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Copyright © 2015 Looch All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. The information in this book is distributed on an "as is" basis, without warranty. Although every precaution has been taken in the preparation of this work, neither the author nor the publisher shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the information contained in this book. Worldwide TV, Radio & Online Broadcasting rights for the material in The Black Project is reserved by Looch, unless stated in writing by the copyright holder. Printed in the United Ki:p.gdom by Haresign Press Design by Phillip Smith at Sushi Design ( www.sushidesign.net) Illustration by Thomas Heine For additional content including a'udio, video & updated effects please visit:W11rw.~ne~La<Jk])rc~e1ct,.cc>.uk I 1 · I Con.ten.ts (Boo~ 1.) [ 11 Foreword by Marc Spelmann 5 Introduction to the Black Project 9 Opening a Walk Around set 13 The Poverty Spec Thumb Writer 36 Performance Memoir: Looch the Stripper??? 41 Negotiating the Gig 45 The "Fuck Off!" Effect 57 Performance Memoir: The Police & The Producer 101 Marked Cards in Mentalism 105 Reconnaissance and the Art of Harvesting Online Information 149 Performance Memoir: The King & Queen 167 The Subliminal Force 171 Performance Memoir: Alpha Male I Drunken arsehole 181 Influence 187 Performance Memoir: Being Aware of Your Surroundings 213 The Article 219 Performance Memoir: Thinking on Your Feet 249 Peek-Achoo 253

Fore.word b}) Narc Sp et m.an.,n., Before I start the formal 'foreword' for this tome of marvels, I'd like to express just how humbled I am that Looch asked me to write it in the first place. Looch has established a fantastic reputation in mentalism and ia hi~ regarded by the very beat in the industry. He could have asked anyone, but he chose me and I'm genuinely nattered., I can ori:cy assume everyone else was on a golfing weekend. I think it's worthwhile explaining how our friendship developed because it would be very easy for me to simply write glowing things about Looch as he is my friend. But with my hand firmly on my heart, I am writing this as a fan who has watched Looch grow from someone with an incredible mind for mentalism and with fantastic ideas to one of the best performers I know and, believe me, writing ideas and developing routines is a world apart from standing on a stage and performing theme So with that said, please indulge me as I engage in a very brief history lesson. My intertaction with Looch started shortly after the release of my DVD's back in 2004. At the time, I was an avid poster arid reader of The Magic Cafe and it was here that Looch and myself began to exchange thoughts and opinions. At that time, Looch was working full time as a teacher of art and design in a young offenders institute and performing wh~n he could sneak away early. During our exchanges on the 'Cafe' I was always struck by how Looch would take the simplest concepts and themes and make them polished entertaining pieces of mind madness. The full extent of Looch's thinking became abundantly clear when my dear friend Peter Nardi of Alakazam Magic sent me the new book he had published by Looch entitled "Simple And Direct Mentalism", abbreviated as "SAD". I rarely get time to knit and bake, let alone read through entire books and the only book I had genuinely read from cover to cover at that time was

Psychological Subtleties by Banachek .. The second would be "SAD". It was a joy to read and Looch's thinking and routining was exactly as advertised: "Simple And Direct". From that time, our friendship grew and I was honoured to later co-produce his first DVD set, "Your Thought!=! Are Mine" in a dark cellar of a stately hotel in southern England with some nervous university students and Looch's devious mind. It was fantastic working alongside him and Peter Nardi. We could have released ten DVD's with the amount of mentalism we all discussed and developed over those four days in London and Kent. During our many conversations, Looch spoke about a project - something he was really taking his time with. He wasn't even sure how it would end up or what it would be exactly, but he was letting it develop naturally, refining itself like a fine Malbec. I knew it wasn't going to be a six month project, it rarely is with Looch an1 d it shouldn't be - every product or release should be well thought through and tried and tested before it is offered to the paying public. This, 8.1.as, is not always the case in an age of endless 'new' products and publica~iori.8.,' many of which have never even been attempted let alone refine,d and· actuailY: pBrformed. What you have here i~ dif.fereht •. ~ I~ is, quite literally, years and years of Looch's mind. He has .left· out some. of the disturbing stuff ~ which is best, believe me. He has, howev~r, l~f't in th'e B;bsolute gold. This is and has been his most extensive project .to date .and something he has devoted his heart, mind and soul to. My advice is ~o read and make notes, for there is a lot to take in and you will not retain it all .. Then re-read, make more notes and start to try out his superb routines and apply his thinking. Sometimes it seems so simple, but in that simplicity lies it's beauty as mentalism can often be cluttered with process and procedure. Looch's approach refines and cuts down the process and emphasises the climax, the finale and therefore the experience of the audience - the most important aspect of any routine. Be warned: you will not find pipe dreams in this book - routines that may work 10% of the time if the wind is blowing in the right direction and you Foreword bJJ Hare Spe/man,n, are wearing your lucky pants. This is not mentalism to bewilder mentalists with (that's far too easy), also some of this mentalism will require props .. If that bothers you, become a medium or stand up comedian. This is mentalism as a performance art for the real world, for real people and believe me, they are two VERY different beasts. Looch performs, he performs a lot, people book him again and again, the public talk about him, the top names in our industry do as well and for a very good reason. With that I will leave you in the capable and softly moisturised hands of Looch, his thoughts are soon to be yours .... Marc Spelmann 31st March 2015 Starbucks West 47th & Broadway Manhattan, NY, USA. I

ln.troducti.on. to BY OCH The Black Project was first conceived back in 2004 on a. trip to visit some friends a.nd fellow performers in London. I'd originally intended it to be a single book that would collect effects from other performers across the world. Each effect would be given a name, but the creator and author would be anonymous - simply referred to as a serial number. I had wanted to create a wonderfully unique book that collected some fantastic pieces of mentalism but retained the element of myster~ as to who had. contributed · each piece. tlie Bia.cl(, Project As time went by, the concept evolved to become one that is much more personal in nature. Back then, I was a hobbyist: a loud mouth and over opinionated young man who felt that he knew everything and only valued the opinions of those he deemed 'friends'. Looking back, I would like to somewhat slap that younger version of myself. His mindset closed him off to so much more that he could have learned.

But thankfully, I have developed and matured and I now recognize it as part of my learning curve. At the time of writing this, I have progressed from a slightly obsessed amateur hobbyist into becoming a multi -award winning mentalist and one of the busiest 'Mind Readers' performing in the UK today. This has come about through no accident. It has been a long, painful and difficult process the intricacies of which I really I am only just starting to understand. I've taken one step forward and two back so many times, but have persevered and developed constantly. There have been times when I have felt like quitting, but I knew that if I had, I would have been giving up on a dream and I would have eventually regretted that decision. Please understand however, that for all my personal progress, I am not the finished article - I don't believe that any of us are. We are constantly learning and developing, and will be for the rest of our lives. The Black Project is tles~gned ~o capture the past decade of my continuing journey as a performer and mystery entertainer; it contains ideas, routines and effects of m~rie ~h~t I ani very proud of o I share stories of failure alongside my successes, as I think it ~.s vitally important to highlight where and how things have gone wr.on.g in ord~r ~o learn from those experiences. I have included a collection o;f.·perf6rmance. memoirs that retell stories from gigs I have performed at; ther~ a~e toe'.""cU:rl~ngly awkward tales, and stories of embarrassment that I really don't like to think of eve.n to this day, but they are all there for you to read, l~ugh at, and learn from at my expense. I have included advice on gaining. information that can enhance effects, tips on negotiating with clients, and sundry ideas both big and small that I still use to this day to help build my bra~d and business. You might be wondering about the name 'The Black Project'? I have long held a fascination for with 'Stealth' design, in particular, its application within aviation design. I loved reading about the Lockheed SR-71 Blackbird when I was younger and was fascinated both by its sleek 1.0 fn.trodu.cti.on to tile B/ac~ 'Project appearance and its performance capabilities. This was a plane designed in the 1950's by a team of people with no computers - armed only with pencils and slide rules, yet it still holds major aviation records. It remains one of the most impressive design and engineering marvels of the 20th century. How does this explain the name of the project? Well simply put, any secret projects for military and defence purposes that are not revealed to the public are deemed 'Black Projects' by the US government. The SR-71 was a Black Project during development initially as the A-12. This book pays tribute to that childhood fascination whilst also giving a nod to the idea that this project itself should be deemed a classified and secret body of work available only to those with the necessary level of clearance to access it. Bear in mind: even though you now have the access to The Black Project, not everything will be immediately available to you. There are times when you will be asked to look a little deeper in order to uncover some of the secrets. These are there to remind you that not everything in life is a given, and that often times, you have to work extremely hard to get the things that you really want. The Black Project consists .not only of the books, but the content available to you online as well. For performance footage, audio interviews and additional effects and routines please visit; www. theblackproject.oo. uk So before you gain access to this classified world, I'd like to wish you a genuine and sincere thank you for your faith in my work. Please keep it to yourself; you have earned the right to access it. Now, come with me as I take you into the underground bunker that is, The Black Project ••.

0 p e n., i. h.. f. a Wa t K, A r o u n., d s e t I Openers, within a walk around or close up setting, are like gold dust. Everyone wants the perfect opener; it sets the scene, gives a physical example of what you do and grabs your audience's attention. We keep reading in various books and forums that the opener is the most important effect or the set., It should be short, sharp and straight to the point. All of the above are valid points and there are times when a very quick visual opener is preferred, but it is not imperative to a successful walk around set. My current first effect (I don't call it an opener for reasons I will explain in a moment) is, at the point in writing this chapter, my Real Die routine explained later in the book. It takes between 3-4 minutes, so is hardly a quick piece from an opening point of view. Having said that, I am acutely aware that my opener gives my audience their first impression. It is my approach to the group, introducing myself and gaining rapport as quickly and efficiently as possible. When I am booked to perform in a 'Walk Around' capacity, be it a corporate event or a wedding, it may sound strange, but my opener is me. Creating my first impression, introducing myself and being nice (as obvious as it sounds, it's. such a key poi.nt, be nice to everyone you meet!) is my opener. There are times when I've experimented with traditional openers. Fast paced effects that set the context of who you are and what you do. What follows · are examples of those openers that have worked well for me over the past few years. You are welcome to try them out, redevelop them or ignore them completely. What works for one, won't always work for another.

THE COUPLE Approaching a couple. I introduce myself along the lines of: "Hi, my name is Looch, may I join you for a moment?" "I'm one of the entertainers here today. Has (insert client's name) told you about me? No? Ok, not to worry, I'll just show you myself." "I have a hypothetical question for you: If someone who you had never met before approached you with his business card and told you that printed on the reverse side was a 2 digit number, do you believe that between you, you would be able to intuit the number printed?" As I say the above line, I bring forth my business card from my pocket and hold it with the blank side facing me0 I have secretly loaded my Thumb Tip Writer onto my thumb whilst reaching into my pocket for a business card. Turning to the male g-u,e~t, I ask: "What is the first sin~le. di·g.it number that pops into your mind right now?" "Err a three." Turning to the lady r·con,tinue·; ·· "Madam, what number comes~to'you~ ~ind for you?" "Nine." "So collectively, that's a three and a nine - yes?" "So here's the important part ... Is the number 39 or 93?" Both look at each other and decide. Once an answer has been given, I continue by thumb writing the correct number onto the back of my business card. As I am secretly writing the number onto the card I say the following: 1.4 0 pen.i.n.i a. Wa/ K, Aroun.d set "I'm certainly glad you intuited it that way round and not the other way ... Look!" I turn and show my business card revealing the correct number written in the right orientation. I did, for a few months, experiment with purposely thumb writing the correct digits but in the wrong order. It created a sense of realism but with it being an opener, it lacked the essential impact appropriate to the situation. I do genuinely believe an occasional miss increases plausibility but it has to be at the right moment, and the opening effect is neither the time nor the place. I always hand the card to the lady and take a seat at the table to briefly chat and perform a second piece with them. They usually want to talk with you and ask you questions about the effect and what else you do. Earlier during the presentation, you may have noticed that I asked the male participant to name a number first. This is deliberate because of dynamics, I have interrupted a couple and if my attention was on the lady, it would appear rude and could well discourage cooperation and the guy might feel defensive or even disrespected. By asking the guy the first question and bringing his partner in second, it encourages cooperation as a couple and you avoid coming across as a threat to an insecure male.

