising his hand to my question? The one and only Marc Spelmann! In my mind I’m thinking, “Out of all thepeople I don’t want to see meperform badly, why does it have to be afellow mentalist, and notjust any mentalist, but Marc Spelmann?” Anyway, the show was short, as I just wanted to get out of there. 404

OLIVIA By Myke Phillips After my little show, Marc and I had a little chat, and he is such a nice guy. He could have just left, but instead he gave me some great advice, something I will remember forever. I used to be worried about other magicians watching me perform, but now, I don’t mind. (My memory grows better every day; the more I use it the better it gets.)

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MYKEPHILLIPS STREET SHOW SCRIPT

"Whenever you fin d yourselfon the side o f the majority, it is time to pause and reflect. " Mark Twain

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MYKE PHILLIPS STREET SHOW SCRIPT "Wheneveryoufind yourselfon the side of the majority, it is time topause and reflect. " Mark Twain Here is my street show script. I printed this off and practiced it inside out. I kept in my bag every day to remind me exactly what I needed for my show and read it every chance I got.

INVENTORY: T.O.D. 1 deck with reversed force card. Matching deck for forcing. 4 Predictions. Bent coins, lOp. Rubik's Cube. Coin, for coin on hand effect. Sharpie pen/Frixion pen. Speaker and microphone (make sure it is charged). (Remember, it's not about how good you are, il’s how good you 408 wanna be.)

OLIVIA By Myke Phillips

TO BUILD A CROWD

“Show time, mind magic showjust about to start. ” “There's nothing to see down there. ”

“In a moment I'm going to count to three. On the count o f three all the intelligentpeople will stop and watch my show, and all the stupidpeople will keep walking. 1...2...3.” “Hi there, you look intelligent. ” “My name is Myke ” “Do you have a coin on you like a lOp?” “Hold outyour hand and closeyourfist tightly aroundyour coin. ” “Now this is about imagination, so when I snap myfingers I wantyou to close your eyes. ” “As you hold that coin in your hand something strange is going to happen. I'm not going to tellyou what exactly, butjust concentrate on how that coinfeels in your hand. As you concentrate I wantyou to imagine that the coin you 're holding is a chocolate coin, and as you squeeze it, it becomes soft. ” “Can you feel that?” “Its a strangefeeling, isn 't it?” “Okay. Don 'tshow anyone yet. JUst openyour hand and tell them what's happening. ” 409

OLIVIA By Myke Phillips “Okay, dose your hand again, and let's see if we can get it to go some more. ” “Squeeze it tighter and tighter. ” “Open your hand and show them what has happened. ” “Can everyone give him a round o f applause?” (Define Space/Control Edge/Don't Start Until Happy With Edge

BARCODE GAG

“Lady, just there, what's your name?”

“Have we ever met before? You seem really happy about that. ” “Here I have an envelope. You have no idea what is inside. ” “First I wantyou to imagine you are in a supermarket. I know that shouldn't be too difficult. It doesn't matter what supermarket. It could be Asda, Sainsbury's, M&S, it could even be Poundland. I know how you ladies love a bargain. ” “Now in your mind I wantyou to imagine walking around the supermarket. ” “Okay. Stop andpick up thefirst item you see. ” “Look at it. ” “That's not it, you ’re in the wrong isle. Pleaseput it back. ” “Okay. Start walking again. ” 410

OLIVIA By Myke Phillips “'Stop andpick up something. Okay. Whateveryou 're holding right now, that '.vthe one we are going to go with. ” “For thefirst time tell everyone whatyou 're holding. ” “Ok, I have a prediction in this envelope. ” “You 're not going to believe this, butyou thought of...” Inside here I have the barcodefor... ” “Please give her a round of applause. ” (Build Edge/Crowd Control)

INTRODUCTION

“Okay, that Is about as silly as my show gets, but now that I ’ve got your attention, let me introduce myself. ” “My name is Myke Phillips and I'm a psychological illusionist. ” “I f you 're wondering what that is, don't worry, I'll explain. ’ “I use magic, suggestion, psychology, and showmanship to create what appears to be mind reading. ” “I ’m tellingyou this now because at the end ofthe show I don't wantyou to ask me to contact the dead, because I can't do that.. .unless they’re on Facebook. ” “But what I can do is show you some things that I guarantee you will talk about and rememberfor the rest o f your lives. If, however, at the end o f your livesyou don't remember, come back and complain. I'll still be here 411

