Small subtleties

By Luke Turner

©Copyright 2021. No part of this pdf may be reproduced in any form without written permission from the
author Luke Turner.

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 A subtle introduction

Here we are again.

At the exciting start of a new journey.
Small subtleties.
I feel that this is a particularly fitting name for this project.
The focus of this project is all about using “small subtleties” in order to
make the effects work in terms of method.
I also feel like it’s those “small subtleties”, not in terms of method, but
in terms of scripting, that turn these effects into something more real.
One thing I have noticed within the mentalism community over the
past few years, especially with the rise and progress of propless
mentalism, is that there has been a predominant focus on methods. As
a result, the importance of presentation and scripting has kind of
gotten lost over time.
Therefore, a core goal of this project is to shine a light on the
importance of scripting and words to demonstrate how something
incredibly simple can achieve the impossible.
The first chapter, SUBTLE SCRIPTING, shows the importance of scripting
and how much of an impact it has on the performance. After those
foundations, subtle hands builds upon them and use them to able
to use the small subtleties for the method. I really hope that you are
able to take at least one valuable lesson out of this project that will
help you grow and bring you one step closer to creating and, more
importantly, sharing miracles.
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 Subtle scripting

We need to talk.
Before we get into the main effect, I’d like to discuss the importance of
scripting and words in general.
And I think that it all has to do with one question.
What is Mentalism?
Or more specifically, what is Mentalism to you?
I realise that everyone has a different answer to that question, which is
kind of the point.
I believe that asking yourself “What Mentalism is to me?” is extremely
important. This is because, once you have an answer to that question,
you will understand what you are trying to achieve and how you’ll do
that. But we will get there soon.
Here is what I feel Mentalism is to me.
I don’t think Mentalism is about the gimmicks, principles, or even
effects. To me, what separates Magic from Mentalism is your script and
how you go about performing your specific “effect”.
Allow me to explain.
Let’s take a classic card trick as an example - twisting the aces.
Usually how you would go about performing this effect, or more
specifically how you’d script it, would be something like this:

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“Some people turn over cards like this, other people turn over cards like
that. However, I can turn cards over so fast that it’s practically invisible
to the naked eye.
Watch [*Snap*]. Just like that, the first card magically turns face up.
Watch again and look closely [*Snap*]. And just like that, the second
card magically turns face up.
Here, you try it. Just snap your fingers.
And just like that, the third card incredibly turns face up!
Before you know it, with just a little shake, the final card turns face up.
Incredible, right?!”

That is a very “card-mechanic” oriented script.

And not only would the script have that sort of feel and presentation to
it, but how you hold the cards and your overall body language would
suggest that too (e.g., from holding the cards in a mechanics grip to
how you hold your posture and snap your fingers during the effect).
Now let’s take the same effect, with the same moves, and make some
small changes to the script and your body language.
Suddenly the whole “effect” looks and feels different.
“I’m sure that you’ve heard of the famous question, “Are we living in a
simulation?”. Questioning the very fabric of reality, just like the Matrix.
I’m not going to pretend like I know much about that topic, but I once
heard something interesting that stuck with me.
What if reality was just a result of our perception and imagination?
I mean, it’s real to a certain extent.
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We have all heard of the confirmation bias, where people see the things
they want to see and hear the things that they want to hear.
What if it was the same with reality itself?
Let’s take these 4 physical playing cards, as they naturally have very
physical limitations. For example, we can have a card that’s face up,
and we can have a card that’s face down. Pretty simple and clear
distinctions, right?
But what if our imagination and thoughts shape the reality around us?
Let’s try this.
Imagine yourself taking just one playing card out of the deck, turning it
face up, and putting it back.
As crazy as it sounds, sometimes our imagination has more power than
we realise. [*The first card has turned face up*].
Just try it again. This time it should be a little easier.
You are doing an amazing job!
Let’s do it again.
That was incredible.
You see, whenever I have something difficult ahead of me, all I need to
do is just focus on the positive aspects of whatever it is ahead of me and
stay positive in my mind. I really feel that approaching something
positively actually impacts the reality of what I have ahead of me.”

Some people would say that, technically, both of the above effects are
the same.

