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Telekinetic Coin

In document Bill Montana _ the Mystic Orb II (Page 40-56)

Effect

You move a coin with your mind. The whole effect happens in the hands of a spectator. You touch nothing. Everything can be borrowed. You can even be across the room! The Effect is Self working. The Telekinetic coin is also great for psi parties and group gatherings.

About the Script

Contained below in this manuscript on the Telekinetic Coin is the basic script I use when performing this effect. The actual script I use depends on the type of group I am performing for and the script presented here for this effect is suggestive only. Please keep in mind that this is only a basic script to used illustrate the workings of the effect. Please take the time to create your own patter for this work. You may use my ideas for patter if the suit you.

It is important to mention that when a script for an effect comes from the person performing the said effect instead of the person who created the work. It will sound better, be more original and have more impact upon an audience than reciting someone else’s lines. This copying of someone else’s dialog is an all too common problem in mentalism today and the reason I do not release my full scripts for an effect except in rare cases.

Performance of the Basic Effect

“I would like to show you a presentation of “mind over matter or

„telekinesis.”

“Telekinesis is defined as the ability to move an object with one‟s mind.”

“I need to borrow an empty bottle and a coin.”

“I will not touch any of these objects during the presentation of this experiment. I would like you to set the bottle upon the table so that it sits

right side up. Please dip the penny in this glass of water to remove any

“dirt” or “other people‟s energy” from the coin, and then set it on the mouth of the bottle so that the penny completely covers the hole.”

At this point, I back up so that there is no chance that I can blow on the bottle. This effect may be done from across the room.

At this point I begin to concentrate on making the coin move.

“I would like you to hold the bottle very still so that there is no way I can move, touch or mess around the bottle in anyway.”

In a few moments the coin will start to jump. You may have it jump more than once if you desire.

“Thank you. You may keep the coin and the bottle as a souvenir.”

Methodology

For this effect you will need a glass of water, a coin, and a bottle (such as a beer bottle or any bottle that will hold a coin).

This effect is totally self working and will work with coins of various dominations from around the world. All you do is perform this effect to the audience. That’s it. The secret is in two parts. First you need the coin of almost any domination to be wet. Have your participant dip the coin in some water or other slow drying non sticky liquid. Advising them it is to remove any dirt that may be on the coin or if workings at a psi party tell them it is to remove any energy from other people whom have came in to contact with this coin.

Once the coin is wet and applied to the mouth of the bottle, it will form a seal. Then when the spectator holds the bottle, the heat that is generated form their hand will warm the air inside the bottle. When the heated air starts rises, it causes the coin to jump slightly. The coin will jump as long as the liquid seal is intact. The coin will also jump every couple of seconds.

The power of this effect is the fact that you touch nothing. Your audience will forget they washed or got the coin wet. This is done with timed vocal misdirection.

Later on when they try to repeat the experiment for a friend it will be with no avail.

The only other thing I would like to add is that you do not let them dry the coin off. If you do the effect will not work. Your instructions and the tone in which this effect is presented to the audience and the participant assisting you with this effect should be that of audience management. This will enable you to get them to lay the coin on the bottle as instructed. Here why, it is because you have not challenged them nor have you given them any reason to challenge you. They are only helping you with this test. Since you will not be touching anything, they already think you may fail in most cases. It is this disbelief that your audience has that will enhance the overall effect. You do not need to tell them that this may not work. They are already think this anyway telling them this is redundant at this point.

Further Explanations and additional ideas.

When the bottle is held in a normal manner the heat from the hands will cause the air inside the bottle to rise up. When this warmer air begins to rise it will find the path of lest resistance and escape from under the coin that is sitting on top of the bottle resulting in the coin to jump or move.

The type of bottle that you will want to use can be almost any bottle that will hold a coin on the top of the mouth of the bottle. The coin should be slightly smaller that the outer glass of the bottle’s mouth. If the coin hangs over the mouth of the bottle it will not look as good visually.

For example: one bottle may hold a penny or other small coin nicely just inside the lip. While a bottle such as a twist off Budweiser bottle will accommodate a quarter lying on the top of the glass bottle. The only

difference in the way one coin will work from one of different domination is the amount of time it takes for the air pressure to build up inside the bottle.