OLIVIA By Myke Phillips

SUGGESTIBILITY TEST

“Okay. Iam going to read someone Is mind, butfirst I need tofire up your power of concentration and imagination. ” “Everyoneplace your hands out like this—everyone notjust the kids and the alcoholics. ” “Now squeeze your hands together like this. ” “Sir, if you squeeze like thatyou 're going to hurtyourself. ” “Now pointyourfingers up like this. ” “Now separate yourfingers about an inch apart and stare at yourfingers and imagine they are two powerful magnetspulling together. Watch as they get closer and closer; don'tfight it,just let it happen. ” “When thosefingers touch, just allow your eyes to close and keep them closed until I tellyou to open them. ” “Take a deep breath in...now out. ” “Excellent. ..1...2.... Open your eyes. You ’re back in the room. ” “Perfect. ” “That tells me two things. First, it tells me thatyou can concentrate and have a good imagination. And second, it shows me which people I can work with. ”

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STANDING IN THE LIFT

“Lady, just there, what's your name?”

“Can everyone give this lady a massive round o f applause?” “Hi, I'm Myke. Are you married or happy?” “(NAME), whilstyou’re up here, I don't wantyou to worry. You have my absolute word that I will not embarrass you at all.. .unless it'sfunny. ” “I ’mjust kidding. You have my word that I will not embarrass you because that's not what my show is about. While you’re up here I just wantyou to relax, enjoyyourself, have an open mind, andjust go with it. I promise you we will get some interesting results. ” “Thank you for helping. Look down, as you letyour eyes close now, as you sink and drift andfloat down into relaxation. ” “Now, I'm not hypnotisingyou or anything like that. I'm justplacingyou into a more suggestible and open -mindedstate. ” “As you continue to relax deeper and deeper, I'm going to take your hand and leave it there. With your eyes still closed, I wantyour arm to come down at the same rate and speed thatyou continue to sink and drift down, inch by inch, down into relaxation. ” “From this moment on, when I snap myfingers and say relax, you will immediately return to this state o f relaxation, going twice as deep every time. Nodyour head if you understand. ” “That's great. A nd with your armjust there, I'm going to explain to the audience what we are going to do, ” 413

OLIVIA By Myke Phillips “Now, (NAME) can't see me since her eyes are closed. (NAME), I'm going to set up a connection with your hand. Now you won't be able to see anything, butyou willfeel this pressure release, and when thispressure releases, your hand will rise up in the air. Don't worry about whatyou ’re supposed to do. Just wait andyou willfeel the difference. ” “Up.. .andhigher.. .andhigher. ” “In a moment you willfeel it come back down again. ” *Fantastic! You 're doing this perfectly. ” “In a moment I'm going to snap myfingers. When I do, you can open your eyes. ” “1...2.. .eyes open. See, it's not scary, is it?”

TOSSED-OUT DECK

“Ok, (NAME), here I have some cards, fifty-two to be exact. And they’re all different. ” “Every card is different. ” “I ’m going to drop the cards like this. When I do, I wantyou to call out stop. ” “Whichever cardyou stop me at, I wantyou to remember that card, ok?” “Call out Stop!” “Okay. Remember the card. “You got it?”

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OLIVIA By Myke Phillips “Okay. I'm going to put a band around these. ” “Look at me andjust think o f your card. I'm going to try and readyour mind and tellyou what cardyou 're thinking of. ” “You ’re very hard to read. ” “Look at me. ” “Okay. We can do this the easy way or the hard way. “I ’mjust kidding. I might need to come back to you. ” “Let's try this with afew otherpeople. ” “In a moment I'm going to give the cards to a couple o f people. Please, I don't want you to run away. Just take the cards and this is what I want you to do. ” “Hold the cardsface down and close to your chest so no one can see. ” “Lift up the cards and look at one card and remember it. Don't riffle like this. I f you do you ’ll see a whole bunch of cards and then itjust gets confusing. ” “You sir, the gentleman looking at me like Simon Cowell. Catch! ” “Lady, just there, get ready, don't drop them otherwise it will be a different trick.. fifty- two cardpick up. ” “Madam, just there, do you speak English?” “(day Catch \ow take a look

