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rtfie CR,putine The audience are aU asked to hold both their hands out in front of them, and
close their eyes. They are asked to imagine one hand is being pressed down, and the other being
puUed out by helium balloons. When they open their eyes, they see that one hand has actually
moved up, and the other has fallen down.

One of the spectators, who this has worked best with, is asked to join you on stage. They are
asked to close their eyes, hold one hand out in front of them, and to concentrate on anything
they may feel occurring to their hand.

A few inches above their hand, you mime grabbing their wrist. When you ask what they feIt,
they will say they feIt you grabbing their wrist. You now make a stroking motion and again they
attest to feeling it.

You now tell them you are going to try this with taps and ask everyone in the audience to count,
silently, along with you and see if they can feel a slight tingling in the back of their hands as you
do it. When you have finished miming touching them, you ask someone in the audience how
many times they suspected they were being touched, to which they will name the correct
number.

You now ask the spectator, still with their eyes closed, to count out loud as they feel each tap
land. As you mime touching them, they correctly call out, "1.. .2.. .3. .."

For the climax, you invite the spectator you questioned about the taps to join you on stage. Both
are asked to sit down, and concentrate on what they feel. You clearly touch the first spectator
twice on the shoulder, and don't go near the second spectator.

You then ask both spectators if they felt anything to hold up their hand. Only one spectator does.
But it's not the spectator you touched, it's the other one. He is asked to indicate, by holding up
the number of fingers, how many times he feit touched.

Finally he is to point to where he feIt the touches. He points to the shoulder you tapped the
other spectator on.

(j)iscussion This routine has been in almost every show I've done in the past five years. It was the
very first thing I created in mentalism, and has been something I've worked on constantly, to get
it to the point where I am excited every time I perfonn it.

The method stems from Banachek's wonderfui routine, a routine I think he should be charging a
lot more for, as to me, it is priceless. It is essential you fully understand his routine and feel
comfortabie with it before moving on to this.

The following explanation will break the routine up into its individual stages, and explain how
each works, why each is important to the structure of the routine and then the scripting for
stage.

A section of the routine does depend on Dual Reality. I don't want to go into too much of a
discussion on this technique right now as I am currently writing a book on routines which use
this technique and all its uses, however I consider Dual Reality to be when two effects are
occuring at the same time. While one may be stronger than the other, at no point do either
portion of the audience feellike they are a 'stooge' as they still have an effect occurring.

I ntroáuction "How many of YOll have had the experience where you 've been watching
someone cutting up food, and they accidentally cut their finger. Now because they are talking to
YOll at that moment in time, they don 't notice its cut, however YOll do and YOll jlinch. ft's as ij
YOll can actually feel the pain they are sllpposed to be feeling. ft 's not llnti! they look down they
begin to feel the pain, and when they react, YOll stop feeling itl? This has always really fascinated

me becallse it is one of the c/osest real

life experiences I've found where we send a though unconsciously from one person to another,
so we 're going to try it now. Don 't worry no one wi/I be getting cut!"

:A1.et/iod Opening of the Routine: The opening involves having everyone in the audience hold
both hands out in front of them and close their eyes. Using genuine suggestion, you will have
them imagine that one hand is getting heavy, and the other is getting lighter.

The only way to do this is try it. Even with friends and family, have them close their eyes, and
really imagine one hand is getting lighter. The more they relax and concentrate on it, the higher
and higher it will get. Ifyou've never tried this before, I encourage you to stop reading this right
now, close your eyes and give it a go.

As for the hand getting heavier, it works in virtually the same way, however you also have the
bonus of gravity tiring the hand, so it will naturally fall down anyway. The fact they are also
telling their mind to make it go lower, it will.
I seriously encourage you to try this on yourself, friends and family fITst.You will be amazed with
the results and become more confident when opening the routine with it. The only important
part is to emphasise that the person imagines it clearly. The more detail you add to it, such as
the colour of the balloons lifting their hand, or the size of the weights dragging their other hand
down, the easier it is for their mind to think it's real, therefore comply with what it believes to be
happening and react in the way you are telling it to.

It's important to choose someone whose hands have moved a fair distance apart for the rest of
the routine. While I tend to use a guy, which does benefit the rest of the routine, it will work
with anyone. So why is it important to add this step in? WeIl the person you are using has now
already experienced something incredible, and as such is open to anything else you wish to
demonstrate. They will also conform to what you ask of them.

Furthermore you have just included the full audience in the routine, changing this from a micro,
to a macro effect. Now everyone feels involved, and are interested to see what happens next
making for an attentive audience.

Stage 2: ~ow that you have selected the person, and brought them on to the stage, you ask them
their name and make them feel comfortabie. They stand side on to the audience, hold one arm
out in front of them and close their eyes.

