Brown Derren - 7 Deceptions by Luke Jermay 02.pdf

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Derren Brown
by
Luke Jermay
Contents;
Reversed Gestalt Moment
Cold Emotion
For Andruzzi
Manipulation of Perception
Silence is golden
The 7th Deception
Reversed Gestalt Moment
Effect:
The performer shows a spectator a playing card - which is then shown to the
group and placed face down on the table top or another spectator can look
after the card if they so wish.
The spectator who first saw the card is asked to extend her first finger, the
performer places great focus on this, he then takes a deep breath and
touches the spectators first finger with his own. He then asks the spectator to
name the card they saw. The spectator looks around with a dazed expression
on her face and can not seem to find the name of the selection. She remains
confused and when the card is turned face up is even more so. She will
never remember the name of the card she saw.
Derren Brown's secrets
Method:
This effect is not a pipe dream! I do it, more importantly I do it regularly. It
combines some sneaky sleight of hand with some even sneakier
psychological trickery.
The basics of the “technical” method is a simple double lift. You begin by
cutting two contrasting coloured cards to the top of the deck and then
performing a double lift and showing the card(s) to one spectator without
allowing anyone else in the group to see the face of the card. You then
square the card on the deck and remove the actual top card and show this to
all. This card is then either given to some one to hold or as I do placed face
down on the floor in front of the spectator or on the table top in full view.
You next cause the spectator to forget the name of the card they saw using
some psychological direction:
This is very similar to what Banachek calls “Remedies or the Old Witch
Doctor” in his landmark “Psychological Subtlies”. It is similar in the fact that
the spectator must firmly believe in your confidence. You must appear self
assured and confident, for the effect to work.
Basically you will place so much focus upon the first finger being extended
and your touching it that the spectator will assume it had to have taken some
effect. This also places their focus away from the card.
You next ask the spectator to name the selection as you do so, you wave your
hand at their eye level a few times. This will confuse their thoughts further
and help make the time delay longer. I suggest a left to right movement for
them in other words, from your right to your left but their left to right, it is more
confusing that way.
Spectators have trouble remembering cards at best - with this theatre added
in and the next trick, a visual distraction designed to confuse them further will
have the effect of rendering them “forgotten”. They will struggle to name the
card. At this point they will only struggle - but will, given a minute or so begin
to remember things about the card. The first thing will be the colour. But
thanks to the combination of the double lift and the psychological work their
train of thought is totally blow out of the water - as they begin to remember the
colour of the card all those around them will disagree (remember the group
saw a different card to the spectator) I then also disagree and turn the card
face up to reveal a (for example) black card. This will now throw them deeply
into a confused state. And will usually argue hard they saw a red card. This
is great, the group will argue back that they defiantly did not. The effect is that
the spectator totally forgot the name of the selection.
Above is the basic method for the effect which when performed in a confident
and theatrical way will work 100% of the time with great effect. Let us now
take a look at the language used in the opening of this effect that will subtly
implant the idea of them forgetting the name of the selection in the first place:
“Lesley would you mind helping.....fantastic. We are going to ‘steal a thought’
rather than just reading them. Don’t worry nothing important just the name
of a playing card . Is that OK with you? It will not hurt one bit and will do
nothing but totally erase the memory of the playing card . It will almost be
like one of those old films, you know when a scene has been cut and it just
jumps from one thing to the next a little confusing but bear with me ”
The text in bold is delivered while maintaining eye contact with the spectator
and with a slightly stronger tone to it. The above wording helps to implant in a
subtle way some very important elements critical to the effects success. It
implants the idea of her being confused, something that will be massively
important in a moment or two and also tells her that it is OK for her to be
confused. Now have the spectator remember the card (double lift see step 1)
and show it to the entire group and place it down on the table top.
“Now I want you to just relax and remember how easy it is to forget things.
We will remove that memory of that card now. Would you mind just raising
your first finger and pointing it toward my own?”
The words “that card” are used to induce a magnified feeling of isolation from
the cards identify that will further help in confusing the spectator. Next I take
a deep breath and extend my own finger and touch it to the spectators after
very slowly edging it toward hers. I leave it touching for a second or so and
then continue:
“ Now (snap other fingers) what was the name of the card you remembered
to forget ...out loud what was the name of that card. (waving hand gesture at
eye level to further confuse) out loud now ”
The above wording helps place the spectator under pressure and will ensure
they are further confused. The hand gestures in an arc at the spectators eye
level two or three times. You now for a moment or two remain totally silent
and stare directly into the eyes of your spectator. She will too remain silent
and have a very confused searching look about her face.