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OLIVIA By Myke Phillips ‘"Rememberyour card. ” “Okay. So that's one... two... three.. .four. Let's go with one more.” “You, sir, catch. ” “‘A nd throw them back to me. ” “We don't need those anymore. This is reallyjust between your minds and mine and this could go either way, really. ” “The people who are thinking o f cards., .couldyou please raise your hands? Perfect. ” “Could everyone here give thesepeople a big round o f applause as they make their way up and line up here?” “Hi, I'm Myke. Thanksfor helping here. ” “You ’re number one, you ’re number two, number three, four, five, and •

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“You don't need to remember what numberyou are, although it is the order in which you ’re are going to die. Just kidding. ” “Ok, in a moment I'm going to snap myfingers. When I do, I wantyou to allow your eyes to close. But, please, I don't wantyou to worry because my show is not about embarrassingpeople. ” “I just need toplace you into a more open and suggestible state so I can do this. ” 416

OLIVIA By Myke Phillips “Some people think that suggestion is someform o f trance or hypnosis, but what I want you to know is that any trance state you may or may notfeel happening, either now or later, is not necessarily a hypnotic type of trance. ” (Say below with eyes closed) “You can imagine what going into a trance might be like andyou can imagine what may have caused it, oryou can imagine a sense o f calm soothing depth. However,just becauseyou can do that now, doesn 't mean it’s interlay hypnotic, or does it?” (Open eyes)

Spec 1: “Look at me, you have a dark past, don'tyou? Closeyour eyes and just relax, and sink and drift, deeper and deeper down.. .that'sperfect. ” Spec 2: “I know that it's impolite to ask a women her age...so how much do you weigh? Closeyour eyes and relax all the way down. Perfect. ” Spec 3: “Okay. What I'm gettingfrom you is that when you were a child you were much shorter. Closeyour eyes and relax. ” Spec 4: “Look at me. Close your eyes and relax. ” Spec 5: SNAP FINGERS Spec 6: “Closeyour eyes. ” “Ok, as you relax there I wantyou to think o f your cards and to try to send them to me now. ” “J m picking up on afew cards now, keep sending them now. ” “hi a moment / m going to name the cards you ’re thinking of. Now I don't want you to react in any way. Really try to keep a pokerface. " 417

OLIVIA By Myke Phillips “I will explain in a moment why I don't want you to react if you hear me say the cardyou 're thinking of. Now, pleasejust listenfor your card. ” “KH3H6D 8SJC. ” “In a momentI'm going touch each one of you on the shoulder. I f I got the cardyou werejust thinking of, I wantyou to open your eyes and to go back to where you were standing and start clapping. ” “Hopefully the rest o f the crowd will clap with you...if they are nice. ” “Now, remember thesepeople standing here arejust thinking o f a card. They didn'tpick a card, theyjust thought ofone. So if we get this right, I think it’spretty damned amazing! Don't you?” Spec 1: “Did I get your card right? Thank you, give them a big hand. ” Spec 2 & 3: “Did I getyour cards right? Give them a hand. ” Spec 4: “I gotyours right, didn't I?” Spec 5: “I gotyours, too, didn't I?” Spec 6: “Did I getyours right? “ “No?” “Okay, you 're the difficult one. So, let's try something different with you. ”

HYPNOTIC INVISIBLE DECK

“Closeyour eyes and relax. That's right, deeper and deeper. ” “As you drift down I'm going toplace your hand.. .just there. ” “I ’m going to place this card box on your hand. It '.va bit windy out here, soplace your thumb on top. ” 418

OLIVIA By Myke Phillips “Now I wantyou to imagine that every time I snap myfingers, one card falls into the box, and as every card lands in the box, it gets heavier and heavier.. .so heavy, infact, thatyou can't hold it up andyour hand will drift down every time I snap myfingers. ” “Now whilstyou do this, I wantyou tojust think o f your card. ” Snap! “That's one card in the box. ” Snap! “That's the second card in the box. ” Snap/ “Another. Snap/ Another. Heavier and heavier. ” “That's it, all the way down. ” “Okay. Stop. ” “One.. .two., .open your eyes. ” “Sometimes whatyou imagine becomes reality. The cards are now in the box. ” “Hold the cardsforjust a moment. I want to say afew words before I show you this. ” “Ladies and gentlemen, this is my show and it's what I dofora living. Nobodypays me to be here and the onlypeople thatpay me are thepeople who watch my show. You 're not laughing now, are you?” “I f you 're wondering how much to give, don't worry, I'll help you. Tourist £20, Americans £50, if you’refrom London, I understand. Not £50, not £20. £2 or £3; the money is notfor me, it'sfor my son he’s hungry. Tell them i<>u’re hungry he doom't speak L'ng/ish. Get back. If you don't haw 419 machine just over then Thank an) /none). don11worry, there !va cash you