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However, I personally feel that they couldn’t be more different.
The script changed the effect from a cool card-mechanic demonstration
to something completely different.
This is achieved by providing a more engaging script. Also, rather than
holding the cards in a mechanics grip, we can hold the cards slightly
messily, with a more laid-back body language.
As result, even though the moves are the same, and would both
technically classify as “twisting the aces”, they could not be further
apart.
And that demonstrates what Mentalism is to me.
I think this point is especially important to people who are new to
Mentalism as it provides crucial guidance on how to perform.
Just take any effect that you are comfortable with or any card force you
know and start working with that.
Start by thinking in a more detailed way about how you want to
perform your Mentalism. Ask yourself these questions:
What is your mind-reading process? Are you more of a psychological
performer, like Derren Brown, or are you someone more esoteric, like
Luke Jermay?
What do you want to achieve with your effects and set?
Who are you in relation to the participant? Are you someone
mysterious and scary, or are you someone more down to earth and on
the same level as your participants?

Once you have the answers to these questions, will you not only feel
more comfortable when performing (since you are performing in the
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specific style you like), but your performance will also be stronger and
more coherent.
By the way, when I say that scripting is important, I don’t mean literally
having a script printed out for every effect that you are going to
perform.
Rather, think about the words you are going to say and how you are
going to say them. I believe this will change your performance from a
few disconnected effects to an incredible experience.
And I really think that that’s all you need to perform real Mentalism.
There is also a bonus aspect to scripting when it comes to Propless
Mentalism. Since Propless is all about using the appropriate words,
proper scripting can help you achieve the impossible.

Here is something that I was thinking about recently.

The effect has a built-in psychological force meaning that, Due to the
nature of psyforces, it won’t always hit. Also, this is a fairly recent
creation so I haven’t tried it out as much I wish, but it looks promising. I
would even use this script when using any other type of method, like a
peek, impression, or a different psychological force.

Enjoy.

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Subtle trust.
“It’s interesting. We all know the saying “You can’t understand
someone until you’ve walked a mile in their shoes.” However, at the
same time, we say how we can all relate to each other’s experiences
and feelings. It’s an interesting paradox.
Personally, I feel that whilst all our personal and specific experiences are
different and come at different times, most feelings and experiences are
universal, and we all experience them at some point in our lives.
Sadly, some of the ways that we as humans are similar does just apply
to positive emotions, but to negative ones too.
We all, at some point, have had that feeling of anxiety. Nervousness.
Not knowing what to do or what the right decision is. A certain feeling
of hopelessness and loss. I hope that you never have to experience this
yourself.
I know that I personally have had this feeling, and I heard one piece of
advice that made a world of a difference to me.
Let me give you an example.
On this piece of paper, I’m going to draw something.
Now, if I asked you to tell me exactly what it is that I have drawn, what
would you say?
Most probably, you’d say that it’s impossible. That there is no way you
could know what it is that I’ve drawn.
And you would be right.
If the goal is to figure out or know what it is that I have drawn, you
don’t stand a chance.

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Just like the impossible choices you might have in front of you. Feeling
lost.
The piece of advice that I heard, that has stuck with me all this time, is
to trust yourself.
Let’s go back to my drawing. Instead of trying to figure out what the
right drawing is, I’d like you to try something else.
Relax, and try to imagine a blank canvas.
I want you to paint or draw something that, for you, symbolises the
antidote to hopelessness, bitterness, and hate.
Even just a simple universal drawing or shape that anyone could
recognise.
Let me know when you are done.
Perfect, thank you so much for participating. You did an amazing job.
Now, did that feel like a difficult choice?
No. Because there wasn’t a right or wrong. There wasn’t a specific and
impossible target for you to reach. I didn’t ask you to think through a
million possible drawings and try to choose the one you think I went for.
Rather, you trusted yourself.
You disregarded yourself from the impossible task, and just focused on
yourself. You were confident when you made that drawing.
I feel it’s the same in real life.
Whenever you have those impossible decisions or that feeling of
helplessness or hopelessness, just trust in yourself. Trust that you will
make the right choice and that everything will work out for the better.
I mean, just look. You drew a heart. Look at that!

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Now look at my drawing. I drew a heart too. Something you described
as impossible just moments ago has now become a reality.
Whenever you have an impossible task ahead of you, just imagine this
heart you drew and trust yourself. If you do that, I’m sure everything
will be just fine.

