copyright 2008 Television rights reserveredA Professional Routine from Andrew Gerard Effect: Invite a spectator to take your pulse. To ensure there is nothing restricting your pulse, allow them to check under your arms and examine your arms completely. They will agree there are no devices on you. Ask them to find your pulse. When they have it, ask them to snap their fingers along with it... to keep track of your pulse rate. Tell them no matter what happens to you, make sure they report ANY changes in your pulse rate. You close your eyes and begin to breathe deeply and slowly... ask them if your pulse is getting stronger. They will agree it's beating harder. Then close your eyes and ask them if they feel the rate changing... they will say it's getting slower... and slower... and eventually only 1 beat every few seconds, and then it speeds back up to normal and goes faster and faster. Then the performer turns his attention inward and has a self-induced attack! This is “cardiac arrest”! The performer takes a deep breath and holds it and his pulse stops... after a few seconds it eases back to normal. WARNING: By purchasing and performing this routine, performer accepts full responsibility for outcome to both themselves and audience. Andrew Gerard accepts no liability whatsoever.THE ROUTINE When performing this effect it can seem so real it can evoke strong reactions from audience members and volunteers. I make no real claims to my audience, so when they watch the effect they know it's a performance by a mentalist. Know your audience. This routine is actually backwards compared to others in print and makes sense to an audience, as you will see. Normally a performer slows his pulse to stop it but in this case, you speed it up and stop it. Here we will look at the routine broken down into sections as follows: Who should be taking your pulse For Stage The first obvious thoughts on this would be that a nurse/doctor would be perfect...but let's look at this from a performance point of view. I have performed this on stage for over 10 years and from my experience, these people ARE the best for TAKING your pulse, BUT not the best for the audience to relate to... A medical professional, although fooled by how you are doing it, will not react as strong on stage as a layperson, as they are aware of the reality of the circumstances... and it is THE VOLUNTEER'S reaction that will spark amazement from the audience. The ideal person for this is a sober person that speaks/understands your language, and instructions. Females tend to be more comfortable as men may feel strange holding your hand (the reverse if you are a woman). For Cl Again I feel a female is better for close up to take your pulse. Try to find someone that will react, but not too exited... the more apprehensive the better... as an excited spectator may bring light to the situation that you are trying to present seriously. In either case it's theatrically best if YOU are seated and they are standing to your right. They will take your pulse from your right wrist. Although these seem like minor issues, they aren't. Copyright 2008 Andrew Gerard ; 2 of 7 f fAcquiring the pulse You will save a lot of dead time by getting your volunteer to accurately acquire your pulse by following your instructions...offer them your right hand palm down, with them on your right, place their left hand on your wrist. Be silent for a few seconds and TELL THEM "7 want you to FEEL MY PULSE. Do you FEEL IT NOW?” If they should respond “No” you can respond with "well I am not dead yet!” This gets a mild release of tension and more importantly lets the assistant relax and takes some pressure off them. Follow with "thats OK this is hard to do under pressure, for me too”. Follow up with "you FEEL IT NOW right?” They will now agree they have it... ask them with their right hand to snap every time the pulse beats (I use the word “beat” here to associate it with the heart, even though a heart beat and pulse rate are different). If they cannot snap their fingers give them a pen to tap on something. (The point is you want an audible click here. Please do not have them simply wave their hand in the air, that is inaudible, and they will be distracted when you speak to them and stop... it's like the old pat your head and rub your tummy thing, keep it audible). At this point they will be taking your ACTUAL pulse. Strengthening the pulse This is the first stage of deception where you will mirror your ACTUAL pulse with a simulated pulse. THE SIMULATION TECHNIQUE: Done with the right hand in a LOOSE fist and slight pressure from the and and 3d fingers together (very light pressure) onto your palm. No visible movement from the hand is needed (SEE FIGURE 1). FIGURE 1 As they are snapping to your actual pulse, start off by simulating every third beat for 3 times, then every second beat for 3 times... then every beat. This really feels as though your pulse is strengthening. You will ask them "Do you feel it getting stronger NOW?” Once they agree your pulse is beating strong they will be Copyright 2008 Andrew Gerard i 3 of 7desensitized to your actual pulse. They will be looking for the strongest sensation they feel which is now the simulated pulse... that you have complete control over. Slowing the pulse You may now slow your simulated pulse until there is only a beat every 2 or 3 seconds. Stating as it slows "Y wil/ now be focusing on my heart rate and it should start to slow down...” The snapping fingers will confirm this. DO NOT stop your pulse here, this will look like they have just “lost it” and it's unclear as to what's happening, and sometimes they will claim they still feel it, even if they lost it. They will think they are helping you! Slowly speed your simulated pulse up again back to normal. Quickening the pulse Then state "/f J concentrate on the exact opposite of what you have just seen my heart should start to beat faster and faster, just as it would if I was going into Cardiac arrest,........ basically this WILL BE a self induced heart attack.” As you are saying this start to talk a bit faster and breathe heavier... when the simulated pulse is racing and you feel the spectator is having a hard time keeping up, (you can only snap so fast!) take a deep breath in and hold it with your mouth open (imagine a movie where a dying man takes his last breath), and now STOP your simulated pulse! (There is a big line drawn in the sand here as you just went from breathing heavy, talking louder and faster, snapping, a deep breath to... NOTHING, DEAD silence.) Hold your breath for as long as dramatically possible while simultaneously pressing your inner arm to your air filled lungs. The pressure from your lungs combined with the tension of the muscles actually restricts the blood flow, leaving no chance for a spectator to feel anything. Then exhale and bring back your simulated pulse to a normal resting rate. You should feel slightly light headed from all the breathing. Use this real state to your advantage and let them know how you feel... this is incredibly real. Once while working in Cancun I was performing this routine during my show at a resort and passed out from the deep breathing combined with the heat and stage lights! I can tell you the rest of the week this was all people were talking about. I awoke on stage with people calling for paramedics, even though I was aware of what happened I re-collapsed while getting scooped up off the floor on purpose... Copyright 2008 Andrew Gerard 7 40f7 fBONUS ROUTINE FOR ACQUIRING THE PULSE PULSE MARK This routine was inspired by a routine called “Heart Beat” by E.B. Surty which involves a stethoscope and marking people with grease while legitimately blindfolded. You can find in Sam Dalal’s “Swami Mantra”. The following routine may be performed informally or turned into a showpiece for a stage act. I have used this routine for a long time and it has never let me down. I hope you enjoy Pulse Mark. The performer starts off by stating... "The one thing we all have in common is a heartbeat, and a pulse. But, did you know that every person has a distinct heart beat? It's very slight, but true. I have practiced identifying different pulse marks over the years... let me show you.” Ask for 3 people to take part in a test of your abilities. Line them up and take a mark of their pulse. Do this by asking them to extend their right arm and turn their palm down (the same position as they take yours in the above routine) and by gently squeezing their wrist act as if you are memorizing their pulse mark... Do this with all 3 people. Then state ..."OK J think I have your pulse marks memorized... I need to use something for a blind fold...” Ask to borrow a bandanna or scarf of some kind to blindfold yourself (I wear a bandanna out of my back pocket when I do this... or any blindfold will work fine here). Ask the people to stand behind you and mix themselves up in any order they wish while you are blindfolded. At this point I ask them to decide which one will be the person whose pulse I take while blindfolded... I ask the person to step forward and to extend their right hand as before (I try to have them come just behind me and to one side). As they do this you will simply look down your nose through the space provided by the blindfold and note the shoes or pants of the person whose pulse you are taking. It’s important here to just take their pulse with 2 fingers, as you do not want them to think you are trying to feel the size of their wrist etc. to identify them. After you have “memorized” their pulse you may announce who it is. Repeat again with a second person, although 9 out of 10 times the same person steps forward which makes for a great ending. Copyright 2008 Andrew Gerard oo Sof7 fAlternative ending- In recent years I have on occasion done the following, just for stage, where I want to reveal the person with the blindfold off so the audience can see me properly. I ask the 3 people to mix themselves up behind me and have one person step forward. I take their pulse blindfolded and ask them to step back and mix up again. I then remove the blindfold, and for the first time, take all their pulses, announce I think I have it, write down the person’s name on a big pad with a marker and ask the person whose pulse I took to step forward, then turn the pad to them and the audience for applause. Thoughts, This routine I have shared with you I have performed as a professional entertainer for over 10 years... 1 am getting old! It has played for corporate audiences very well and gives a legitimate feeling of mind/body connection. I hope my presentation structure suits you well. All the Best Always, Andrew Gerard Copyright 2008 Andrew Gerard . 6 of 7 fBACKGROUND This routine, presentation and method were devised by Andrew Gerard in 1996 and have never before been in print by the creator. Some of the methods have been discovered in part, but none of the details have been noted, until now. As a hypnotist I was first introduced to the idea of being able to control your heart rate 15 years ago while reading from 7he Encyclopedia of Stage Hypnosis by Ormond McGill where the hypnotist slows and stops his pulse and then does the same to a spectator! This got me interested in every way possible of dealing with this effect. First off the most broadly known technique of using something jammed in your armpit (i.e. a small ball) would restrict the arteries and the pulse would vanish by squeezing the ball. In Scarne’s Magic Tricks (page 225 of Pulse Control) Scarne details a routine where he stops his pulse, then that of a spectator using said method. The McGill method used only hypnosis and suggestion, a method rediscovered by Luke Jermay. I have always been a big fan of gimmick free mentalism and more so a foolproof method. Credits and Notables: Over the years there have been a few routines published on the subject, although this routine is different from all of them, and uses more than one method, I feel we must note those who paved the way for us to create: Tony Andruzzi — Inspiring and wonderful man. Ormond McGill - The “dean” of modern hypnosis. Notable pulse effects: Luke Jermay — A man too smart for us all, and a good friend. His wonderful routine is a thing of beauty. Wayne Houchin - Although Wayne was aware of my routine 3 years ago, I believe he created his method independently. Wayne's routine is titled Contro/ and follows the traditional theme of pulse stopping. Scott Xavier — A routine called Dim Mak in which Mr. Xavier kindly credited me, so I shall do the same. Copyright 2008 Andrew Gerard a 7 of 7 { fvite a spectator to take your pulse. To ensun " there is nothing restricting your pulse, allow them to check under your arms and examine ~ "your arms completely. They will agree there are . no devices on you. 4 k them to find your pulse. When they have it, "ask them to snap their fingers along with it... to keep track of your pulse rate. Tellthemno — _ matter what happens to you, make sure they report ANY changes in your pulse rate. You close your eyes and begin to breathe deeply | | and slowly... ask them if your pulse is getting Stronger. They will agree it's beating harder. | Then close your eyes and ask them if they feel _ the rate changing... they will say it's getting slower... and slower... and eventually only 1 beat” every few seconds, and then it speeds back up 4 to normal and goes faster and faster, Then the | performer turns his attention inward and has a WARNING: By purchasing and performing this routine, performer accepts LiL C= C0110) ACO OO) Co) n TACO Oe) LUN X=) SLT) audience. Andrew Gerard accepts no liability whatsoever.