RELAX Here's a rather quirky opener I experimented with during a busy month of wedding bookings in 2012. I would write something on the back of my business card and lay it face down on the table. I would then introduce myself to the group as the entertainment and tell them that I specialized in reading thoughts and influencing people. "If I was to play a word association game, and I started with the word 'Relax', what would your response be?" "Er ... Chilled?" "Perfect, what about if I instead say that word to you with slightly different emphasis ... Relax!" This time, the word is sung in the same way as in the 'Frankie Goes to Hollywood' song of the same name. At this point (as long as the group i:;; not a young group ioe. early 20's) the majority will respond, by' singing and giggling, "Don't do it!" I smile and flip the c.a:td ov,er revealing those exact words written on the card. Not in a way .iri which to tr;i"to impress the group but to show them that it was written prior. I continue with; "Exactly! It's an ideal way in ~hich to.demonstrate how influence can work. By saying the word, you will 'generate genuine associations. But as soon as you change the context and ·emphasis, it will produce a different result." I pick up the business card and - without showing the group - write something on the back of it. "So now, if I was to tell you that I had just written a letter of the alphabet on there and that even though you haven't seen it, you actually already know what letter it is. What letter would you say it was?" "Er ••. A?" Open.i.n.f_ a. Wa.{K, A.roun.d set Smiling as I thumb write the letter A on the back of my card, I tell the group: "I just love it when people trust their instincts." I turn the card around to reveal the letter 'A' written on the back of it. This is another in a long ~istory of examples of how a simple use for a Swami/ Thumb Writer/Boon can generate a great response from a group. There's nothing groundbreaking in the slightest about the above two examples of openers. Both are all about the premise and the introduction. If the group likes you, you have already won half the battle. Hence my advice: Focus on your introduction, approach and being nice. That's the real secret to a successful opener in walk around.

APPROACHING A GROUP As you begin your walk around set, create a Mind Script. I first read about Mind Scripts in Ian Rowland's, 'Full Facts Book of Cold Reading', where he states; "A Mind Script is a short, simple description of how you want or intend the meeting to go." With that in mind, try the following Mind Script as you enter the room you have been hired to work. Repeat to yourself in your mind: "This is a great place, the people are nice, they are going to love this.' Every time, you approach a new group of guests or a table, recite your Mind Script - believe it or not, it has an extraordinary affect on your behavior and they way in which you come across to your audience. The Mind Script essentially helps mod:ify specific parts of your behavior in regards to how you communicate with ,Yqur au~ience. You will find that when you believe in your Mind Script," you' will literally project that positive attitude outwards which w~~translate ;into your performance. Try it! Just as you reach your ta.ble, spiile and make eye contact with someone in ' ' the group, if you cah -SP,ot the leader· or 'alpha member' of the group - even better! Once they are .on Y:ou:rr sige~ everything else will become much easier. "Do you mind if I join you for a moment?" [Side note: I have never had anyone blurt out 'No!' ] As I ask that question, I wait for literally a second before following up with a lighthearted comment such as: "Don't worry, I am supposed to be here, I'm not a double glazed salesman." This always breaks the ice and the group starts to let their guard down, it more often than not generates quite a few giggles and smiley faces. It's at 1.8 this point that I take a seat with them if they are around a table. I offer my hand and go around the group asking for names, once I have all the names, I introduce myself to the group: "I appreciate you letting me join you for a few moments. Has (insert client's name) told any of you who I am?" "My name is Looch, and I'm an entertainer. I was asked to come along tonight by (insert client's name) because of what I do. It's certainly a little different, I am a mind reader ••. " At this point you always receive a mixture of responses, these can range from raised eyebrows to shocked expressions, instant interest, or people being uncomfortable and turning away. Regardless of the reaction, smile and continue: "Don't worry, it's nothing spooky or psychic. I'm not that kind of performer. I read people, similar to how two poker players can read each other to see who's bluffing whom? Let me show you what I mean - it's fun!" At this point I proceed with my first effecte

'REAL DIE' ROUTINE Let me start out by saying that I am well aware that the following routine uses an expensive prop that not everyone reading this book will have. I make no apologies, but genuinely wanted to share with you the opener I have been using in 'walk around' performances for the past couple of years. In his book 'Divine, I believe Colin McLeod included a variety of routines which also used expensive props such as these .. Prior to using the 'Real Die', I employed a very similar routine using the 'Multidimensional Color Cube'. Both products are available from Craig Filicetti's excellent company - Promystic - and are wholeheartedly recommended for very clean, hands off, and reliable mentalism. Cl G THE GA E "Let me show you my favourite game. It highlights just how predictable we are as human beings. Plea'se Call out loud a number between one and sixe" As I say the above line, r reach into my right hand jacket pocket, turn on my receiver and pull, out the' die~ a,nd lay it onto the table with the number four uppermost. As requested, the participant will respond with a number. It is my experience over half of the time they will tend to call out the number four. When this occurs I look down at the dice and back at the participant. This simple action will draw their eyes down to the dice and they will see that the number of pips displayed matche's their choice. "Everyone seems to choose four as their first number - I think it's because it's a somewhat safe option, a predictable choice." (If the participant doesn't name the number four, don't draw attention to the dice; instead continue as outlined in the next section.) ~o Operi.,i.ri.,i- a Wa{/(, Arouri.,d set "The interesting thing is watching what happens when we try this a second time. Your first choice gives me a starting point from which to work with. What is particularly interesting to note is that there are only two numbers than are higher that your four, but three that are lower. Statistically, you are significantly more likely to go lower than higher - but now that you consciously know the statistics, you might feel inclined to go higher." R ING ED H UR IS T NAMED "Any particular reason you chose that number?" They'll respond. "Well, by using that number as a starting point, I'm hoping that if I was to ask you to choose another number, this first number might give me an indication as to what your next choice would be." Regardless of whether their first number was four or not, we'll continue as follows. ASE 1 "We're going to do this thr.ee times in total. I'm going to turn my h.et?.d away, and I want you to decide on one number. When you.have made your decision, turn the dice so that number is on top and cover it with the napkin on the table. When you have done that, please tell me that it is safe to turn back around .• " I wait for the participant to make his choice, knowing that when they ask me to turn back around to face them, I will know the number selected (thanks to the 'Real Die' method). What happens next depends on what number they have selected. Let's take a

look at what could happen below: "Did you notice the last thing I said to you before turning my head away? , I want you to decide on one number. I even casually pointed with my index finger as I said it. At this point I believe you will have picked up on my influence at some level and have chosen the number one." "When I said that statistically you would go higher than your first number, your natural reaction is to fight against that and go lower. The number one is too obvious, as it's the first number, so to try and catch me out you will have opted for the safe choice •.. number two. Now, in case that doesn't convince you, if you think about it, you'll recall that I asked you 'TWO' choose another number." "By indicating that you were statistically more likely to go higher than the original number three, the obvious move would be to fight that urge and choose a number lower. However when you thought about it, you decided that would have seemed too obvious - so 13rs a result, AND to try and catch me out, you will have opted to ha:ve stayed with the same number •.. three." "By indicating tha~ you we-pe statistically more likely to go higher than the original three; the obvious .move would be to fight that urge and choose a number lower. However when you thought about it, you decided that would have seemed too obvio')ls :"'. so as a result, AND to try and catch me out, you will have opted to 'go ~5.gher. ;But. only.marginally so. At this point I believe you wil_l have opted for numb.er four." "By indicating that you were statistically more likely to go higher than the original 3, the obvious move would be to fight that urge and choose a number lower. However when you thought about it, you decided that would have seemed too obvious - so as a result, AND to try and catch me out, you will have opted to go higher. You felt that six would have been too obvious because people want sixes when they play board games. Everyone chooses that number. And so at this point I believe you will have opted for number five." "By indicating that you were statistically more likely to go higher than the original three, the obvious move would be to fight that urge and choose a number lower. However when you thought about it, you decided that would have seemed too obvious - so as a result, AND to try and catch me out, you will have opted to go higher. You seem to have a strong personality and would have opted for a similar strong number, which can only be number six." Have the participant lift up the napkin to reveal the correct number. Continue on to the next phase. A 2 'I appreciate your applause, but it's only a one in six chance and not that impressive on its own. I could, quite frankly, have just guessed. So to eliminate that idea, we will do this two more times - so the odds become one in six, times one in six, times one in six. The last time I checked, that was about one in a million." The above is said in a tongue in cheek way. "I'll turn my head away again. Please choose another number and place the dice with the number face up so everyone can see your choice. Then cover it up just like you did before." If the participant previously chose any number besides one, I will casually end the above phrase with this additional line: "Let me know when you've got one." This is one of those brilliant bits of business because it flies past everyone. However, there have been so many times where the participant chooses the number one. When this happens (and believe me, it will happen a lot) immediately continue with:

"What was the last thing I said to you before I turned away?" "Er ••. " "I said, let me know when you've got one ••. Unconsciously, you will have picked up on this subtle command and should have now chosen the number one!" Reach over to the dice and lift up the napkin, when you reveal the number one sat uppermost, the reaction will be quite remarkable. It has never failed to generate that moment of disbelief. You may wish to include this subtle line more than once during the routine. It really does fly by the audience and you can leave it out there to make reference to it only when your participant has chosen to move the dice to number one. If, however, the participant has opted for any of the other numbers, you should look for a relationship between the latest number chosen and the previous number. It's difficult to explain exactly how I perform the routine because there, are so many variables. What I can definitely state is that there are certain ¢lecisions that participants make on a regular basis . •' . that can be turned to your ~~vantage. Let's take a look at these decisions: Open.i.n.~ a Wa.{K, Aroun.d set YOUR PARTICIPANT CHOOSES THE SA E NU BER T ICE IN A RO This happens nearly every time I perform this routine. It is one of those decisions that the participant makes in order to try and catch you out and trick you. You can increase the chances of this occurring by stating to the participant before they choose a number to try and make it difficult for you and to attempt to catch you out. At some point, they will usually opt to stay with the same number because they will try to challenge you and they think it is a clever way to do so. s "OK, so last round you chose the number two. The obvious thing at this point would be to go to one of the higher numbers. Six is too obvious though. It's the number that everyone tends to go with. As a result you will have stopped for a moment and changed your mind. I asked you to try and catch me out, so the only real way in which to do that would be to do something I wouldn't expect and stick with the same number."