Naturally, this is a pretty heavy script, and you would need the right
moment and the right participant to perform it. It would also depend
on your performance style whether you would perform something like
this or not.
However, I think that this is a great example of how a script can
completely change what it is that you are doing, and how it is
experienced.
It takes the effect from a simple drawing duplication and makes it
something more substantial and thought-provoking. It shifts the
spotlight from the special abilities or powers of the performer to the
participant and how special they are.
The method, in this case, involves the use of some verbal deception and
misdirection.
When first Introducing the idea of them figuring out our drawing, we
make it seem impossible.
And we make it seem as if their job is to simply guess one drawing out
of literally thousands.
Then, when the time comes for them to make a drawing, we ask them
to “paint or draw a drawing that, for you, symbolises the antidote to
hopelessness, bitterness, and hate.”

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In most cases, this will be a heart as the keywords in the script would
be “antidote to hate”. We first start by saying “hopelessness”, which
still could be open-ended. But then finish off with the word “hate”.
Naturally, the opposite of hate is love, which is symbolised by a heart.
However, as I mentioned, in the beginning, the psychological force is
just an example and a bonus of making this script self-contained. It
would work just as well with any other peek or impression method.
The main purpose of the routine isn’t about proving your special
abilities or skills. Rather, it’s a special and magical moment between
you and the participant. The goal is to leave them with something that
will hopefully impact them in a beautiful and positive way. As such, this
is a great example of how a good script can change everything.

At least, that’s what I think.

I hope that some part of this “essay” made you think. And as long as
you can get some benefit out of it, I’ll be happy.
One of the main points to remember is that, with a proper script, you
can create a beautiful experience.
I am always extremely excited to hear feedback from you guys and
discuss things with you.
Stay safe,
Luke Turner, 2021

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 Subtle hands

Now let’s begin diving into the main focus of this project.
It is a principle that I believe perfectly reflects the amazing balance
between having an incredible experience and using a small and subtle
principle. It enables you to create an entire routine that looks and is
experienced as something beautiful.
Naturally, the possibilities for this are endless as you can use this
principle to your advantage to create many different routines.
However, I will present just two effects that I have created as they
showcase some of the different uses for this incredibly cool system.
I am super excited to share this with you!

As there are two effects, this chapter will be split into two parts:
Subtle Cards and Subtle Dates.
I will first start with Subtle Cards as that will showcase the basic
idea behind this system and the simplest way of using it.
Then we will talk about Subtle Dates, which showcases a different
approach to how you can use this system.

Enjoy!

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 Subtle Cards

The performance:
This is actually an interactive experience. (Yes! Mind-reading through a
book!) So please join in and experience this for yourself.
(The script is for reference only and should be changed according to
your character and what feels natural to you).
Performer:
*The performer places a single playing card face down on the table. *
“I get asked a lot whether I’m able to “read” people. Now a lot of
people have several different meanings for the word “read”.
To some, it means being able to perceive and read people’s nonverbal
cues, pick up on their body language, and assess their thought
processes and personalities.
To others, it means being able to pick up on people’s emotions and
connecting with them on a deep and empathetic level.
And sometimes it even means being able to pick up on people’s auras.
Whatever the meaning of the word “read” is to you, I personally believe
that I am able to pick up on certain things and get a feel for who
someone is and what they are like.
However, it isn’t as straightforward as that might seem.

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Human beings are complex, we are all different.
There is a mixture of characteristics, temperaments, and personalities
we are born with, and that are natural to us. Then there are our beliefs,
attitudes, and interests that we have learned and gained through
experience, which shape us and affect our emotions, feelings, and
thoughts.
In fact, reading people is so complex that, back in the day, all of the
mystics used some sort of oracle.
Probably the most famous oracle still known today is the Tarot.
However, what a lot of people don’t know is that even the Tarot had a
predecessor. The ancient Tarot was actually playing cards.
They are divided into red and blacks to symbolise the light and the dark.
They have four different suits to represent the four different seasons.
There’s also more as we’ll see later.
However, before we start, you will need a guide. Don’t worry, it isn’t
anything scary. It will all make sense in a minute.
In a moment, I’m going to ask you to imagine something for me.
Now, when I say ‘imagine’, I don’t want you to just think it.
I want you to actually imagine seeing it. As if a third eye has opened up
and you can visualize and see yourself.
Whenever you are ready, I’d like you to take a deep breath in and out
and close your eyes.
Perfect, thank you.
I’d like you to now see yourself holding a small, ancient, and mysterious
coin.