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OLIVIA By Myke Phillips “For thefirst time name out load the cardyou ’rejust thinking of. “5H!” “There is one card in that deckfacing the other way. ” “Ladies and gentlemen, the 5H. Can you give this lady, the star o f the show, a big round o f applause? “ “Nobody move. I can hityou with the 5H. ” “I hope you enjoyed my show. I f you can give, give. I f you can't give, give. I f you ’re schizophrenic, please give twice. And have a lovely day. Thank you. ” (I find it easy to discard negative thoughts and attitudes about myself and others.)

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A Note From Ady Lloyd

“Everyone wants to live on top o f the mountain, but all the happiness and growth occurs while you 're climbing it. ” Andy Rooney

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A Note From Ady Lloyd “Everyone wants to live on top of the mountain, but all the happiness and growth occurs while you 're climbing it. ” Andy Rooney I met Myke Philips on the streets of the Southbank at the very beginning of my time doing street shows. We helped each other to pluck up the courage to perform there. My background is in performance and children's entertainment and I studied as an actor and director in theatre for 5 years under the tutelage of the great professor Sam Kogan. Although I had some background in magic, I was always more of a performer than a magician. Until I met Myke, he was the first person who really introduced me to the real art of magic and mentalism performance. Refreshingly enough, he was the first person whom I met who actually knew what they were talking about when it came to mentalism. Myke has a very generous gift of sharing his knowledge in a thoroughly wellwalked-through process, which for some people like me who find structure hard, he's the perfect teacher. It's really great to see where Myke is going in the world of mentalism, and if anyone has something to offer for value, it would be Myke. Ady Lloyd 12 September 2014 (I radiate beauty, charm, and grace.) 422

OLIVIA By Myke Phillips

SALAH AAZEDINE

“Really it comes down to your philosophy. Do you want to play it safe and be good or do you want to take a chance and be great?

Jimmy J

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OLIVIA By Myke Phillips

SALAH AAZEDINE “Really it comes down to yourphilosophy. Do you want to play it safe and be good or do you want to take a chance and be great?” Jimmy J

HERE, I WANT TO SHOW YOU WHY I LOVE THIS ART SO MUCH

How is it possible to have never met someone, but to feel they are like a brother to you? I honestly feel like I would do anything for this person.

HOW WE MET

I had heard about the amazing iPhone Application Handzoff on The Magic Café, so I decided to contact Salah, the developer and creator, and to ask if he would be interested in building my App idea. He was not interested and advised me to contact other developers. But I knew he was the one to make my idea become a reality, and I was right. I persisted and he eventually said, “Okay, what's your idea then?”I was a bit protective but I had to trust someone, so I told him and he loved the idea. We decided how we would work together and agreed to always be open and honest in all our dealings. In the 2+ years we have worked together we have never questioned our honesty and loyalty to each other. This I find extraordinary, since we have never met before.

SO WHAT DO I THINK ABOUT SALAH?

From 2 years of chatting to Salah, via email and Facebook, I can say that he is the most kind, humble and inspiring person with whom I have ever had the pleasure to work. 424

OLIVIA By Myke Phillips Salah is one of the most creative guys I know. He truly understands what is important in any effect. Often we have discussed ideas and 1 think I have something, and he tells me why it’s not a good idea. Quite often I end up agreeing with him because he has a deep understanding of an effect. I think that Salah is an unsung genius that quietly works in the background of the Magic/Mentalism App community. Not only is he a skilled iOS developer, but he is also a highly technical magician, too. I know because I have seen the videos not the naked ones, the magic ones. Not only has Salah been there creatively but he has been there for me personally. Over a period of two years we all go through ups and downs, and Salah has given me very wise words that have helped and inspired me. There are a few people in this industry that are true geniuses and Salah AAZEDINE is definitely one of them. So my Bro, you are one of the reasons I love this art so much. Here is a deep and abiding love for you. Thank you from the bottom of my heart. May we continue to be great friends forever. (I am blessed with an incredible family and wonderful friends.)