THE PARTICIPANT MAKES A BIG JUMP IN NUMBERS Many times a participant will make a large jump from a previous number to a new number - for example a six to a one, or a on~ to a five, etc. The following example scripts explain how to address this situation. EXAMPLE SCRIPTS The previous number was six. The current number is one. "Let's see, the last round you selected the number six. Most people at this point make a big transition and go right to the other end of the number range. So instantly, I'm asking myself if I think you will you have been bold enough to go for the number one." "Let me ask you - what dq you ~o /for a living?" "I work in banking.":· .· "Ah definitely then, Y:ou have· to l?e bol_d and confident in your job, and you will have chosen the number on:e'-'1 The previous number was one. The current number is five •. "Let's see, the last round you select~d the number one. Most people at this point make a big transition and go right to the other end of the number range. You'd have felt that the number six was too obvious, so to be clever - look me in the eyes here - yes, to be clever, you'll have chosen the number five instead." Open.i.n.i a Wa{K, A.roun.d set PARTICIPANT SELECTS AN ADJACENT NUMBER Sometimes a participant will only go one higher or one lower than their previous number. For example, a two might shirt to a three. When something like this occurs, use something similar to the following example script. M s "So last time, you chose the number two. If I were in your situation, choosing a larger number like a five or a six might have seemed something of an obvious move to make. As a result, I think you're astute enough to have carefully chosen your new number. I think that at this point you would have purposely tried to be clever and go for a much more subtle shirt. Maybe a number just next to your number. Either one up or one down. I think it will be either a one or a three. Of the options, three has a greater psychological appeal, so I'll go with three." By now, you will have noticed you are essentially making a thought process up and projecting it onto your participant, while simultaneously praising them as being clever if they happened to choose the number you guess. They will never deny what you say because you are both being extremely complimentary toward them and correctly naming the number they thought of! It is genuinely a win/win situation. Final Thoughts As stated earlier, I play three rounds of this game - which from experience is the right number for me. Any more and it could lose its sense of excitement and become monotonous. The odds of successfully revealing all three choices correctly in a row is one in 216. I like to make use of this statistic as it really is an impressive figure for an opener. If you opt to perform this routine but there are no tables or napkins at hand, you can have your participant place the dice onto any flat surface

and cover it with whatever is at hand. In the past, I have improvised and used a mug, a magazine and, quite often, I have asked the participant to simply shield the dice from my view with their cupped hand. One important piece of experiential advice is that-you may sometimes encounter an untrustworthy participant. Where you feel this is the case, try to avoid having them hold the dice in their hand. They can very easily change the orientation of the dice and cause problems. This happened to me a couple of times with male participants and as a result changed the logistics of the routine. You may also experience the participant who struggles to focus and after making their selection may casually drop the hands down by their side which will disrupt your read. It's best to avoid these situations by taking the die out of the participant's hands where possible. That's why asking them to place the die on a table and covering it with something is the best of the available options. FURTHER THOUGHTS ON APPROACHING GROUPS I think its imperative to take a look at some of the potential situations you may well be faced with when working in a walk around environment. What follows are my thoughts on how to deal with tricky groups of people, and common predicaments that might arise. HATH ATA DOES NOT A I think this is a very important question to ponder before moving on to the next chapter. Regardless of who you are or how good a performer you are, whenever you have been hired to entertain guests at an event, you will at some point encounter the group that does not want you to perform for them. You have approached a group, in the same way that you have been doing for years, you use the same techniques, and you are polite, professional and courteous. For whatever reason, they reject your offer of entertainment and wish to be left alone. It is best to remain polite and avoid any clever or sarcastic remarks at all times, thank them for their time and move on. Don't take any rejection personally. You have no idea what the dynamics of the group are - they may have been talking about something private and personal arid your interruption may simply have been untimely. Smile and keep moving! "OH .. YOU'RE A MIND READER, ARE YOU?" If you genuinely go out and perform at paid shows, you will hear this frequently. If you really were a mind reader, you would know someone's going to say it before they do. So how do you answer those awkward questions you

face when introducing yourself to a group and explaining that you are a mind reader? Well, in the past decade I've heard the same questions in various guises over and over again. Its two main iterations are below. "WHAT AM I THINKING RIGHT NOW?" Let's take a brief look at your options when faced with this question .. You may choose to confront it head on and respond with something that - although it might be humorous - may well be construed as pugnacious. With that warning in mind, please only follow this line of thought if you are in the appropriate performance situation: "You're not actually thinking of anything useful." "Nothing intelligent." "What is he thinking?' Like· your wife, I was wondering that myself." "If you don't know, then I cert13:ii:ily won't.'' "You're not actually thin~ing ·of' ~nt"thing.'' ' . ·' ( . ' "You're thinking you're being .clever asking me that question, but the truth is that I get asked it all the time ••.. and my answer, is always the same." "You're wondering if I can tell you what you are thinking right now." "You're wondering if I know about you and that guy at work." All of the above lines should be followed up with a smile and wink. If the tone is right, it always gets a laugh from the group, who instantly warm to you, but at the expense of the person asking the question. You'll need to be careful to subsequently make them feel special, reframing that moment as playful, rather than confrontational. iO Open.i.n.j. a Wa.{/(, Aroun.d set You can also face this question with a response that is logical but doesn't actually answer the challenge set out by the participant. This is preferable, because these types of responses are less likely to be construed as belligerent and tend to be more productive. I'm going to start with my favourite line, one that my friend Bob Cassidy once told me: "It doesn't work that way. The mind operates on so many levels. I read specific thoughts. If you focus on a thought in a certain way, I can often receive it. Likewise, if I project a thought to you, in that same way, you may well be able to pick it up from me.'' This genuinely is a fantastic line - it disarms any potential challenge mentality and gives a very open and likeable response, allowing you to set the parameters for what follows. Ken Weber mentions in his excellent book, Maximum Entertainment, that we as performers should communicate our humanity to our audiences. This is a fantastic yet subtle example of that premise and is highly recommended. It gives no indication of a disclaimer, and it doesn't state that you can't give the audience member an answer. Instead, it suggests that the thought needs to be focused on in a specific way. Of course th:e means of hav~ng them focus on. the thought is one which you can control and therefore one in which you will ultimately be able to guarantee success. As the performer you maintain credibility and retain the upper hand in the situation without having to succumb to the 'challenge' mentality. Let's look at another line that can be successfully employed in these situations. In this example, you accept the challenge but cleverly maintain control of the situation.

"You have a specific thought in your mind right now?" "OK, I don't usually work this way but if you really want me to try to tell you, I need you to focus on this in a specific way." "This thought ••. I need you try to condense it down to a single word - a specific thought, okay?" Focus on that word and see it spelled out in front of us now." "I want you to take a mental snapshot of that word, so you can see it, almost like a postcard in your mind." "Can you see this word in your mind?" "Good, exactly how you see it in your mind right now, I'd like you to write it down. Please don't show anyone your writing. I'll turn away as you do." "You might be wondering why I have asked you to write this thought down. Well, the very act of writing helps cement the thought in your mind. And, of course, the other ben,efit is that we have it written down in case we need to refer back to it at any poi~t." f . ' . ' You will clearq u~·e.your p're~~rred method to obtain written information, be it a peek or a switch, ~tc• This solution has both positive and negative points that should b~ addressed~. . . . . Accepting the challenge i~, ifi itself, 1s .a double-edged sword. By accepting it, you are suggesting that it ·is acceptable to be. challenged, when in reality it is often best to comp~etely avoid. that mentality. Accepting challenges can ·sometimes result in moments during your performance where you are put in imp'ossible situations - Think the awkward magic spectator who grabs a deck of cards mid trick to shuffle them. However if you decide to use the above ruse, then there are also positives to be gained. You have introduced yourself to a group who has asked you to read their mind. You accept, yet take back control of your performance and Open.i..n.~ a Wa{/(, Aroun.d set successfully reveal a supposedly impossible thought held in the mind of someone you had never previously met. The response is usually very positive and immediately the group becomes focused on you and your performances. At this point they are usually very keen to see what else you can do and you can continue on with your set under your own control. But you need to be very cautious to manage the situation and prevent it from turning into one in which people become intentionally difficult and challenging. No matter what you do, be careful not to sabotage yourself. "C y This is something of a pet peeve of mine. The fact that this one question gets asked all the time tells you a lot about an audience's perspective 0 As I was developing as a performer, I heavily relied on the 'Psychological Illusionist' approach for quite some time. I felt that everything I did have to have a logical process on which the audience could latch onto. Over the years, as I matured I soon realized that this just wasn't the case. I recall many times when approaching groups and explaining before I even did anything that what I did wasn't psychic in anyway. I could often feel the disappointment and energy drop from the. group.· Mariy people wanted to believe in something out of the ordinary and I felt I was doing a disservice to mystery entertainment by starting like this. It's much better to encapsulate your work in mystery. You can suggest something that could pertain to method if you really want to, but always allow your audience to be the ones that decide about you and what you show them. With that in mind, I really believe that the lottery question gives an

indication as to what your audience's perception is, in regards to your entertainment. CONSIDER THIS: If you perform as a psychological illusionist and you explain that what you do is a result of a scientific skill - yet as soon as you finish your performance someone asks if you can tell him or her the lottery numbers - do you really think that they bought into your psychological premise? As a psychological performer, just whose mind are you supposed to be reading by telling someone the weekend's lottery numbers? Do they want you to read the mind of the machine that spits the balls out? Regardless of whether they ask because they believe in your abilities to be able to discern such information, or whether they don't quite get your premise as a performer:, one thing is for sure; it will happen to you, and you should be able to dea~ with ~he question effectively • . •' . . . In 'A SAD night ~n Ha~bilrg' ie~ture notes, I revealed a ruse taught to me by a good friend Iain ·Dunford ·where he suggests writing six random numbers onto the back ofyour:busihes$.card.r Hg.nd them to the participant who asked the question but t_ell them: "These are for you. Now although :t am unable to tell you WHEN these numbers will come up, one thing is certa.in - they WILL come up." It's a really lovely little touch,-they will more than likely keep your card and either remind themselves that they should play the lottery with those numbers, or genuinely play those numbers each week. Can you imagine the ·publicity that would be generated if these numbers were to come up? They are just as likely to come up as any other set of numbers and the odds are that one-day, they probably will come up! Open..i.n.~ a Wa{K, Aroun.d set At any rate, I've discussed a lot of ideas here, but the thing I most want you to take away from this chapter is the need to be the kindest, most charming, best version of yourself. Remember - you are your best opener.

I I'm known for my SAD (Simple & Direct) approach to Mental.ism by stripping back methods and streamlining processes. What follows is a perfect example or that way or thinking. I've lost track of the number of Thumb, Boon & Swami Writer's I've tinkered with over the years, so much so that it became somewhat of an obsession. You could refer to this as 'Looch's SAD Writer' but I prefer the above name. It may be the cheapest writer of them all, but for me it offers unparalleled control above all others. Are you ready for this ridiculous secret? Grab some Rn1'\AT'"' 1111A~ a l-'"''"·"'"".Jl..lb need" Push the the lead" You with the snaLrpeme:r. or the lead onto a hard surface to break a couple or millimeters Next take a piece or ca.rd or scrap paper and a.pp~ a couple or drops of i::i.n1nA1"al1111=! onto the paper". · With your glue" the small or lead and dip it into the .1.w1u..-.. L.1.C1.~l,J a.pp~ the lead to your thumb pad and hold it in place for a few seconds until it is Yes, I'm serious. You are literally gluing a small piece of lead to your thumb pad. Stop laughing, and bear with me. The benefits of doing this seriously Tile Povert)J Spec Tllum.b Wri.ter outweigh the negatives; let me explain. T TS OF THE YERTY SPEC WRITER 1. It is cheaper than any other type or writer on the market. 2. It is physically adhered to your thumb pad, therefore it won't ran or.r. 3. You don't need to fumble getting it on or off., 4. It's so tiny it won't stand out like a sore thumb (pun intended). It is quite literally just a piece of therefore the smallest writer in the world. 5. When you no longer need simp~ use your index -'--'-"""'""'._- nail to '.flick' the lead or.r your thumb pad. 6. Since it is adhered to your thumb, any unwanted movement of the lead is W..B..L ..... w.B.<""'"",,.' a.&..11."'".Jl-'U=. you superb control. 7. Your hands are empty, throughout your show. GONOMICS· OF THE. TY SPEC ITER For such an important and fundamental tool in Mentalism it surprises me that for all the marketed writers I have seen and experimented with over the years, I have yet to see one designed with the ergonomics of the user in mind. Try this little test out for me. Grab a business and hold it in a relaxed grip with your fingers at the back and with your thumb resting on top, as if you were about to thumb write on the surface. Most thumbs will not lay precisely flat against the card because of the way our hands are made,

iiso more than likely your thumb will feel at its most comfortable making contact with the card at a slight angle. The precise point at which the pad of your thumb contacts the card is where you should glue the small piece of lead. This is the most ergonomic and natural position for you to write. You will be surprised at how quickly your thumb writing speed and legibility will improve in just a short space of time using this cheapest of writers. Don't worry about the small bit of dried superglue on your thumb. A quick scrub under the tap and you'll be back to normal. It is a small trade off for such a great writer! You can also use colored pencil crayon 'bits' to adhere to your thumb pad. I've found black is sometimes more visible than pencil on some card stock when writing. "·· 111 11 · · 111111 ,. •• ;, I;, It ~ · .. 1t.; j;: I "r·. DEVELOPMENT SKETCHES t