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This coin starts to emit a glowing bright light.
It’s...it’s kind of a beautiful light.
This light starts to grow brighter and brighter and it actually starts to
light up your whole hand, until it shines with this beautiful light.
This will be your guide in the choices to come.
Perfect. You can open your eyes.
Thank you so much, you did a wonderful job.
As I mentioned before, the different playing cards would represent
different things.
The black cards would generally represent the darker side of things and
the red cards would generally represent the warmer, brighter, and more
optimistic side of things.
The same would be true for the different hands in palmistry.
The right, more dominant hand would represent the brighter side of
things and the left, non-dominant hand would represent the darker side
of things.
So, if your bright light, your guide, is on your left hand, I’d like you to
just focus on the colour black, and if it’s on the right, just think of red.
Perfect.
Now, if your light is on the right, then you would focus on the more
positive suit.
So, if you are focusing on red, think of hearts. This would represent love
and be more positive. If, however, you are on the black, a spade would
represent truth and correctness.

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Alternatively, if your guide is on the left, then you would focus on either
diamonds or clubs.
Now cards are divided between number cards, like the Ace, two, three
etc, and the picture cards.
So again, if your light is on the left-hand focus on the number cards, and
if it’s on the right, focus on the picture cards.
Now, as much as we used your guide, we need to include some of your
own decisions as well.
Try to think of a card that would best match the suit you are thinking of.
For example, the Ace of Spades, the Seven of Diamonds, the Jack of
Spades or the Queen of Hearts.
Awesome.
Now you should be focusing on a single card.
A card that is the result of your inner guidance, feelings and decisions.
A card that would perfectly describe you.
Now it would be impossible for me to know at each intersection where
you imagined seeing your hand shine. On the left or the right.
But this whole conversation started with one question.
Can I read people? Well, I’ll let you decide for yourself.
However, from the moment, I met you I’ve had a certain feeling.
That’s why I placed this single playing card down right here on the
table. Something I thought would describe you perfectly.
Have a look. [* The card perfectly matches their thought of card. The
Queen of Hearts*].

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The method:
This routine is an amazing example of how a good script cannot only
enhance the experience for the participant and audience in general but
also help hide the method.
The method is very simple. However, it’s exactly this simplicity that
enables the effect to work so well and gives us the chance to focus on
the script.
This routine involves the first way of using this system; namely, a force.
The force I use is based on a basic principle: That people hold things in
their dominant hands.
Let me explain.
I’d like you to take an object, like a pen or a cup and hold it up in front
of you. What you will naturally want to do is use your dominant hand to
perform that action. This will usually be the right hand.
What we are basically doing is creating a reference point that seems
completely random. However, we know exactly what it is.
By asking the participant to imagine and literally see them holding out
something in front of them, we are forcing them to use their dominant
hand without explicitly saying it.
Usually, when I perform, I feel comfortable enough risking the fact that
my participant is most probably right-handed. However, an easy way to
find this out would be by having them write something down, like their
name on a name tag, or anything else.
(Make sure to check out the chapter subtle tips where I share some
ideas on how to ensure the participant is focusing on the correct hand).

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Now, by using multiple layers of deception, we can make it seem that
we do not know where they started. Therefore, by implication, it would
be impossible to know where they end up.

Step one:
Start by telling the participant that, when we ask them to imagine
something, we genuinely want them to see it happening.
“In a moment, I’m going to ask you to imagine something for me.
Now, when I say ‘imagine’, I don’t want you to just think it.
I want you to actually imagine seeing it. As if a third eye has opened up
and you can visualize and see yourself.”
The reason for this is to ensure that they will actually see themselves
holding the coin, which would be in their dominant hand. If they just
thought about holding a coin, it could lead them to think of the other
hand as well.

Step two:
We now have the participant actively imagine seeing themselves
holding the coin. This is just a diversion to have them think of their
dominant hand. This is important because if we were to just keep it
simple, the method could become too transparent.
This is where the script comes in. It misdirects their attention from the
hand to the coin. The fact that they have to hold the coin is a mere
afterthought to them. This is why it is important to give the coin some
value - a reason for why we are asking them to hold it.

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The script could be whatever suits your performance or character, so
long as it justifies this process.
For me, the line is: “This will be your guide in the choices to come.” It is
such a great one as it sounds like it makes sense and gives the process a
purpose.