She will usually after around a minute or just under say something along the
lines of:
“I know it was red.....”
At this point the group who are understandably impressed will inform her that
it was not. This is the clinching point of this effect. By the group disagreeing
with her (when in fact she was beginning to recover her true memories) she
will suddenly be further confused and begin to search for new ones. At this
point there is no thought of the actual card she saw. She will struggle for a
while at which point I say:
“You can’t remember can you? Take a look....same colour....same shape we
won’t be to picky. Thank you very much for helping. You were great”
The final lines may appear to be simply a “cute” way of finishing but in fact
they are more. They are a subtle way of informing the spectator that she did
very well and has nothing to feel bad about. And also reinforces the idea of
the card she saw being of the colour of the card on the table.
Comments:
I first revealed the full handling of this along with some other of my other work
in a book written by Kenton Kneeper entitled: Miracles of Suggestion.
I am very proud of this effect - it works well and has an amazingly clear
appearance to the group at large. It has strong theatre inherent in it. Next
time you perform some mentalism throw this number in and see what a
reaction it can get.
With this effect the words are almost the entire method. I have incorporated
many established ideas from the likes of Kenton Knepper and Doc Hilford to
name but a few.
Try this - give it the theatrical staging and presentation it deserves and you
will have an effect that will really leave them talking.
Cold Emotion
Effect
A group of blank cards are shown - on their faces is written a wide variety of
emotional responses. Words that evoke a highly enhanced emotion reaction
due to their semantically loaded connotations. The packet of around 50 are
given a through shuffle and then spread across the table and seen to be
mixed, the deck is squared . A spectator is asked to reach forward and cut to
one, look at the emotional response written on the card and to place it in their
pocket. This is all done while the performer has turned his back.
The performer turns and faces his audience, he asks the spectator to place
herself in a situation she vividly remembers that she associates with the
chosen emotion. She is to “imagine yourself in the actual situation place
yourself in that very room, with those very people, at that very time and try to
allow those emotions all to come flooding back to your conscious.
The performer then goes on to name not only the chosen emotional response
but the very scene the spectator is envisaging.
Preparation:
You will need to do a little handy work before this effect will be “ready to roll”.
Begin by getting yourself a double blank deck. Write down 26 different
emotions. These most be emotions that have either conflicting emotions or
associated ones. For example if you were to write Love the
conflicted/associated emotion would be Hate. It is in this way you will
construct an entire pack. The pack will consist of 26 cards with emotions
written on them, and then another 26 cards with the conflicting/associated
emotion written on them.
Take the conflict pile and from the short edges of the 26 cards trim a small
amount. Now arrange the all the cards in their pairs. For example place the
normal Love card with the short Hate card and then on top of this place the
normal Pride card followed by the short Embarrassment card. You will now
have a pack of cards with emotions written on their faces, which is arranged
in pairs (Love/Hate) which will in a moment be handled in the very same way
as a Mete Tekel Deck would.
Performance:
1) Begin by removing the pack. Patter about the loaded semantic quality of
each of the words unashamedly emblazoned upon the cards for all to see.
2) You all the while appear to be giving the pack a casual in the hands riffle
shuffle. You will in fact perform a false shuffle that will rather conveniently
leave each of the cards in their respective pairings.
3) To do this simply give the deck and in the hands riffle shuffle with the
writing side uppermost. Due to the secret preparation of the deck the pairs
will remain in tact. This is due to the Burling Hull Svengali principle. In fact
the deck can be handled in the exact same way i.e. shuffle, fan, dribble etc.
4) Next square the cards and have the spectator cut the pack. Look at the top
card and pocket it. Have her complete the cut during this action.
5) She will naturally cut directly to one short card, leaving the other card of the
original pairing to go to the bottom of the deck. You now turn to face them,
pick up the pack and place it into your pocket, it is during this time you catch a
sneaky glimpse of the face card of the pack, then you will know which card is
being hidden due to the original pairing of the cards. It is not hard as there is
no memory involved, just think of the associated/conflicting emotion and your
good to go.
6) All that remains is to use your cold reading skills (clue in the title?) to give a
fairly decent reading of the imagined situation and finally reveal the word.
Comments:
Depending upon your cold reading skills you can focus the effect in different
directs. For example if for some reason your reading is going astray have the
spectator think of the word then reveal it. Thus shifting the failure of the
reading to a high note of the word revelation. I also suggest using
Banachek’s “Brain Game” if this happens.
Also it is fairly easy using plain common sense, guess what picture they have

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