Fi.et d 1?,eport Wor/(1'113 Wl'th an~ /.s ~en one of'tho.se t/frte.S when you are /,'te.ra/ly at. the frle.rcy of' the :Jod.S. If dark:, eo/d NCl/e.frfber n1jht baci: /n 2012 was a re.al /nd/C-at/on of'th/.s, as I had be.en h/re.d to perl"orm at. a yau113 laoy '.s 2i.st B/rthda; c..elebrai./on /n Graneha/>1, N ott/"!)ha/>1.sh/re.. I ha.d a. Sen.Se of' uncertaJ'nty when I MO.de Canta.ct w;th the cl;ent (the you173 la.dy 's f'a.ther) three weefs bef'ore the da.te of' the boof;173. We re'j'Ue.Sted tha.t I a.rr;Ve 30 M;nutes early, and to ca.II h;s Mob;le U?on MY a.rr;va./. We wanted to Meet Me out /n the street to ?o/ /n ca.sh and /nstructed Me to wa/t outs/de /nan a.lleywq; between two houses. I reMeMber f'eel/173 a. l/ttle UnCoMf'oria.ble w/th th/s but he f'ollowed U? bY tell/173 Me he would l/fe to /ntroduce Me to the 3uests (15 you173 la.d/es) bef'ore I entered h/s house. I ?ulled on U? the ba.cf street and ca./led the cl/ent 1 s ?hone. We Ca.Me out to Meet Me and 3a.ve Me an enVelo?e of' ca.sh and a.sf ed Me to waJ't outs/de h/s house f'o'r a. f'ew /Y/OMents. It wa.s exireMely cold tha.t n1jht and MY hands were 'i'ui'cK/y beCoM/173. nUMb w/th the M/nus teM?era.tureS. I stood outs/de ·the ho~Se covered ;·n CoM?lete /n da.rfneSSj the on/y· l1jht I could See wa.S CoM/173 throu3h the Keyhole of' h's s/de entrance door. Ins/de, I could hea.r the MUS/c ?ound/173 and the Sound of' la.u3hter and 31':J.:/es, I reMeMber f'eel/173 'i'u;te nervous, wh/ch wa.S unusua./ f'or a. wa.I K a.round ty?e 31':J. 4f'ter a.round h1ve M/nutes, the door O?ened ever So sl1jhtly and I could See the f'a.ther stood w/th h/s hand on the handle. We re'i'uested f'or ..;s/lence So he C-ould 3/ve a. S?eech, a. f'ew Seconds ?O.SSed and

Loocll tile Stripper??? the MU.Slc was turned down I ow. Y/e be3an to ta.If a.bout hls, dau3hter and how She MaKe.S hlM hqp17y. What wou/d hoY'e Ma.de Me, hqp;:y was letil173 Me lnslde as I was now bloody -f'reezl173, but I had to wa.lt unt/I he had lntroduced Me. hVe Mlnutes 17a.ssed and he was stll/ rattll173 on a.bout hls da.u3hter, but was now relC3/n:J a. story -f'roM her 1'8th blrthd41 where they had hlred a. Ma!/dan. Y/e then sa.ld a. -f'ew words that resonated ,wlth Me that fl! never -f'or3et. In -!'a.ct, I st/I/ wonder why the hell he dedded to choose the.Se words, but the ldlot dld and what -f'ollowed was one o-f' tho.Se a.wfwa.rd MOMents that really ta.,fe you throu3h a. ran3e o-f' eMotlon.S: ,, 5o l?OW she \s a. llttle blt older, and /Y/Ore Mature, I thou3ht lt was only h':Jht to 3lve her and you 3lrl.s a. blt o-f' a. treat. 50Methl173 a. llttle More Mature, that you wl// no doubt 3et you really exdted. '' What the a.ctud/ -f'uC2{( /('ea.c! that ~a.Jn and r'cture Me Stood -f'reezl173 outslde a.rfr?~d,w:th bl/lets and 17en.S. !he re.St o-f' the 3lrl.s \ enth_usla.SM was lnstant, cheers and whoo17.S -f'ollowed by a. chant o-f':. /he -f'ather trled to C-a.IM the 3lrls down but they were too -f'a.r 3one, they were hysterlca./. I was even Conslderl173 whl1717l173 MY Ma!:/C wand out and hoY'ln3 a. 30 at strl1717l173, but rea./lty Soon toof hold. /he :iris -l?na.lly Ca/Med down when he SCrea.Med that the enterta.lnMent wa.sn \t a. strl1717er; you can ;M~lne the lnstant de.flatlon o-f' atMo.S17here. You Could lltera.lly -!'eel lt, llfe a. hu3e ba.//001? been 1701717ed, -f'o//owed by sl/enCe. 4t that 17olnt, he -f'ollowed u17 hls 'lntroductlon .s17eech \ wlth thls -f'anta.st/c llne: I/ Y/e \snot a. strl1717er - he \s stood behlnd the door, and I\11 let hlM lntroduce hlM.Sel-f'. " !he door .flu173 017en and the l1jht shone out reVea.ll173 MY cold, 17a.le chubby red -f'a.ce. 411 the 3lrl.s were Sfua.shed to3dher tryl173 to 3d a. loof at who was out there. I toof a. ste17 lnslde and thelr collect/Ve loof o-f' dlsqp17olntMent was borderl173 on dls3ust. !here was no Sexy, olled, tanned hunf - just Me wlth MY cold, dead hands wlshl173 I was SoMewhere else. I lntroduced Mysel-f' and a. I a.r3e 17ortlon o-f' theM just wa.I ,fed a.w41 and ba.cf to thelr drlnfs. It was a. dl-f'-f?cult 313, but one I -f?nd fUlte -f'unny now.

I I Thia may well prove to be the most di:rricult and perhaps controversial. chapter in the entire project. Thia chapter deals with negotiation and techniques to help you the beat price for your services. If you perform Mentalism for a living then this is a business - quite possibly the most important business in your life. I learned a lot from negotiation specialists and much of what is in this chapter is based on the ideas of others, but tailored and modified for our line of work. At some point or another most of us will face one or more of the following situations: An intense desire to Need the money. Concern that booked for a high Concern that your price may be too What is the right thing to do in these situations?· Most performers I've spoken to will often lower their price rather than actually negotiate; When asked, some have told me that they are concerned that if they don't lower t;heir price· they will lose· the gig. I can understand the impulse to 'not lose the gig', but I completely disagree with this mindset. Lowering your prices is a knee jerk reaction in response to the fear of losing the gig. Negotiation expert and best-selling author Ed Bredow says it best: "If'you are not prepared to defend your price your clients will lose respect for you,." Think about the message you are sending to your prospective client by

quickly dropping your performance fee. They might reasonably conclude that if they hadn't negotiated you would have quite happily charged them extra. Resentment can, and will, start to creep in should you do business this way. You MUST be prepared to defend your price. Never forget, you are providing a unique entertainment service. There are two million people in the world for every Mentalist; we are a rare breed. I fully believe that as Mentalists we should command (and expect to receive) a premium fee for our services. What we do is beyond the norm. We read people's minds - how amazing is that! It is very likely that your prospective client (and their guests) have never seen anyone do what you do. Here are some tips that will help you negotiate better prices: DO T.S L YOU S L S ORT As a performer you MUST ha:v·e.i\ill confidence in your abilities to entertain and provide a quality service eyery time. If you show a lack of confidence to your clients when discussing your show, they will legitimately have reservations about boqking you. -. ' . - : . . Ask yourself the followihg que~t:Lom - ' 'Do you believe that your service is worth the price you are charging?' I really hope you answered 'yes' to ~hat one because if didn't then you've got some work to do. SET A FAIR & REASONABLE PRICE If you hire a builder to extend your house, or a Solicitor to advise you on a legal matter, they are entitled to fair and reasonable compensation for their services. As a performer you are entitled to the same. The question is, how do you define 'reasonable'? 'Reasonable Price' is whatever price you can convince your client that your services are worth. This figure is relative to the perceived value of your service. If your clients are happy with your work, they will see you as a good value service and hire you again. No client will begrudge you if your price is reasonable relative to the perceived value of your service. Take a look at what Magicians and Caricaturists, etc. charge in your area. You are a rare and arguably more unique service and you should set your fee with that in mind. ACT AS IFu. Ben Affleck played a guy named Jim Young in the 2000 film 'Boiler Room' which is about a group of illegal traders and con men operating out of a suburban investment firm in NY. In one scene he gives a rather crude speech to a group of wannabe brokers. The content of his message stuck with me and c.an be applied (if we drop· the arrogance and crudeness) when negotiating with your clients: "There's an important phrase that we use here, and I think it~s time that you all learned it. Act as i:f'. You understand what that means\> Act as ii" you are the tucking President or this firm. Act as ii" you got a 9"coclc. Okay\> Act as i:f'." - Jim Young If we remove the profanity and crudeness within the message, it is somewhat sound advice in certain situations.

Just remember to be polite, friendly and respectful at all times. This is in no way a message to become rude and arrogant; it is more of a metaphor and a reminder that you are an excellent entertainer with a very unique set of skills and worthy of whatever fee you set. Act as if ••. You are an experienced & professional entertainer who provides a fantastic service. You wilJ. add value to the client's event. You are the perfect choice as entertainment for their event. Your price is justified and worth every penny. You are the best at what you do. You WANT to (but them with your services" D 0 ISE F R YOU Once you have stated iou]'.':fee ·.to a potenti8.l client, never apologise for it. If you genuinely bel.iev~ Y;Cmr fe_e is reasonable, fair and in line with ' ' perceived value, then you have nothing to apologise for. JUS YING OUR E You should always provide a reasonable justification for your fee when negotiating a gig with a potential client. You want your client to understand and accept your position. Once they do, you will be able to successfully complete the deal. One of the best ways to do this is to focus on the 'value' of your entertainment and how it will enhance the client's event beyond their expectations. You must also give your price a sense of legitimacy. Explain to the client why your price is what it is in relation to the current marketplace. Your price should be reasonable in comparison to similar services in the industry, and your clients will have looked at other services. That's why I would always recommend you do your homework before setting your price. Ways in which you can do this are asking what other suppliers to the entertainment industry charge for a comparable service. If they won't tell you, and sometimes they won't, then I certainly wouldn't recommend sending an email through their website enquiring for a quote for your event. (A well-known magician taught me that trick). The third way to justify your price during negotiation is to simply explain to your clients that, although you would like to help them out, you cannot lower your price for one, without lowering your price for the rest. That just wouldn't be a fair or honest practice. BE ING TO ALK AY F 0 AG G You must be prepared to walk away if the deal is not right for you. With hard work and consistency the gigs will come, but doing the right gig for the wrong price could create problems in the future. If you act as if you 'need' the gig, the client will sense this and they will gain the advantage. The willingness to be able to walk away comes from · having other options. Certain dates on the calendar will be in high demand. For example, if you work weddings then Saturdays from June to August will be the most popular dates. More often than not, you will have several clients requiring those dates. You don't need to accept a lower price because other clients will want you on the same date and will be happy to pay your full price. If you can communicate this to your client without being too brazen then you will always maintain the edge.

Upon acceptance that your Mentalism career doesn't hinge on one particular gig, you will be able to exude confidence during negotiation. Clients will sense your confidence, and that can only be good for you during any type of negotiation .. WHEN TO NEGOTIATE AND BE FLEXIBLE Having said all that, there are times when you should be flexible with your pricing. You may consider lowering your price if it is in the best interest of your business goals. For an important client who you want to impress, or a fantastic publicity opportunity that comes with doing the gig, lowering your price to get that specific gig might be beneficial. I recently took a cut in my fee because of the high profile guests who would be in attendance. I told the client that I would offer accept their lower proposal under the following circums;tances; I a .tree The drop in fee was minim~l, but l ;eceived some great video footage, and a fantastic opportunity 'to: showcase my services to some very high profile ' ./ ... individuals. The subsequentb~okings I received as a result of that one gig vastly outweighed the slight Q.rop in price. You may consider to accepting a l~wer fee if the client makes a commitment to book you for multiple events. For. example, if a company were to hire you for four specific events over the next year then it is clearly worth offering them a discount rather than risk losing out to a competitor. 50 I I I co ON CLIENT TACTICS Clients use some basic tactics to try and bring your price down. Knowing what those tactics are allows you to plan your responses in advance wh~n you encounter them. E S FACE Named after the expression some clients will pull when given your price: "How much!!" which is typically followed up with a shaking of the head or a similar animated reaction. What do you do? What do you say? Do nothing; say nothing. Just look at them with a straight face. Remember the power of silence mentioned in Banachek's Psychological Subtleties l? Well, here's an unorthodox situation in which this will apply. The client wants to extract a response from you. When you don't take the bait, they have nothing to go on. After a few moments, calmly repeat your price and begin to justify that price as discussed in the 'Justifying Your Prices' section. THE ' BOY' Named because of the 'wheeler-dealer' clients who get their kicks from making the cheapest deal possible. When dealing with these types of clients you will typically hear common cliched expressions, such as; "I can get that much cheaper." "You've got to do better than that."