Step three:
(To keep things simple, we will assume that the participant’s right hand
is the dominant one and they are, therefore, thinking of that hand).
We currently have the participant indirectly thinking of their right hand.
We are now going to use that information to force a card.
Using the line: “So if your bright light, your guide is on your left hand I’d
like you to just focus on the colour black, and if it’s on the right, just
think of red”, we accomplish two things:
A) We are indirectly telling the participant that we have no idea as to
which of theirs hands they are focusing on.
B) Since we know that they are thinking of their right hand, we are
forcing them to think of a red card.
Once again, to give this whole process a purpose, it’s extremely
important to address the reason for all of this in your script.
“The same would be true for the different hands in palmistry.
The right, more dominant hand would represent the brighter side of
things and the left, non-dominant hand would represent the darker side
of things.”

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Once we have forced the colour, we can go ahead and force the suit.
Again, make sure to give everything a proper justification.
“Now, if your light is on the right, you would focus on the more positive
suit.
So, if you are focusing on red, think of hearts. This would represent love
and be more positive. If, however, you are on black, a spade would
represent truth and correctness.
Alternatively, if your guide is on the left, you would focus on either
diamonds or clubs.”

Step four:
Now that we have forced the participant to think of hearts, we are
going to force the value of the card, whilst also adding the illusion of a
free and independent choice.
“Now cards are divided between number cards, like the Ace, two, three
etc, and the picture cards.
So again, if your light is on the left-hand, focus on the number cards,
and if it’s on the right, focus on the picture cards.
Now, as much as we used your guide, we need to include some of your
own decisions as well.
Try to think of a card that would best match the suit you are thinking of.
For example, the Ace of Spades, Seven of Diamonds, Jack of Spades, or
Queen of Hearts.”
First, we force the participant to think of the picture cards.

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Usually, when asking a person to think of a picture card that would best
match the Hearts, they would think of a Queen. If you wish to be bold,
you can go for this option.
However, to make sure that they are indeed thinking of the Queen, I
added it into the script as an example.
This gives the participant the illusion of a free and independent choice,
even though we are telling them exactly what card to think of.

Step five:
Now that we have forced the participant to think of the Queen of
Hearts, it’s time to add a reframe and some extra misdirection to make
it seem completely impossible that we could know what the participant
is thinking of.
“Now you should be focusing on a single card.
A card that is the result of your inner guidance, feelings, and decisions.
A card that would perfectly describe you.
Now it would be impossible for me to know at each intersection where
you imagined seeing your hand shine. On the left or the right.”
That last sentence makes it seem as if we intended to ask them to
imagine where their hand would shine, as opposed to what hand is
shining. This reframes the script and makes it seem as if we meant that
all along.
To the participant, it will seem like we are completely unaware that
they “misunderstood” us. Therefore, they will believe there is no
possible way of us knowing where they ended up.

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This not only adds extra misdirection for participants themselves but
also for the whole audience, creating a pretty cool dual reality.
It is important not to give the participant a chance to talk and possibly
correct you at this point. Therefore, you must continue with the script
and move on. This way, the participant won’t go back and say that this
whole piece was a waste of time and admit that they made a mistake.
Rather, they will just go along with it.

Now all that’s left to do is to go ahead and reveal the card.

Outro:
This effect is a great example of how the “Subtle Hands” principle can
be used as a force.
This was just one example showing how that could be applied to a
playing card, however, this can easily be applied to almost anything.
Just think about what premises would fit your character, what script
you’d use, and what you’d like to achieve, and then everything will fall
in place.
For example, instead of cards you could have an actual amulet on stage
with the outcome of their life choices predicted and inscribed on the
back, or you could have them make choices and use their intuition to
guide them through a series of deadly serums to find the only antidote.
As long as it works for you and you feel comfortable performing the
effect, it will come across as natural and real.

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 Subtle dates

This next routine showcases how it is possible to use the “Subtle

Hands” system as an indicator, as opposed to a force like in the
previous routine.
The effect is a star sign divination. I particularly enjoy this one as it feels
personal to the participant.
I hope you enjoy learning it!

(Note: The script with the coin differs slightly from the previous
routine)
Performer: “Due to the nature of what it is that I do, I am fortunate
enough to meet a lot of different people. People from different
backgrounds, ethnicities, and with different personalities and emotions.
Something I have found to be pretty common amongst a lot of people is
that they sometimes get the feeling – as do I as well – that, if they had
just been born in a different era, under different circumstances or with a
different family, everything would have been better. They would have
had a better life and would be able to be where they should “actually”
be.
And it’s completely understandable. Everyone has thoughts similar to
this, where they dream about “what if?”
Did you ever have such a question, or wonder what it might have been
like? Exactly.
And it’s that type of question I’d like to explore with you today.

