A Place and a Colour - Consultthemind1

(Magic Cafè, regarding Emma Wooding - Tha umanistic response)

Here is a quick, simple and yet surefire version of the same divination that is surefire.

You can use this as simple work around when using the one-ahead, (I will attempt to keep this
brief) say to the spectator “We are going to create a conversation between our minds, of course
I’ve done this before and other than someone you know casually giving you a look from across
the room and you knowing their thoughts in that moment I’m going to assume this is not
something you practice.

I’m going to attempt to hear your thoughts and I would like you to attempt to hear mine. Don’t
worry though I’ll keep mine relatively simple, I’ll think of a simple colour and I want you to think
of absolutely any place in the world.

We will start with your thought, imagine physically hearing your own voice say this place over
and over again inside your head”.

Apply your “reading process” here and write down “Red - Blue” (of course the spectator believes
you’re writing the place) the reasoning for these colours will become apparent later.

“I’ve committed to the place that I believe you’re thinking of, I got the impression that you
changed your mind on the place at the last moment. What place did you settle for?”

They say the place.

Move on -

“Look at me, and now imagine my voice saying a colour to you. The first colour that comes into
your mind you must stick with. If you question the instinct that that sits here (touch your
stomach) you’ll be wrong. Let me write down the colour I’m thinking of, in-fact I’ll give you a
little leeway I’m going to write another colour also”.

The reason for the last line (about writing another colour) is that it appears you had “that”
thought at the last second and you are acting upon impulse in that moment. This is a
“psychological convincer” as it creates a linear narrative for the ordering of the slips in your
spectators mind. They will never question the order of the slips when they open them and see
the two colours and it shows how something as small can be important as now this has killed the
only feasible method to the routine. That is not the only reason writing 2 colours is important,
more on that -

After you have written the place (remember the spectator thinks you’re writing the colours) ask
the spectator what colour they went for. You now have three chances of hitting. If the spectator
chooses red it’s a hit, blue it’s a hit and if the spectator says purple you can claim that the
participant must have picked up on the two colours and mixed them subconsciously. These cover
both the most “psychologically appealing” choices and a third “chance” choice. Incidentally the
anagram (in Emma’s propless routine) only allows for 3 colours anyway! If the spectator doesn’t
go for your colours simply state, “I did say go with your instincts, be honest did you change your
mind?” If they admit they did, then ask them what from to open up the chances once more. If
they say they didn’t change their mind, look slightly (don’t go overboard) like they might be
wrong (imagine the look you’d have if breaking the news that someone had failed a test) and say
“do you instinctively believe you have got the right colour?” Of course the chances are if you
deliver this line correctly the spec will say they do not believe they said the right colour now use
“psychological timing pressure” and say “name the first colour that comes into your mind now”
apologise for the pressure but assert that the best way to unlock someone’s instincts it’s to not
let them question their own thoughts.

There is a safer option -

If you are worried about the psychological force of the colour hitting you can use this as a work
around - Omit mentioning the line about the spectator thinking of and sticking with one colour
and when it comes to the colour portion (of the one-ahead version of this routine) write
whatever colour you want to force (I recommend writing either blue or red). After writing the
colour (which the spectator believes is the place) say to the spectator “Name a colour for me” if
they say your colour you want go no further, you move to the end of the routine if not, quickly
follow with “we will create an artists palate so give me a few more”. Wait till you you hear your
colour and then use equivoque to ensure a solid outcome.

Please though, don’t think I am saying the above routine (I just shared) is new, fresh or
particularly original - It is not even terribly exciting. It is however logical, and my added touches
and patter make it feel fair.

The common pattern (when using a one-ahead is to have 1 (or two) totally random pieces of
information and then one piece of information that’s incredibly restrictive. The way I detailed
the above routine there is a logical reason for the smaller piece of information being in play and
it seems fair now.

As a naughty FYI, if something goes completely wrong with the colour for whatever reason, the
spectator is the one who will fail as they’re guessing the colour and in no way does it seem like
you’ve missed anything as the information you were aiming for you hit. If you state there is no
guarantees for them and this the opening routine you can always later let them get close to say a
playing card and for the final routine in your set give them a billet, tell them you are transfer
something into their mind it could be a place, a name, a number or anything really and when
they think they know exactly what it is you’re transmitting to write it down.

You use a peek, there is no heat on the billet as they’re the one being tested. You can now call
for the biggest round of applause of the night if that spectator has managed to after practice
learn how to do this. Write down what you peeked ask them to open it and let everyone do their
thing. “This” becomes a reoccurring narrative throughout your set now and the audience always
respond well to these moments. Think of how a comedian has reoccurring jokes at the least
expected moments.