"I can get (insert name of another act) for that." "What's your BEST price?" Take the emphasis off the price and focus on the value that your act would bring to their event. You want to get the client to admit that they would like to specifically bring in YOUR act to their event. Once this has been established then the price is only a technicality. If the client really wants YOU then THEY will find a way to bring YOU in. Another approach is to dangle the proverbial carrot in front of them. Offer a reduced rate for this particular event, but only if they hire you for additional events. If they agree to this, then make sure you get them to agree to the additional events at the same time. For example, have the paperwork state that the terms and conditions of the booking are dependent on multiple bookings. Insist that the deposits for ALL those future bookings are paid up. R E' CLI These types of clients ~re usually,~m§lll businesses or private individuals. They will tell you t.hat they have a very small or limited budget (which may or may not be true) •. There ate ~any who ar~ justtrying to lower the price of everything. When dealing with these types of clients, .don't budge on your prices. Stand your ground and·ca~l their bluff. From experience it is often the clients who have the deepest pockets that try to get everything done at a discounted rate. My lowest paid gig last year was for a client who I later found out earned £100k a week! I offered a reduced rate because a friend who knew the client asked if I could do her a favour. Needless to say when I found out who I was performing for I was bitterly disappointed with my friend for not being upfront and straight with me. When I confronted her about it she told me that I I I I she was under pressure from the client to get things as 'cheap as possible' because the client didn't like feeling 'ripped off'. I can understand that wealthy individuals in the spotlight often get exploited because it is well known that they earn a lot of money. However, when I lower my price to help someone out, only to be told that the client was negotiating through her to every supplier was a new experience for me. It is one I will never repeat. If the client says that their budget won't cover your fee then ask them if there are any other areas they can pull the money from to bolster their entertainment budget. The budget they speak of might only be one budget from many others available to them. CLIENT SATISFACTION: DON'T LEAVE THE FEELING COLD One of the most important points to remember when negotiating with clients is to always leave them feeling satisfied after your negotiations. If you have accepted a lower price to secure the gig then the client will already be satisfied to a degree. They wanted your services and they have them at a discounted cost. They will be happy to have you. Satisfying a client when they were unable to negotiate a lower price for your services can be a little trickier. Firstly, help them understand and accept your price by providing them with reasonable justification. Remember this phrase from earlier: What can YOUR entertainment bring to THEIR event? Secondly, be a good listener. Regardless of whether you have secured the gig or not, the client may have some concerns or issues regarding your price. Allow them to get these concerns 'out in the open'. They will feel much better for it, especially if you show understanding and patience with them.

Finally, you should always strive to make your client believe and feel confident that they have made the right decision by booking you. Sell your strengths and believe in yourself as a first class professional entertainer. Their guests at the event will be thoroughly entertained by one of the most unique performers they will have ever seen. I j ' DEVELOPMENT SKETCHES

T/ie "Fuel<, Of fl" cf feet I 11111 What follows is one or my pet routines that I ha.ve venomously guarded for many yea.rs., Before I describe the 'nuts a.nd bolts' I wa.nt to she.re two memoirs with you from gentlemen I consider to be excellent thinkers a.nd wonderful performers., Having read them, you will understand why I just swore a.t you. E DIR ONE: THE AN THEY CALL LOUCH TODD OM 8 0 "I had become familiar with Looch through his book 'Simple and Direct', tJ which at the time of its release I wrote a long and favourable review for. I love Looch's straightforward approach to Mentalism and his use of innocent and innocuous items to produce mind-bending miracles. I finally met Looch at the Blackpool Convention along with Marc Spelmann, of course, in the basement bar of the Ruskin Hotel. He was soft spoken, mild mannered and immediately likeable. Since that .meeting I have enjoyed long discussions about Ment~ism and worldly matters in his· hometown, .at various Tabula• Mentis meetings, and on Skype. I also had the pleasure of sharing the stage with Looch at our joint show 'Scrambling Your Mind' with four other mentalists and mystery entertainers, Roni Shachnaey, .Paul Voodini, Alex McAleer, and Nik Taylor in the Milton Theatre in Huddersfield. At Tabula Mentis VIII; Mental Workouts, I had just finished a workshop with Alex McAleer on making Mentalism meaningful, and I was approached by

q q 0 Looch in his usual disarming and nonchalant manner. He grabbed a sharpie and a white box .. He asked me to think of three major cities (I thought of Paris, Philadelphia and San Francisco). He asked to choose one in my mind only (I chose San Francisco). He then asked to think of a major landmark from the city in my mind (I thought of the Golden Gate Bridge). He then took the Sharpie and scribbled something on the white box .. He put the white box down on the table with the writing side facing the table and hidden from view .. He then asked me to name the city for the first time. I did. He then turned over the box and showed me what he had written. I looked at the box and said 'Fuck off!' He had written, 'Golden Gate Bridge, San Francisco'. Seriously, this was a great miracle with nothing more than language, a pen and something to write on. He borrowed the pen and the box, asked me these questions and produc~d the result as I describe it herea Such an effect is iri keeping with his style; simple, direct, and mind blowing! I shall never forget that .moment." 58 T fl e ''Fu c I<, 0 11 ! '' e 11 e c t E DIR T 0: TOO STRONG RONI SHACHN "A few years ago I was introduced to a young man named Looch, and from our very first conversation I realised he was a very intelligent and gifted individual. As members of Psycrets, we entertain our fellow Mentalists, and on a couple occasions I witnessed Looch perform a few of his pet effects. I must admit he impressed me greatly. It seems that Looch can penetrate the audiences mind and read their thoughts as if they where an open book. A few years ago we held a Psycrets meeting. After the lectures and before the public show, Looch took me to one side and we sat down at a table. We talked for a while about the event, and within a few minutes he had asked me to name three places from anywhere around the world. I did as he asked and he told me to focus on one of those places, the one that for whatever reason stood out and resonated more with me. I did, and at the same time I was asked to think of certain things associated with that particular place; for example, the smells, animals, colours, etc. Absolutely nothing was written down or spoken about. After a few moments Looch took ·out one of his business cards and began to write something on the back of· it. He placed it face down in front of me and asked me to tell him what specific thoughts I was thinking of. I told him I was focusing on a Black Cat in Salem, Massachusetts. He sat back in his chair, but didn't say anything, he just looked at me. After a few moments, he looked at the business card on the table and gestured for me to reach forward and turn it over. Written on the back of card in permanent ink were the words 'A Black Cat in Salem, Massachusetts' .. I still remember my response .. And Looch likes to remind me of it. I was so startled by this revelation that all I could do was shake my head and tell H, to' 0

0 'H z 0 him to "Fuck Off". I told him that whatever that was, was too strong and too pure. After this amazing event I kept my eye on Looch. I have now watched him deliver his effects many times. Each and every one is an example of the most pure acts of Mind Reading or Psychic demonstrations that I have ever seen. There is no doubt that Looch is one of greatest Mentalists I have ever seen and witnessed. He is just amazing!" T Ii e "Fu c K, 0 11 / '' e 11 e ct INTRODUCTION Whenever and wherever you perform you will invariably encounter some eager spectator desperate to tell you a story from a party, twenty odd years ago where there was the 'most amazing magician they have ever seen'. The story that inevitably follows is usually an overly embellished version of what actually occurred, in which the magician performed a variety of astounding and inexplicable feats. The storyteller understandably wants people to listen to their story, so the more impressive and impossible it sounds the better, hence the embellishments. Stories tend to grow in the telling, and an event witnessed years ago usually bears little resemblance to what actually occurred. With that in mind, when I decided to include this routine in The Black Project, I was curious to hear what two seasoned professionals remembered of the effect. Would their recollection of the effect be different from what actually occurred? Interestingly, both accounts are pretty much how I would describe what happened. Their accounts would make for some realistic and accurate sales blurb. One of the strengths of this particular effect is that when your participant thinks back and recalls what happened, there is no discernible method or co.mpromise. Nothing is forced, the participant has a genuinely free choice; they write nothing down,. and you genuinely write down your thoughts before the participant reveals theirs. Take a moment to try and figure out how this effect can be achieved. I have considered releasing 'FO' in the past, but due to other performers working in similar areas I kept it under wraps. In Banachek's 'Psychological Subtleties 3' there is a super effect by Andrew Gerard called 'Ultimate Imagination'. It is a beautiful impromptu piece involving a few imaginary coins. When I read Andrew's routine, I froze. Before I read the method, I knew it used a very similar method (or maybe even the same method) as I had been using for a number of years.

I remember feeling a little disappointed because in my head this was my baby, a method I had stumbled upon quite by accident and had never previously seen in print before. After a short period of reflection, I decided to stop being silly and to get in contact with Andrew. I congratulated him on his wonderful contribution, and explained that I had been doing something similar for a number of years, albeit with a different premise and presentation. I wasn't sure if Andrew actually believed me, but he was friendly and responsive, and we agreed to discuss our ideas in more detail .. A number of years passed, and real life (as it often does) got in the way. In 2014 we finally managed to get together to discuss the finer points of what I think is one of the most beautiful, simplistic and devious methods ever devised in Mentalism. I would like to offer my sincere thanks to Andrew for his generosity. T ll e "Fu c K, 0 11 / '' t 11 e c t Y ORIGINAL ROUTINE lWHAT DR TODD EXPERIENCEDJ Although I had been performing this routine close-up for a couple of years, the first time I performed it for a fellow entertainer was at a BSME (Psycrets event) in Hitchin, UK. Dr Todd had given a morning lecture and we were chatting during a coffee break as he was selling copies of his latest booklet. What follows is a typical performance of this routine: MA E "Todd, tell me three places that you have visited over the last 10 years." "Paris, Philadelphia, and err •.. San Francisco." "OK, Paris ... Philadelphia •.. San Francisco?" "I'd like you to imagine that you have three postcards in your pocket, one for each of those places; Paris, Philadelphia and San ·Francisco." "Reach into your pocket and take out those postcards. Lay them out in a row from left to' right; one here, one here, and one here." The performer indicates with his hand where he wants the imaginary photos placed on the table. The participant is encouraged to act out this request and places the three imagined postcards into a row. The performer continues: "These postcards are imaginary souvenirs from your travels. However, the memories and experiences you have of these places are very much real." "Look down at each of the postcards, one at a time, just for a few moments. Try to get a sense of those places and bring to mind the memories of your

experiences in each of them." The participant looks at each postcard in turn before the performer continues: "Now, of these three memories is there one that, for whatever reason, stands out more to you? Perhaps one of these, in your heart, is more significant to you than the others, yes?" "Yes." "Excellent, I'd like you to reach forward and pick up that postcard." The participant reaches forward and takes one of the imaginary postcards. The performer continues: "Hold it in your hand and stare at it. Imagine you can see an image of this place printed on it. As you look at this imaginary image allow yourself to be aware of the sights, the :;:;mells ... ,the overall ambience of the place." "I'm getting the feeling.th9.~ this is a really positive memory, a happy time, where you are surrounded·vy-ith interesting things visually, yes?" "Yes." "And there is a feE?ling ofnost~lgia in this place, does that make sense?" "It does." "Is there a well known landmark? Something big that many people would recognize?" "Yes there is." "OK good, picture that landmark for me. See it clearly in your mind's eye. Focus your attention on the shape and colour of it." The performer picks up a pad and a marker pen and begins to write. He eventually sets the pen aside. Tile "Fuel(, Of/.'" £/feet "Tell me .... what are the visualizing right now, and where in the world are you?" "I'm thinking of the Golden Gate Bridge in San Francisco." The performer instantly turns around his pad, and upon it, written big and bold, are the words, "Golden Gate Bridge - San Francisco." A Tl Remember, the participant names three places of their own choosing, and they have a completely free choice as to one they wish to focus on. They genuinely recall real memories from their past, and at no point do they write anything down or tell you anything other than the names of the three places at the beginning of the routine. So what is actually happening here? How do you know so much from so little? Believe it or not, the basic method relies on you doing two things that we all do every single day of our lives; specifically, Listening and Watching. When you ask for your participant to name three places they have visited, listen carefully and remember them. During the performance you will repeat those names back to the participant two times in the same order they were initially called .them out. This 'cements' (or as Andrew c.aUs it, 'embeds') those three names into an a.ctual order that the participant will subconsciously remember, and later unwittingly use. When you subsequently ask the participant to remove three imaginary postcards from their pocket and lay them down in a row from left to right in front of them, they will do so in the same order you embedded earlier. In my performance with Dr Todd, when I asked him to name three places he had visited in the last ten years, he replied ... "Paris, Philadelphia, and err ••. San Francisco."