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In a moment, I’m going to ask you to imagine something for me.
Now, when I say ‘imagine’, I don’t want you to just think it.
I want you to actually imagine seeing it. As if a third eye has opened up
and you can visualize and see yourself.
Whenever you are ready, I’d like you to take a deep breath in and out
and close your eyes.
Perfect, thank you.
I’d like you to see yourself holding a small, ancient, and mysterious glass
amulet.
There is a beautiful heart drawn on it.
This amulet starts to emit a glowing bright light.
It’s...it’s kind of a beautiful light.
This light starts to grow brighter and brighter and it actually starts to
light up your whole hand, until it shines with this beautiful light.
This will represent your inner heart and light.
Perfect. You can open your eyes.
Thank you so much, you did a wonderful job.
Back in the day, there used to be this technique called Palmistry.
It was the art of reading someone’s palm and getting to know
everything about that person by simply looking at the uniqueness of
their hand. Depending on when the person would be born, they would
either read their right hand or their left hand.
Now, don’t tell me when you were born. Just think of the relevant hand.

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The right and usually more dominant hand would usually represent the
first half of the year, the first six months. January through June.
Conversely, the left would usually represent the second part of the year,
July through December.
So just think of what hand you would have had read.
Now here is the interesting part.
Remember when you saw one of your hands glowing?
This represented your inner light. Here is the important question.
Does the hand you would have had read, match up with the hand
showing your inner light, your glowing hand?
No? This is exactly what we were talking about before.
The feeling that, at least superficially, your inner heart and inner
potential might not line up with reality. If only we’d had been born in a
different family, in a different country, with more money or with less
struggle, our inner potential would have been so much greater.
But let’s take a closer look. Think about things a little more clearly. And
get more specific.
Once again, when reading someone’s palm, you’d split them up
between the first half and the second half.
So, whichever part of the year you are focusing on, you could split them
in two.
If it’s the first half of the year, you can split them up between the first
three months (January, February and March) and the second half (April,
May, and June). Once again, don’t tell me, but if it’s the first half just
focus on your right hand and if it’s in the second then that would
correspond to the left.
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And if you were in the second half of the year, you’d do exactly the
same. July, August, and September would be right. And October,
November, and December would be left.
Does that make sense? So once again, you should be focusing on your
left or right hand.
Now this time, does the hand you are focusing on correspond to your
glowing hand, your inner light?
Yes?
Exactly. Even though initially we may have our doubts about what may
have been if we would have been born in different circumstances, once
we take a closer look, we find something interesting.
That is exactly because we were born in our circumstances, had the
challenges we had to face, and we have become the person we are
today. If things would have been different, however magnificent they
may seem, you wouldn’t have been the person you are today. And that
is who you are supposed to be. Your inner light perfectly matches up
with the circumstances in which you were born.
But there is one more part to this.
You.
As we are getting closer to narrowing in on you specifically, usually I’d
ask you once again to focus on the left if you are on the lower part of
your group or the right if on the higher. And would you be able to do
that?
“Sure.”
But I’m not going to ask you this time if it lines up.

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You see, oracles... inner guides... are completely meaningless if not for
our own choices. Our destiny. That balance, the knowledge of being in
the circumstances which we are in, which are beyond our control.
Where we were born, when we were born, and so many different
factors which result in you being the person you are today, as we
mentioned before. And it is because of all those things that are you the
person you are today.
And it would only make sense... oracles.... intuition…hmm”.
The performer takes a deep breath in and asks the participant if they
would feel comfortable placing their palm on his hand.
After a few moments, the performer writes something down.
Absolutely!
You aren’t a Virgo, are you?
“Yes, I am!”
“It makes perfect sense because star signs have a big influence on who
we are.”
The performer continues to give a small reading about the participant.
“But that’s the first half. The half you were born into, which shaped you
until today. However, what we do in the future is completely in our
hands.
To take the tools we are given and be the best person we can be.
And I do think that a positive attitude can shape our future in a
beautiful and bright way.
I can see that you have so much kindness, light, and compassion in you,
that I’m sure that you have a magnificent future ahead of you.