Try a few different bottles on your own so that you will know what bottle will work with which coin. This will also allow you to ask for a particular coin by name.

The only other thing that I suggest is that you do not have the spectator hold the bottle until you are ready and focused. Here is why. If the spectator is holding the bottle and your not ready or have not begun the test it will go off and jump or move too soon and ruin the effect.

If the coin or the mouth of the bottle is dry the effect will not work.

This effect is so good you can you it at a psi party. Instead of performing a demonstration of your abilities select two members from the party and have one of them hold the bottle and the other move the coin with the power of their mind.

Another variation of this for use at a psi party is to have one person hold the bottle and have the group as a whole try to knock the coin off the bottle. This sets you up for something very interesting. While the spectators were trying to knock the coin off of the bottle it jumped a bit. In fact it jumped several times but they could not get it to fall off the bottle. Here is a line I use when performing this variation of the effect.

“With a bit more practice I think you may be able to one day knock the coin off the bottle.” Try this again at some point in the future when you have a bottle and a coin.”

A question sometimes arises is why have someone hold the bottle in the first place. Here is a good solid answer to this important question. “I have a person other than myself hold the bottle to insure that no foul play is going on.”

This is a great effect in that the props used are totally un-gaffed and

everything can be examined before and after the test of your mental powers of telekinesis.

The last thing I wish to say is about presentation of this effect. Take your time with it as there is no reason to rush this effect. This Telekinetic Coin can be played big or small. It can also be performed close up on from a small stage.

Bill Montana’s The Bell from Hell

The Bell from Hell is a psychological spirit bell effect. That only the participant can hear the bell’s ring when their question is answered

from the grave.

This effect is eerily diabolical in its methodology and is written for the advanced performer with considerable knowledge of audience management.

Younger performers should not attempt this effect until they have more experience and a basic working knowledge of audience management as the topic of audience management will not be covered in this manuscript.

Audience management is something that is best learned the hard way through live performances in front an audience.

Furthermore this effect must be performed and performed well not merely demonstrated to achieve the desired results. Simple demonstrations of this

effect may and usually not produce results.

This effect uses a simple ungimmicked wood and brass hand bell and a length of string or cord to perform this effect. Nothing else is needed but the details listed in this manuscript.

This effect does not use a gimmicked bell or ideomotor to achieve the results.

With your purchase of this effect you are herby given all performance rights including television and film. However you are not given the right to expose the inner working or the secret of this effect to anyone in any form now known or in a form yet to be created. If you would like to buy the exposure rights of this effect the price is $1,000,000.00 United States Dollars.

Never reveal secret of this or any effect to anyone under any circumstance.

Here is the effect in an abridge form as it is being described from the point of view of a participant after the fact.

The performer explained to me that together we will attempt spirit contact. In the form of a question and answer session using a wood and brass hand bell and that we will be

attempting to receive the answer to my question from a spirit.

The performer rang the bell and then tied a length of string around the bell so the bell could be hung. Then he had me extend my arm and hung the bell off my finger. Then he removed the clapper of the bell as it was hanging from my finger.

He now explained to me how the spirit would answer my

question. He said the bell would ring once for yes, twice for no, and if the spirits were undecided as to an answer for my

question it would not ring at all.

At this point he asked me to ask my question silently to my self as if I was offering it up in the form of a prayer. Then he asked me to relax and focus on the bell as I wait a response from a spirit willing to answer my question.

A short while layer I heard the bell ring with an answer to my question.

The methodology for this spirit bell is derived from how our minds perceive and evaluate incoming data. When we see or in this case hear something we have never seen or heard before our minds begin a process of evaluation of the data just witnessed. It is in this process that we will exploit to our benefit to get the person to hear the bell again in their own mind.

Example, the first time we saw a duck, we did not know it was a duck until a family member told us what it was. The same thing happen when we heard the ducks quack for the first time. The only difference was that this sound was new. Our mind had to process this information based on what it already knew to be fact. Our mind knew that we were looking at a duck but it was unsure as to the sound it made. So our mind at this point is forced to reference this sound and catalog it in a section of our mental file cabinet under duck.

Now this process is involved and happens very quickly.