I immediately repeated those three names back to him, in the same order. "OK, Paris ••. Philadelphia ••. San Francisco." By repeating the three places back to him in the same order you verbally embed the order of the names. You can reinforce this order by using a subtle but very effective physical action. As you repeat each name back to the participant, count them off on your fingers one at a time. This psychologically implants the suggestion that each place also has a number associated with it (see image). Please note, you don't actually say the numbers aloud; all you're doing is visually counting off the numbers (1, 2 and 3) on your fingers as you repeat each name. Alf.;:~: ) 1., ' /! ' ,/ . / The embedded order is· repeated a second time when I askou "Imagine you have· three .po~tc.ards in your pocket, one for each of those places; Paris, Philadelphia .and San Francisco." "Reach into your pocket ·~nd 't~ke out those postcards. Lay them out in a row ' ' •' . ( . ' from left to right; one h~re',. one here, and one here." By asking the participant·to.reach into.their pocket and remove three imaginary postcards you are having them commit to performing actions with imaginary objects. This is vitally ~mportant for the method to work. If you yourself mime what you want them to do, they will mirror your actions .. Assuming you are seated directly opposite the participant, imagine a centre spot on the table directly in front of them. As you say the first, 'One here', point to a spot on the table about 10 inches to your right of that centre spot. As you say the second, 'One here', point directly at the centre spot. As you say the last, 'One here', point to a spot on the table about 10 inches to T fl e '' F u c /(, 0 11 I '' £I I e c t your left of the centre spot. From your participant's perspective you are pointing to three spots on the table in front of them from left to right, which is the natural reading/writing direction. When I asked Dr Todd to lay out the three postcards in a row, in his head he did so in the order that had previously been embedded, i.e. Paris on the left, Philadelphia in the middle and San Francisco on the right. I didn't need to explicitly tell him which postcard was in which position. Subconsciously, he made that mental connection himself, and placed the imaginary postcards in the order that had been previously embedded. "Look down at each of the postcards, one at a time, just for a few moments. Try to get a sense of those places and bring to mind the memories of your experiences ~n each of them." This forces the participant to visualize. ea~h place and in the process they logically associate each imaginary postcard with a specific position on the table. The next step is to have the participant mentally select one of the places. "Now, of these three memories is there one that, for whatever reason, stands out more to you? Perhaps one of these, in your heart, is more significant to you than the others, yes?" Once the participant has indicated that there is one place which is

especially significant, ask them to pick up that imaginary postcard. "Excellent, I'd like you to reach forward and pick up the one that for whatever reason is more important to you than the others." All we have to do is watch for where they reach on the table. If they reach for the imaginary postcard to their left, they have selected the first named item, (i.e. Paris). If they reach for the imaginary postcard in the middle, they have selected the second named item, (i.e. Philadelphia). If they reach for the imaginary postcard on their right, they will be thinking of the last named city, (i.e. San Francisco). "Hold that postcard in your hand and stare at it. Imagine you can see an image of this place printed on it. As you look at this imaginary image allow yourself to be aware of the sights, the smells ... the overall ambience of the place." You now know what place they are thinking of. All that's left is to reveal what you know in the !llost entertaining and believable way possible. TR, e ''Fu c /(, 0 / / ! " £ / / e ct THE POLAROID DEVELOPMENT lWH NI EXPERIENCEDJ When I performed this for Roni the routine had developed slightly. I had added subtleties and modifications to enhance the effect and make it appear even more impossible. The majority of the presentation is very similar. The only real changes are in the visualization process and the selection of the memory. With this presentation the 'embedding' of the place names is slightly more procedural and explicit than in the first presentation. "Roni, tell me three places that you have visited from around the world." "Hamburg, Salem, and Prague." "OK, Hamburg ••. Salem ... and Prague." "Imagine that you have in your hand three Polaroids. They are in a pile, but when you look at them you will realize that there's nothing on them at present, they are all blank. In a moment I'm going to ask you to mentally develop an image of each of those places onto those three Polaroids." "Have a look at the first Polaroid now. Stare at it and mentally project an image of that place onto it. As you stare at it imagine in your mind's eye seeing that first image develop. When you can visualize it. place it to the · back of the pile and look at the second Polaroid." "Mentally project an image of the next place. See it develop right there in front of you, then place it to the back of the pile." "Just one left. Mentally project the last place you have in mind onto the last Polaroid. As soon as you can visualize it, place it to the back." The difference in this presentation is that the three blank Polaroids initially start out in an imaginary pile. The participant mentally projects

or develops an image of each of the named places one at a time onto each imaginary Polaroid. The 'blank' Polaroid on top of the pile will have the first named place projected onto it, before being placed to the back of the pile. This continues until the participant has mentally projected images onto each of the imaginary Polaroids. It is important that when 'your participant mentally develops the last (third) Polaroid, they place it to the back of the pile so that the first Polaroid is back on topo This w~ ensure that when the participant places the Polaroids in a row on the table they will be laid out in the order you have previously embedded. "You did that very well. You will now be back at the beginning, looking at the first Polaroid. Take that first Polaroid and place it right here on the table, the second one here, and the last one here." °+O T Ii e ''Fu, c /(, O 11 I" e: /I The performer indicates with his pointed finger where he would like the imaginary Polaroids placed, leaving approximately a 10 inch gap between each one. "Roni, we have here three places, three memories if you will. I'd like you to focus on just one of these places, the one that resonates with you the most and can imagine the most clearly. Maybe it's a place that in your heart you have a particularly fond memory of, or it could be the place you'd most like to visit again. Look at each of Polaroid one last time and decide which one you are most drawn to. This one, this one, or finally this one." "Roni, tell me Yes or No, do you have a place in mind?" "Yes, I do." "Good, reach forward and pick up that Polaroid, bring it closer to you so that you can focus all your attention on it. Please don't tell me which place you have in mind." This final 'look' at the three Polaroids, encourages the participant to really visualize each place. Mentally they will be aware of which Polaroid corresponds to which place. As in the first presentation, when they physically reach forward to pick up one of the imaginary Polaroids you will know which place they have in mind just by watching for where they reach. By saying 'Please don't tell me which place you have in mind' you are ~mplying that at this point you really don't, know what place. they are thinkin,g. It reinforces the belief that only they know what place they chose. The subtext here is that you obviously couldn't know what they are thinking of, and you don't want them to inadvertently blurt it out. "I'm going to try and get a sense of what place you have in mind. From this point on if I need to ask you a question. Don't give me any clues, please answer either, 'Yes', 'No', or 'I Don't Know', OK?" "Allow your memory to drift back in time, and bring to mind your experiences

of this place as if you were physica]J_y there again. Focus on the things this place is known for, the sights, the smells, how this place made you feel .. " "I'm getting the feeling that this is a rea]J_y positive memory, a happy time, where you are surrounded with interesting things visua]J_y, yes?" "Yes." "And there's a feeling of nostalgia in this place, does that make sense?" "Some." "This might sound strange, but for some reason I'm getting a feeling there is a specific animal that would be right at home in this place, is this right?" "Yes, there is." "Can you think of its colour?" "I can." "This is an unusual pla~~,. ~.quiet place now, but at the same time a place with a lot of histor~,I'm goi,ng t~ write down what I'm getting." At this point, I took out one of my business cards and wrote the words; Black Cat, Salem Massachus~tts, ~nd plac~d it face down on the table between us. I sat back in my chair ari.d loo~ed at ·Ro~j. ;for a long moment. I asked him what animal he was think;Lng of and_ the place he had in mind. He said, Black Cat and Salem. Eventually I gestured towards the business card, inviting him to turn it over so he could r~ad what I had written. Tile "Fuel<, Off!" ef feet NO TABLE? In June 2014, I was hired to give a lecture and be a part of a panel discussion at Mind Summit in Cologne, Germany. It was a three day event packed full of wonderful lectures, performances and discussions with some of the world's greatest mentalist thinkers. On the second day I was in discussion with Christophe Ambre, Michael Murray & Neils from Labco Magic. We were discussing impromptu effects and after Michael displayed some wonderful ideas from his forthcoming book, I demonstrated this routine to the group. For whatever reason, I created a streamlined version off the top of my head. It speeded up the whole process considerably, and enabled me to move into the reveal phase surprisingly quickly. After asking for three places that Christophe had visited, I repeated the order back to him and had him visualize three blank Polaroid's floating in a row in front of his eyes. I indicated where these three Polaroid's were by pointing to three distinctive places from left to right (his point of view). The Polaroid's were approximately 10 inches apart from one another. Christophe, very clearly reached forward to select the one that was for whatever reason more significant for him, and I was able to begin the reveal.

PRESENTING THE INFORMATION The presentation is what really excites me about this routine, because I never know which direction I'm going to take until I know which place the participant is thinking of. Our participants dictate our presentation for this effect, my friend Bob Cassidy calls this 'The Jazz Approach'. To pull this off you need to be able to think on your feet and formulate a presentation on the spur of the moment, without missing a beat or stalling. When Dr Todd selected San Francisco, I knew nothing about Dr Todd's specific memory of that place, other than it being a positive and warm memory. Why? Because I asked him to focus on a memory that in his heart was more significant than the others. Although I'm British, I do know a little bit about San Francisco, specifically ••• West Ooast of the USA~ . Water. .Alcatraz. Hippies. Levi Strauss. I can use this information to my advantage by hopefully coercing the participant to think of one or more of the things I know about the place they are thinking of. With Dr Todd I decided to have him think of a 'well - known landmark' and tie that in with his warm, positive memory. There is a bit of Open Dual Reality at play here. T fl e ,, Fu c /(, 0 11 ! " E: 11 e c t From the participant's perspective you will reveal a place that he is just visualizing in his mind, a place that is associated with a memory of his that he has never spoken of. You will also reveal information specific to that place (i.e. a landmark), which may or may not have any relevance to the specific memory itself. If this additional information actually is part of the participant's memory, then you've hit the bullseye. If it isn't part of their memory, then you will endeavour to make the participant think of that information as you are apparently 'picking up their thoughts'. From the audience's perspective you want them to believe that you revealed intricate and specific details pertaining to the participant's memory. You do that by making them believe that the information you specify in your written reveal is actually part of the participant's memory. Taking Roni's 'Salem' as the starting point, here's what went through my head: Sal.em Witch TrlaJ.s Witchcraft Black Oats Halloween Wiccan /New Age I knew that Roni is a Bizarre Magician with a love for this kind of thing, and I purposely avoided revealing the Witch Trials, as it seemed a little too obvious. Instead, I decided to keep things simple and try to get him to think of a Black Cat. If you think of Salem you'll undoubtedly think of Witches. If you think of Witches, then you'll most likely think of Black Cats. One follows the other.