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The method:
The method here is essentially the same as in the previous routine.
However, instead of using the “Subtle Hands” principle to force an
outcome, we are using that knowledge to our advantage in a different
way - as an indicator of what the participant is thinking.
We start by guiding the participant to think of the amulet in their hand
and then build our justification and mind-reading process for the
routine by having them imagine their hands start to glow with this light.
Doing this further distances the effect from the fact they are holding
something in their hand, while also adding extra depth to the routine
by giving meaning to why they are imagining this.
As continue with the rest of the routine, we already have the advantage
of secretly knowing that their “guide” is their right hand.

Step one:
We start by asking the participant to think of their right or left hand
depending on which part of the year they were born in.
Since we know their “guide” is their right hand, we can use this to
figure out which hand (and part of the year) they are focusing on.
We do this by asking:
“Depending on when the person would be born, they would either read
their right hand or their left hand.
Now, don’t tell me when you were born. Just think of the relevant hand.
The right and usually more dominant hand would usually represent the
first half of the year, the first six months. January through June.
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And the left and would usually represent the second part of the year,
July through December.”
We have the premise of palmistry to justify and explain why we are
asking them to think of one of their hands.
Now, by asking them if the hand they are on matches their “guide”, we
can figure out which hand they are on.
If it matches then they are thinking of their right hand, which means
they are born in the first half of the year.
If it doesn’t match, then we know that they are thinking of their left,
which means they were born in the second half of the year.
Depending on their answers, we follow up with a different script:
Answer = No:
“No? This is exactly what we were talking about before. The feeling
that, at least superficially, your inner heart, and inner potential might
not line up with reality. If only we’d have been born in a different family,
a different country, with more money or with less struggle, my inner
potential would have been so great.”
Answer = Yes:
“Perfect! The half of the year you are born in perfectly matches your
guide. This symbolises that things are in line and that, at the end of the
day, you were born exactly when and where you were meant to be. A
destiny laid out for you.”
After whichever script you use, you always follow up with:
“But let’s take a closer look. Think about things a little more clearly. And
get more specific”.

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Step two:
We are now going to narrow it down even more by splitting their
respective half again into left or right.
Once they do this, we again ask them if the hand they are focusing on
matches their guide.
If yes:
“Even though initially we may have our doubts about what may have
been if we would have been born in different circumstances, once we
take a closer look, we find something interesting.
That is exactly because we were born in our circumstances, had the
challenges we had to face, and we have become the person we are
today. If things would have been different, how magnificent they may
seem, you wouldn’t have been the person you are today. And that is
who you are supposed to be. Your inner light perfectly matches up with
the circumstances in which you were born.”
If no:
Exactly. This is exactly what we were talking about before.
The feeling that your inner heart, and inner potential might not line up
with reality. If only we’d had been born in a different family, a different
country, with more money or with less struggle, our inner potential
would have been so great.
We now have successfully narrowed down the month they were born
into three potential months.
Since three is an odd number, we can seemingly start to wrap up the
routine whilst simultaneously and secretly getting another piece of
information.

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After either of the previous scripts, we’d follow up with:
“But there is one more part to this. You.
As we are getting closer to narrowing in on you specifically, usually I’d
ask you once again to focus on the left if you are on the lower part of
your group or the right if on the higher. And would you be able to do
that?
“Sure.”
But I’m not going to ask you this time if it lines up.”
Here, we are seemingly starting to wrap up the routine.
As we do that, we casually mention that, usually, we’d ask them to
focus again on a hand. But then we disregard that idea and make the
question of whether they would be able to do this as just a hypothetical
and that we aren’t actually asking them.
However, when asking them whether they would be able to think of a
hand again, if they say “Yes”, we can eliminate the middle month. This
is because, since we are left with just three possible months, they
would have trouble thinking of a hand when it’s in the middle.
If, however, they start to hesitate or say “umm actually...” then we
would quickly disregard that by saying: “But I’m not going to ask you
this time if it lines up. You see, oracles... inner guides... are completely
meaningless if not for our own choices. Our destiny. That balance, the
knowledge of being in the circumstances that we are in, which are
beyond our control. Etc…”
We make it seem as if the question was rhetorical and that we weren’t
actually interested in the answer.

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There also is a nice duality in the fact that the first two times we asked
them to think of a hand they were both an even amount, which helps
disguise the small fact that this time it’s an odd month.