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A Note From Salah AAZEDINE “Love is the absence o f judgment. ” Dalai Lama

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A Note From Salah AAZEDINE “Love is the absence o f judgment. ” Dalai Lama I first heard about Myke when he contacted me about his idea for the “iUnlockYourMind” mentalism App three years ago. When he told me his idea I said yes immediately. I was always impressed by Myke's passion for our art. I sensed his love to this art from his first message to me. We started working together and I quickly discovered he has a genius mind for mentalism. Myke keeps coming up with crazy ideas and effects for Apps, but our only limitation is time. There were some days where we wished there were more than 24 hours in a day. After six months of hard work on iUnlockYourMind, the App was ready to be released, but Myke refused to release it because we still had so many ideas to implement to the app to make it the best it could be. Myke told me to not release it until we had implemented all the ideas and that it must be perfect before release. Myke is doing the same thing now with this book; he keeps adding effects even when the book is in the proofreading stages because he wants to deliver the best he can. Myke, you are a great and veiy generous man, who is always willing to give more and more. A true genius mind. Salah AAZEDINE 14th September 2014 (I am a powerhouse; I am indestructible.)

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01ir'ia OLIVIA By Myke Phillips

“In memory o f our daughter, Olivia Desire Phillips, who couldn ’t stay in my strong arms but only in my broken heart, forever. She is now with the angels above and watches over us. ”

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01Ma OLIVIA By Myke Phillips

This story and this book are named in memory of our daughter, Olivia Desire Phillips, who couldn’t stay in my strong arms but only in my broken heart, forever. She is now with the angels above and watches over us. I have intentionally written the story you’re about to read to be repetitive. It is to he read in a hypnotic tone. It is a bedtime story that I tell to my little four-year-old daughter, Sassy.

Olioia

Once upon a time, there was a little girl called Olivia who lived all on her own in a little house. She wished every day that she had a family like all the other children. Olivia was a happy girl because she had a very special gift and that gift was magic. Every day Olivia decided to go out to the park near where she lived and played with her bat and ball. She stood in the middle of the park with her bat and her ball, and threw her ball up high in the air. As the ball came down she swung her bat and hit the ball so hard that the ball flew high into the clouds, where it vanished. Olivia would then close her eyes for a second and wish she never had this gift, but instead wish she had a family. When she would open her eyes, the ball was sitting there in her hand. She would throw the ball up high in the air again, and as it came down she swung her bat and hit the ball so hard it flew into the clouds again and vanished. 430

OLIVIA By Myke Phillips She closed her eyes lor a second, she wished again, but when she opened her eyes there was the hall in her hand again. Olivia did this every day, wishing that she had a family to go home to. Olivia always fell a little sad because, even though she had this magical a gift, the one thing she wanted more than anything in the world was a family. Olivia would always look at the other children with their mums and dads, brothers and sisters, and feel a little sad. One day Olivia woke rip feeling a little different from before. She grabbed her bat and ball and went to the park. She threw her ball up high in the air, and as the ball came down she swung the bat and hit the ball as hard as she could. The ball flew up high into the clouds and vanished. Olivia closed her eyes for a second, but did not make a wish. When she opened her eyes the ball was not there. Olivia closed her eyes for a little longer, she opened her eyes, and, still, the ball was not there. One last time she closed her eyes for a few seconds longer and then opened her eyes, but the ball just would not return. Olivia was now very sad, so she walked home to her little house. When she got there, she started to smile. For her wish came true she had a family. THE END Myke Phillips, May 2014

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My Family

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25/ 11/2008

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Olfoia MODERN MENTALISM BY MYKE PHILLIPS

Published By Haresign Press: [email protected]

Copyright D2014 by Myke Phillips All riglils reserved, This book or any portion ihereof may not be Reproduced or used in any iiimincr whatsoever wilhotil ihc express written permission ol'lhe publisher except lor the use of brief ipiolutions in a hook review 435hound in Kngland Printed and lb I Ian .>¡•11 Pit 201 i

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