First, I needed to nudge Roni to connect an 'animal' to Salem. "This might sound strange, but for some reason I'm getting a feeling there is a specific animal that would be right at home in this place, is this right?" "Yes, there is." Once he had an animal in mind, I had him assign a colour to that animal. "Can you think of its colour?" "I can." With a Black Cat implanted in his head it was simply a matter of writing down the information and revealing it in a way that would build tension and suspense. Tile "'Fu.cl(, 0 / /.'" £ / /ect DON'T REVEAL TOO UCH The leading questions you ask the participant are intended to make them think about the thing (or things) you will specify in your written reveal. You have to circumspect with what you say to the participant because you don't want to telegraph what you know. If the participant believes that you know what they're thinking then it negates the surprise of final reveal. Here's a very extreme example to illustrate what I mean. Imagine Dr Todd is focusing on San Francisco ... "I'm getting a sense of a large structure, something iconic, near water, does that make sense?" "Yes." "And there's something to do with ... gates?" "Yes there is." ... or Roni is focusing on Salem ... "I feel like I'm transported back in time, there's a lot of anger and despair connected to this place, does that make sense?" "Yes." "And there's something to do with ... fire, burning?" "Yes there is." Do you see what I mean? It's pretty obvious to the participant that you know what they're thinking of. Remember, you don't want them to have any clue as to what you're· thinking until the final reveal. It's the surprise that generates the FO response. My best advice is to avoid making statements that are too specific to the place they are thinking of. Instead, you need to ask them questions which

will gently 'nudge' them to think of the thing(s) you want them to think of. Neil Scryer and Richard Webster's take on using this effect to do readings using Richard's A-Z Psychometry as a guideline exemplifies this approach. It allows you to give a 'reading' of the participant's memory of the place in question without tipping your hand and giving away that you know what place they have in mind. e u. c GEOGRAPHICALLY CHALLENGED Occasionally, when you ask a participant to name a place they have visited, they'll name a place you know little or nothing about. Although I've heard of Portland, Oregon, I can't tell you anything about it. The same goes for Reykjavik in Iceland (although I imagine it's a bit cold there). You can easily limit the possibility of this happening by being more specific with your lead-in question, and asking the participant to think of a famous city they have visited. Most people consider particular cities to be famous for one reason or another. Capital cities are prime example, i.e. London, Edinburgh, Paris, Rome, New York, Washington DO, Rio, Moscow, etc. Your lead-in question would therefore be ... "Tell me three famous cities you have visited." The participant's choice of 'place' is more limited, but not perceptibly so. You undoubtedly know bits of information about the most common famous cities of the world. Armed with that information you should have no problem integrating it into your presentation and eventual reveal. If you think that restricting the participant's choice to 'famous cities' is too limiting; you· can broaden their choice by asking ••• "Tell me three famous cities or places you have visited." This opens the door to places like, Grand Canyon, America, Egypt, Pyramids, Mount Everest, Buckingham Palace, etc. Or, if someone is having trouble thinking of three famous cities or places they have visited' you could broaden their choice even further by adding ... " ... or a famous city or place you would like to visit someday." Imagine someone initially names, New York and Graceland, but then gets ect

stuck. You'll helpfully broaden their choice by asking, "Or a famous city or place you would like to visit someday". You'll know that the last city or place the participant names won't have an actual memory attached to it because they've never been there. You can use this bit of information to your advantage in some way when you structure your presentation. USING THE 'GYPSY GLIMPSE' WITH FD To add a layer of deception to proceedings you can use the 'Gypsy Glimpse' when the participant selects their postcard. Assume that the participant has just laid out the imaginary postcards on the table in front of them. "I don't want you to think that I'm trying to influence any of your decisions here, so I'm going to turn away for a moment." At this point you close your. eyes a_nd bring your right hand up to your brow . - . as if to shield them. At the· same time turn you head slightly to the lef't. . . Once in this posit~on," open yo'ur ~ight eye a,nd look down and to the right. This should give you a view ()fthe table in front of the participant and the three locations they pl~ced the. im8,gina~y postcards. To the participant it looks ·as j(f Y0u.real]J' are turned away and unable to see them. Once you've turned .away and are set for the Gypsy Glimpse, you continue: "Now, of these three memories is.there one that, for whatever reason, stands out more to you? Perhaps one of these, ih your heart, is more significant to you than the others, yes?" "Yes." The participant has now mentally chosen a postcard and they are primed to pick it up on your instruction. BO TR. e ,, Fu c /(, 0 11 ! " £ 11 e c t "Excellent, I'd like you to reach forward and pick up the one that for whatever reason is more important to you than the others." This is the moment you get your glimpse. Arter you've glimpsed their selection, pause for a couple of seconds. "Have you done that?" Remember, you supposedly can't see what they're doing, so you logically have to get confirmation from them that they have indeed picked up their chosen imaginary postcard. Once you have that conformation you can turn back around and proceed with the rest of the routine as normal. The act of 'turning away' and 'not looking' as the participant picks up their chosen postcard may seem like a bizarre thing to do since the postcards are imaginary and there is nothing to see anyway. However, the reason you give for turning away isn't because you might 'see' something, it's because you don't want the participant to feel unduly influenced when they choose a postcard, even if it is just an imaginary one. Using the Gypsy Glimpse is very disarming and suggests a degree of fairness on your part that is above and beyond what one. would normally expect. In the mind of the participant you're demonstrating that you really do want their choice to be free and fair.

USING THE FD PRINCIPLE IN EQUIVOQUE As I began to develop routines based around this technique, it became quickly apparent that I was missing opportunities. The method is so organic and clean, it could easily be used as part of a larger, more complex routine. One of the earlier ideas after discussions with Andrew Gerard was to use it as part of an equivoque style routine. For example, imagine that you ask the participant to name three famous film titles. Let's say they name ... By having the participant imagine those films as DVD's laid out in a row on a shelf in front of them, you would be able to watch which title they selected when instructed to reach forward and mentally select a film. If you had previously written down one of those titles, you would be able to use a simple equiyoq:ue·tO.control the outcome with the predicted title .. It's a 'semi-hidden'·equivoq~e insofar as the participant believes that only they know what titles :they are· .ch?osin_g. They have no idea that you know also. If you had written 'Rocky' on your ·business card and your participant had selected 'Star Wars', you could immediately have them reach forward and take a second film with their other band. If they grab 'Alien' this time, the only film left on the shelf as it were would be 'Rocky', which of course matches your written prediction. It might not be a mind;...blowing effect in itself, but as part of a larger routine it offers the thinking Mentalist a simple and elegant method to take and develop. You could take the movie theme a step further and ask the participant to T Ii e ''Fu c ~ 0 / / ! '' <=: / / e ct imagine a famous scene within the movie, or even the names of the actors. This allows you to create a very detailed reveal which is much more removed from the original selection of the movie. The best thing is that the revelation can now be seen to be happening real time. Note: For more information on revealing details of a movie in this fashion please check out the DVD which accompanies the Stealth Assassin Wallet by Peter Nardi of Alakazam fame. ... I I L 11 L II II

0 N S EET SHOP I CANDY STORE ROGER CURZON My good friend, Roger Curzon developed his own presentation after I showed him the principle a number of years back at Magi ck Enterprises in Sheffield .. Magick Enterprises is the place to meeting for Magicians and Mentalists in Sheffield & the South Yorkshire area. On a Saturday afternoon you will find anywhere from 10-20 performers sat around drinking Tea, eating Fish & Chips and discussing all things Magic and Mentalism related. I performed the original routine on Jim Critchlow, revealing his thought by drawing York Castle surrounded by a wall. His face was an absolute picture. Here was a knowledgeable Magician who had just had his brain fried with an impromptu mind-reading demonstration using nothing more than a business card and some sneaky language. Roger had watched me P~r_'form th~ routine, and after the revelation we sat in a corner discussing the ·m~thod. He immediately set about developing his . •' own presentation. On .:qiy nex~. visit to Sheffield, Roger demonstrated his routine to a fellow performer w~th me watching on. With his permission I am including his presentation to highlight the diversity of routines that creative performers can deyelop usii:lg this·method. c STD RMANCE The performer asks a participant :lf t~ey have a strong imagination. To test this he asks them to imagine three of their favourite sweets (candies) lying on their palm. "What sweets do you have there?" "I have Toffee, a Fruit Gum and a Peppermint." Tile "Fuel<, Of fl" effect Roger repeats the sweets back to the participant in the same order and asks them to place their imaginary sweets into an imaginary paper bag and to shake up it up. The participant is instructed to empty the bag onto the table in front of them, and to place the three sweets in a line (as in the typical FO handling). Roger then asks them to pick up one of those sweets and imagine putting it into their mouth to eat. He then asks them to imagine tasting the sweet and to try to transmit that taste over to him. Roger will attempt to describe the taste and subtle reactions occurring in his mouth and then scribble the name of the sweet onto a piece of paper. He will ask the participant to name the sweet they were imagining tasting before turning the paper around to reveal he was correct. Every sweet/candy has a distinctive and unusual flavour. If you were to imagine tasting a Lemon Sherbet sweet right now, certain things would start to happen in your mind and mouth. Your mouth might start watering and the muscles might start to react and become tense because of the bitterness of the taste. If you concentrate hard enough your tongue might even begin to feel a little strange, as if it was fizzing with the intense flavour. Now if you were asked to imagine tasting a Peppermint, the physiological & psychological process that occurs would be different. Your mouth wouldn't perceive bi~terness; instead it would react to the coolness and freshness of the mint •. You may even I?erceive the tip .of your tongue becoming ever so slightly numb because of the strength of the mint~ As a performer who is reading thoughts, we often deal with reading people, whether it be reading body language, micro expressions, etc. If our participants were genuinely imagining tasting specific types of sweets, surely we would be able to read these physiological signals and be able to determine what. kind of taste they are imagining? Bear that in mind, the next time you ask a participant to imagine something. 0

LOOCH'S SWEET SHOP I start by having the participant imagine that I'm holding a paper bag full of all sorts of different sweets/ candies. "I've got a whole bunch of sweets here. Opal Fruits, Toffees, Smarties, Milky Bars, Mars Bars ... and loads more." As I say this I mime reaching into the imaginary bag, taking out random sweets, waving them around before dropping them back in the bag. Eventually I shake the bag up (mixing the sweets) and I invite the participant to reach in and grab three sweets in their hand. "Go onm reach inside the bag and take out three sweets for yourself." The participant reaches into the imaginary bag and takes out three imaginary sweets. "Open your hand, let's s.e~ what YC:U got.'' The participant opens their. hand, and I look at it, appearing slightly perturbed. "Hold on ... that's four .sweets, not -~h:ree_!" I mime taking an im~ginary. sw;eet 9ut of their hand and drop it back in the imaginary bag. It's a bit of light hearted banter which sets a nice tone for the effect. Arter that slightly different· in~roduction, I then proceed with Roger's presentation. T Ii e ''Fu c /(, 0 11 ! " £ 11 e c t INCORPORATING READINGS INTO THE ROUTINE NEIL SCRYER & RICHARD WEBSTER From the very start I had always envisioned integrating this technique into some type of traditional 'reading' effect. My idea was to ask a participant to think of three specific areas of their life that they have concerns with. I would be able to apply the technique in order to find out which is their primary concern. I contacted my good friend Neil Scryer with this idea and he promptly got back to me very excited. Neil is well known for his unique approaches to readings and has produced some of the most fascinating books on Mentalism and Psychic entertainment in recent years. Neil has taken Richard Webster's incredible 'Psychometry from A-Z' and created a wide range of compelling and mesmerizing presentations for both individual and group readings. Neil immediately saw how the FO effect could be fused with Richard Webster's A-Z technique in a slightly different way to create something fresh and exciting. He liaised with Richard and myself, and Richard has H 0 very generously allowed me to share with you the workings of his wonderful ~ creation below; t;ij' H tn' 0