It is important they are stood as shown below, although you could use a mirror image if that
feels more comfortabie.

Spectator

... Audienee

Performer

I would like to draw your attention to the fact the only one of the spectators hands is raised, the
other is still by their side. You also only need to use one hand for this, so your other hand will
naturally be at your side.

The summary for the method at this point, is that you are going to secretly be touching the
spectator's other hand. You will be using the complete misdirection of the extended hand
making motions, to keep the attention away from their other hand. You also have the fact that
their other hand is shielded by their body to assist you in this process.

6
I mentioned I use a man for this, which is due to the fact they tend to be slightly larger, and
usua11ywearing some sort of suit jacket which further helps to shield this. The angles on this are
fairly wide, and whilst I tend to do this on stage with the audience a11in line, I have also done it
almost surrounded, and because a11the attention is on the other hand, I've never let it worry
me.

Obviously the scripting is key, as without it, this would just be an instant stooging effect, which is
fine ifyou are happy doing that. I prefer the fo11owing.

Once I have the person on stage, and have introduced myself, I position them as I say

UIwould like you to keep your eyes shut al! the way through this, and keep your arm here, as this
helps build up the connection further between you and everyone else. This is becallse in a
moment you 're going to begin feeling a few things around this

area here...

"

As you deliver this last sentence, you're doing two things at once. From the audience's
perspective of things you will use your left arm to drawattention to the person's extended right
hand, but at the same time you will be taking advantage of the position in which you're standing
to touch the back ofthe spectator's left hand, which

is by their side, with your right hand. The audience won't be able to see your right

I :..0=.:3S its being blocked, and the spectator won't see your left hand as they have ~~.: ~yes
closed.

~ :-cu say the line regarding them feeling things, you are actually tapping them on :.:.eG"!eft
hand, however the audience will not see this as they are situated at the front 3::d dIe spectator's
body will hide this.

"Sow obviously its impossible to see what 's going on, but we will see ij what's happening can be
pieked up on...and notiee that 'Steve's' eyes really are shut"

_-\.5you deliver this line you are going to be looking at the spectator, in this case .Sreve', so they
will assume you are talking to them, as they know its impossible for anyone else to see what is
going on, although you also mention how the person's eyes a.re closed. The audience will
assume by this statement you meant that because his eyes are shut, he won't be able to see
what is going on, and you looked at them to ensure their eyes were closed.

"In a moment Steve, Y0lt 're going to perhaps feel something around aboltt here. I want you to
really eoneentrate on it, as the more Y0lt do the easier it will be for others /0 piek ltp on how it
feit to YOlt. Don 't say a word, jltst focus on what it was YOltfeit. And like a moment ago, when
YOlt all had your arms out in front of you, we 'u see how weil this goes.

"

Again this reinforces the idea to 'Steve' that it's about everyone else picking up on what he is
feeling, as weIl as the first phase making perfect sense now.

As I deliver the line "feel something around here" I gently touch his left hand with my right,
which is aH hidden, however at the same time, I drawattention

to his

outstretched arm with my left hand for the benefit of the audience. As his eyes are c10sed he
win have no idea you're doing this, and as the audience are watching this arm, they have no
reason to look anywhere else.

I now synchronise my actions. My left hand is clearly seen going above the extended right ann,
however at the same time I also squeeze their left wrist gently with my right hand and once I
have done both of these I step back slightly from them.

Stepping back slightly also allows you to see where their left hand is positioned using your
peripheral vision, so you never need to directly look. This will allow you to aim where you place
your right hand.

''Now 'Steve', yes or no, did you feel something on your arm there ? "

They will obviously say yes.

''Now please teil us what it was you feit happen to your arm.

"
The fact you refer to them feeling something in their arm will stop them blurting out which arm
they felt the sensation in as you have asked a closed question. Using the word arm in this way
causes your spectator assume that everyone knows where they are meant to be feeling these
things, reinforced by the earlier statement "you're going to perhaps feel something around
about here".

For the effect to make complete sense to the spectator, who has their eyes closed, you will ask
the audience who was able to pick up on what was happening.

"Was anyone else able to piek up on what I was trying to make Steve feel here?"

Clearly you will get a number of people saying yes as they all clearly seen you make the motion
of grabbing his wrist. This also helps to reinforce in the spectators mind that this routine is about
the audience trying to pick up on what it is they are feeling, as they know it wiJl be impossible
for them to see it actually happening.

You will often get people stating that they could actually feel it, and I have made a big deal about
this, and then state to everyone else that it could be as minute as a tingle.

r -::1ä...~ I

say "feel here" in the above statement, I also point to his outstretched ann

~~~