In a relaxed state any new information that is not fully processed will be recalled in one form or another. While this happen mainly in the dream state when we are sleeping. It does and can occur in the awake state, especially when dealing with sound. In the bell from hell I will show you a method of how to trigger this recall process that will result in the spectators perceiving the ringing tone of the bell in their own mind and they will attribute this ringing to an entity form the spirit world.

If it walks like a duck and quacks like a duck it must be a duck?

Are you sure it’s a duck and not something else how do you know it’s a duck?

You know it’s a duck because your mind has processed this information many times in your life so you are positive it’s a duck.

This is why we use a brass bell. Brass bells all have a similar but different tone. No two are ever exactly the same. This is also true of symbols from a drum set. Although these items may look the same there will be subtle differences in the tone of each and every bell.

This will create the above situation I spoke of with the mind and how it interrupts data.

The key here is to keep the subjects mind occupied either with words of visual images to prevent a relaxed state that will trigger recall of the sound due to the identification process.

The effect begins like any other of this type with the introduction of a bell and a brief talk on spirit contact or spiritualism. Now the first key is to let the bell only ring once. I mean one single ding. If the bell goes ding, ding the effect is ruined. This second ring will give the brain the conformation that it needs to confirm and process that sound.

If a second ring should occur the chance for a successful effect it slim. The only way it will work now is through suggestion and you better hope you have a believer and not a skeptic in your midst.

Even if the effect does not have a successful conclusion you already have set up an out, one ring for yes, two rings for no and nothing if the question is unanswerable at this time. This out is told to the spectator during the set up of the bell to keep their mind bombarded with incoming information.

There are a few more key points to discus in regards to the bell from hell.

First when you get a bell you will need to adjust or modify the hanger for the clapper of the bell. Since many bells have a different style of hanger for this clapper I will only be explaining the modification for the most common type of hanger.

This style of hanger is made from a small length of wire or brass and is in the form of a figure 8. You must either twist this 8 open slightly or remove a small section so that it can be removed from the post that it hangs from easily.

When this is done correctly it will allow you to remove the bell when it is hung from the spectator’s finger.

When you remove this clapper do not let the bell ring. Grab it with two fingers and remove. Your fingers will act as padding to protect against any unwanted striking of the clapper against the inside of the bell.

The hanging Loop

The hanging loop is easy to make take a length of string and tie two slip knots one on each end. Both of these loops will be slipped over the handed forming a double string that will be used to hang the bell from the finger of the participants hand.

Important note when I am going to hang the bell I hold it underneath by the clapper this way no ringing can occur. My other hand places the loop over the finger of the spectators hand after their arm is extended.

This is an exposed view using a leather cord so you can get a better idea of how the bell is hung.

This inner working of this effect is very simple and for the most part self working.

The key is not let the persons mind relax until you are finished setting up the effect and all the small details have been covered.

This effect can be worked with the Mystic Orb. By having the participant placing the palm of their hand you can add a mystic orb for a little extra spiritual energy. In addition, if this is done correctly they will not only feel the weight of the bell but the weight of the orb. This makes the bell from hell perfect for psi parties and lecture on the metaphysical.

The method for the Bell from Hell is so well hidden that it is undetectable.

One must perform this effect to achieve the desired result. If you only demonstrate it failure is almost guaranteed.

Now you can perform this to two or more people at the same time. If the first person does not here the bells ring in their mind (you have a out in place for that). You can also ask the other spectators who are in attendance to ask a question at the same time the person is holding they bell as some of these may also here its ring. I have done this on many occasions but the

instructions offered here were presented so you can perform the effect and begin the process of understanding that only actual performance will reveal.

You can vary the concept or the presentation of this work to suit your own style. The patter is delivered slowly without pause. Remember if their minds begin to relax the mental ring of the bell will be processed in an instant and they will not hear its ring. When this effect is done correctly they will always perceive a yes answer to the question they asked and in doing so it

You can vary the concept or the presentation of this work to suit your own style. The patter is delivered slowly without pause. Remember if their minds begin to relax the mental ring of the bell will be processed in an instant and they will not hear its ring. When this effect is done correctly they will always perceive a yes answer to the question they asked and in doing so it

In document Bill Montana _ the Mystic Orb II (Page 40-56)

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