0 . 00 'H 0 'H YCHOMETRY FRO A TO Z RICHARD WEBSTER I believe the A to Z principle was invented by Ken de Courcy. He described the system in his booklet, The Systematic Seer (Supreme Magic Company, 1976). This is a method of giving readings using the letters in a person's name. Ken had a keyword for each letter. The letter 'A' related to "association," for instance, and "B" was "blood." If someone's name was Debra, for instance, Ken would give her a reading based on the letters D, E, B, Rand A. I prefer to do readings using a system, such as palmistry or numerology, but I found Ken's system very useful when doing psychometry readings. My book, Psychometry from A to Z, includes the readings I developed for each letter of the alphabet. Here is my original list of key words. The words in italics are the ones I describe in full in Psychometry from A to z. (.A} (B) (0) (D) (E) cave, coax, colour, coi:o.pare, . conc~ntration, ( contribute, co1iraae. climbing, conscience, de1no?JtStlrate, ................... "". devotion, discipline, diviner, dynasty. eager, enterprising, (F) Finances, .faithful, .family, .fashion, feelings, f'oundation, freshness, triend,.truit.f\U.,tullness,tuture. (G) Generous, garden, gain, game, gem, gentle, glad, glory, good, gracious, gratitude, green .. T ~ e ''Fu. c /(, 0 11 ! " £ 11 e c t (H) Healthy, habit, handsome, harmony, heart, heaven, honour, horoscope, humanitarian. (I) Idealism, identify', imagination, important, impress, impression, improve,impulsive,independent,innocence,invest. (J) Joie-de-vivre,jaunty,job,jol.ly,jubilee,judgment,jury,justi:i)'. (K) Karma, keep, key, kind knight. (L) Love, labour, land, learn, legacy, letter, light, like, lucrative, luxury • (M) Moon, mystical, magnanimous, maiden, manage, marvellous, meditate, melody, message, mind, mirror, money, monument, music, mystic. (N) Nature, naive, need, neighbour, nice, notable, nourish, nurse. (0) Opportunity, outspoken, object, obstinate, odour, order, overseas, (P) park, pass, passion, pendulum, pension, philosophy, play, plenty, poem, profitable, prof'ound, prophecy. (Q) Quiet, quality, queen, question, quicke (S) Success, sincere, savour, scholar, secretary, seed, self', sensitive, seven, sex, significant, sceptic, smooth, solid, stocks, subtle, sumpt-q.ous, ·sun, sweetheart, symbol. (T) Talent, travel, telepathy, temperament, tender, tolerant,. touch, treasure, trousseau, trust. (U) Union, understanding, unveil, upright, utilize. {V) Vibrations, violet, value, variety, venture, voice, volunteer. (W) Wisdom,wit,wager,warm,watch,wealth,wedding,wish,wit,work. 00 x-roads, x-ray .. (I) Youth, yacht, year, yellow, yes, yield, yoga, yours. (Z) Zeal, zany, zealous, Zen, zenith, zero, zodiac. H, 0 m H, tll '. 0

Neil & myself both believe that instead of using the sitters name to base the A-Z reading on, you now use the mentally selected place as the basis for giving a unique reading. The key difference here however, is that you are not giving the person the reading .. You are simply using A-Z to give a reading of the memory the participant is focusing on. We both think that a simple A-Z reading based on which of the three places the participant mentally chooses is an ideal way to introduce your reading skills into a Mentalism performance without it being too 'readings focused'. A good way of thinking about this method is that when you watch for which of the three places the participant mentally selects, it is the equivalent of them writing it down and you peeking that information. It's just done in a very direct and sneaky way that no one is aware of, except you. Once you know which of the three places your participant has mentally selected, you can instantly use the name of that particular place to begin utilizing the A-Z principle. If we were to go back to the original effect where Dr Todd mentally selected the memory of 'San Francisco' you could use the letters in the·n~me of~,that place to form the basis of the reading .. For example, if we were .to look at the first three letters, SAN, Richard's suggested keyw~rd~ ?-I'.e below: . sensitive, subtle, W Activity, ability, abrupt, accept, a.c~~o1111mc>d.e,tee account, adaptable, admiration, adventur~us, advice,~, amaze, .K;.1,;:;·~,-.. .,.;;.-,;:;;,. answer, ascent, awaken. (N) Nature, neighbour, Bear in mind, from the original presentation, Dr Todd was asked to think of a positive memory, so we can pick out some keywords that will match this positive feeling, for example ... "Thinking back, this was a very successful trip for you. I'm sensing an adventurous streak in you Todd that this particular memory brought out. .90 Tile "Fuel<, 0 / /.'" £ / /eet Was there an activity or something that you took part in that you wouldn't usually? I feel this memory awoke a part of you and made you feel notably more alive than you had felt prior to taking the trip." I sent this retrospective reading over to Dr Todd to find out its accuracy in regards to the original effect I performed for him. I appreciate some time had passed but I also felt it interesting to see his reaction. Here is his response; 'The first time I went to San Francisco was for my first academic conference in 2001, and I was presenting my first solo academic paper on the international. human rights regime. I had just joined the American Political. Science Association (APSA) and it's Human Rights Section. wife and I had just separated, and my brother had arranged for three or his friends to come .t.rom L.A. to hang out with me. Well, these friends turned out to be three women: a stock trader, an apparel manufacturer and a stuntwoman. I kid you not. They started with brunch in their room, then took me shopping all day Saturday and then asked me to be ready in the lobby or the hotel for 8 o'clock. The doors or the elevator opened and out ca.me three incredib~ well dressed women who then proceeded to take me to Faral.on, one or the tinest restaurants in San Francisco. Not only had they reserved a table, but they told the management that it was my Birthday (it was not). I was ushered to a semi-circular booth and .feted by the three or them, al.ong with a cake and candles, singing and cheers .t.rom the start. So, if your reading describes a successfu:l., warm and nostalgic memory or· San Francisco then I would say yes indeedt Sa~, two weeks later was 9/lL The world had changed forever. How's that\> It's all true and I have a photo, which for many reasons you may not publish ;-) Cheers Todd

I purposely included the last line from Todd's email just because I found it hilarious and quite out of character for my academic friend. He will probably tell me off in a schoolteacher kind of way, but that's been the basis for our relationship for years. ;-) Incorporating Richard Webster's A-Z technique into this effect gives you an opportunity to develop your reading skills, and enables you to create a more personal connection between you and your participant. You can focus on giving an accurate reading based around their positive memory, with the confidence that you can bring the presentation full circle by eventually revealing the place that was the basis of their memory along with some elements synonymous with that place. T ll e ''Fu c /(, 0 11 .' '' £ 11 e c t SPECTATOR AS MIND READER LOUCH & PETER TURNER I recently met with my friend Peter Turner in his hometown of Bradford, and over coffee I spoke at length with him about this effect. Pete asked me to perform it on him, and he named Portugal, Greece and France. After the visualization process I saw that he had mentally selected Portugal. Peter is known for his infamous 'Portugal Video', so I proceeded to reveal the place he was thinking of by literally throwing a couple of colours into the presentation. The colours that I said were prominent to me were, 'Green and Black', because I remembered that the video had been filmed in a park and that the lady in the video had black hair. Both hit hard with Peter. He made the connection with green and park. Unknown to me though, he and a friend (who also had long black hair) spent time in the park discussing other matters after the filming of the video. He immediately smiled and told me how much he liked the effect. With Peter being the whirlwind that he is, it didn't take him long to begin discussing this wonderful variant. Peter said seven magical words that will now stick with me forever; "What if the participant ~ead your memory?" With that, this routine was born. In essence, you shift the focus away from being able to read your participants mind, and ask them if they would like to try and read yours. You may wish to do this as a standalone piece when the time is right, or even repeat the original effect, but this time have the participant try tell you about one of your memories instead. Whatever you decide, introduce the idea that you will assist them to begin with because they will be 'new to this'. t-t~ 0 0 0

~ .~ E-l ·.~ 'P-il 0 0 0 Start by naming three places. Some of you may decide to name three legitimate places which you have travelled to, but I actuaJly prefer to name three purposely selected places that will make your job even easier since they have commonly known landmarks. London. Orlando. When asked to visualize a landmark in those three places, the most popular choices by far have been; Eittel Tower (Arc de Trio:mphe, The Louvre) The Millennium Eye) Potter) I think that the Paris and London landmarks are pretty universal for readers of this book, but you might get better success with other places from around the world depending where you live. Many people from the UK (where I live) will visit Orlando, .Florida USA, for a family holiday/vacation. The vast majority of those people a~so9in.te Orlando with Disney World. By acting out that y:ou have ·1ma~ir;ia~y photos of these three places you lay them out in a row. in front or'tb:e participant. Be sure to lay them out from left to right from the ·parti9ipant's po~nt of view, not yours. Ask your particip~nt to allOw on~ of these places to come to mind; the one they feel is the memory that is of most significance to them. When they say they have it, allow them to reach forward and take the photo. Watch for where they reach on the table, this will tell you the place they selected. At this point you can perform what Marc Paul refers to as an 'AAA' version (i.e. Anytime, Any Place, without Any Preparation) of my infamous 'Influence' routine. Take one of your business cards and write down one of the following, T ll e ''Fu c K, O j j ! '' e j j e c t depending on which of the three places your participant has mentaJly selected. Please draw the Eitel Tower. Please draw Big Ben. Please draw Oinderells!s Castle. How's that for an impromptu, spectator as mind reader style routine? One idea that came to me after performing this variant a few times was to include the following. If the participant selects London, then write on your business card, 'Please draw, Big Ben, at 3pm'. I have found most people who have drawn Big Ben draw the hands on the clock to indicate 3pm. I don't know why exactly, perhaps it's an innate thing, or maybe it is aestheticaJly pleasing to the eye. Perhaps the right angle that is 3pm just flows from the nib of the pen easier? Whatever the reason, it seems to work. It doesn't matter if it doesn't hit though, your thumb can easily cover up the bottom line of text as you turn the business card around to show it them. This is a very similar to the 'out' approach from Max Maven's classic Positive/Negative effect. The difference here is that, it's not really an out. You will hit with the image and this is just an added bonus for those times when it occ~rs. Trust me, seems to hit more often than not! For a more 'personal' reveal you could. combine Peter's handling with equivoque. This would allow you to place a genuine photograph of yourself taken at the place in question face down on the table in advance. 0 0 0

ADDITIONAL THOUGHTS \ SNAP Another idea you could use (once the participant has cemented the order of the photographs) would be to ask them to think of the first place, and then snap your fingers as you ask them to think of the next place. You can then snap your fingers a second time as you ask them to think of the last place. You now snap your fingers a third time suggesting that they cycle through the images one at a time with each snap of your fingers. Once the participant has acknowledged that they understand what it is you want them to do, you can snap your fingers seven times. If the participant has followed your instructions should now be thinking of the second photograph. Note: You can force the spectator to think of the first photograph by snapping your fingers six times, or the third photograph by snapping your fingers eight times. Although I have ui:ied. thi~ 'finger snapping myself in several of my own effects, credit ,sho.uid aiso be given to Peter Turner for promoting its use within the field of Mentalism: Those interested in his thoughts on this 'snapping' ploy wou~d do well to :pick_ up his Jinxed DVD set. T ll e "Fu c /(, 0 11 ! ,, £ 11 e c t T GA y Although I haven't tried this as yet you could perhaps suggest that the participant is going to take an imaginary visit to an art gallery. You can then ask them to name three famous paintings, setting the order as per the original process. They are asked to imagine that the three paintings have been hung on three separate walls of the gallery. By way of demonstration, you mime hanging the images upon three imaginary walls, one to their left, one right in front of them, and one to their right. You inform the participant that they are going to perpetrate a heist and steal one of the paintings. As they physically go through the motions of stealing one of the paintings, you will know which painting they steal by watching where their hands reach. As a bonus there is a limited list of the more popular paintings that people will normally name. In this fashion you could use an index to produce a fake newspaper clipping making this more of a prediction style effect.

MUSIC BOX Rather than use movies you could use the premise of music CD's, affording you the ability to play a piece of music as a reveal. Perhaps if a music artist is chosen you could take a punt on one of their number one tracks. Post Box Another thought was to perhaps ask the participant to imagine three people standing in front of them, three people they know personally. They tell you their names. You could then ask them to select a card, or think of a word (perhaps via a book test), and have them lean in and mime whispering it to one of the imaginary people. You can now name the card or word chosen and the imaginary person they whispered to. Since both revelatiC?ns use different methodologies to gain the information, it helps disg_uise the dirty work. 9g Tile "Fuel<, Of/!" £/feet DEVELOPMENT SKETCHES