Step three:
Now that we have successfully narrowed down the possible months
they were born, we can start to finish the routine.
“Where we were born, when we were born, and so many different
factors which result in you in being the person you are today like we
mentioned before. And only because of all those things are you the
person you are today.
And it would only make sense... oracles.... intuition...hmm.”
The performer writes something down.
“You aren’t a Virgo, are you?”
“Yes, I am!”
Here, we are using a two-way out.
Using the example from the script above, the participant could either
be born in July or September.
There is something nice about converting the months to star signs as it
adds an extra layer of distance between some of the “process” to the
reveal. However, you need to be careful as sometimes they could be
born at the end of a month or on a cusp date, which would mean they
have a different star sign.
This routine would work equally as well as just revealing the month
they were born in.

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In our case, they could either be a Cancer or a Virgo.
So, we are going to use a two-way out.
You’d take a piece of paper and write down Cancer.
Then we would continue with the script.
“Where we were born, when we were born, and so many different
factors which result in you in being the person you are today like we
mentioned before. And only because of all those things are you the
person you are today.
And it would only make sense... oracles.... intuition...hmm.”
*The performer takes a deep breath in and asks the participant if they
would feel comfortable placing their palm on his hand.
After a few moments, the performer writes something down. *
This is one of the most important moments of the whole routine.
Even though the effect might be over for us as the performer, the main
part of the routine is only beginning for the participant.
It is important to hint at the fact that there is something going on, and
that you are attempting to create a connection with the participant,
which will soon strengthen by giving them a reading.
“Absolutely!
You aren’t a Virgo, are you?”
“Yes, I am!”
By using a closed question, we can be prepared for both scenarios.
If it’s a “Yes”, we act as if that’s what we intended to reveal and then
continue with the rest of the script. In this instance, the thing you wrote

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down is a mere afterthought; just something you were writing to
yourself as opposed to being something to use as a reveal.
If it’s a “No”, you can just say: “Great! Whilst I was trying to trust my
intuition, I was afraid that I had got it wrong. However, I guess I should
have just trusted my intuition too.” As you say this, turn over the paper
to reveal “I feel that your star sign is a Cancer”
It’s important to state that the main part of this routine isn’t the reveal.
The way I like to perform hist is to act as if the reveal is just a trivial part
of the journey. By making it seem less important and continuing, it
signals that I’m not here to try and impress the participant or fool
them. Rather, I want to share an experience and let the reveal add
impact to the entire routine in the background.
“It makes perfect sense as star signs have a big influence on who we
are.”
*The performer then continues to give a small reading about the
participant. *
Giving the participant a reading isn’t necessary. However, it definitely
adds to the perceived connection between you and the participant.
“But that’s the first half. The half you were born into, which shaped you
until today.
However, what we do in the future is completely in our hands.”
I then continue by saying “That’s the first half. The half you were born
into, which shaped you until today.
However, what we do in the future is completely in our hands.
To take the tools we are given and be the best person we possibly can
be.

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And I do think that a positive attitude can shape our future in a
beautiful and bright way.”
Here, you allow the lesson to be the thing that’s most important,
leaving the participant with a message of hope and brightness.

Here is a small recap on how to figure out which month the participant
was born.
If yes and yes: January, February or March.
If yes and no: April, May or June.
If no and yes: July, August or September.
If no and no: October, November or December

Outro:
This effect is a great example of how the “Subtle Hands” principle can
be used as an indicator as opposed to a force.
Furthermore, it’s also an amazing example of how shifting the reveal of
an effect from a great revelation to using it as a tool can enhance the
routine into a meaningful experience for the participant.
I really enjoy how the effect is more about the main message as
opposed to the reveal. And I really hope you enjoy this version as much
as I do!

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 Subtle tips
Personally, whenever I perform a routine using the “Subtle Hands”
principle, I feel confident enough that most people are right-handed
and would imagine themselves holding the coin correctly.
However, here are a few tips to figure out which hand is the
participant’s dominant one, and how to ensure they imagine using the
correct hand.
Figuring out which hand the spectator writes with can be done in a few
simple ways.
One way is to observe which hand the spectator writes with. For
example, you could have performed an effect for them earlier that
involved them writing something down.
Another way would be to hand the participant a pen and say that you
would like them to write down a thought, and then change your mind
and say that you will try something else. However, in doing this, you
take note of which hand they were getting ready to write with.
Equally, you could make sure the participant is imagining using the
correct hand by asking them to hold a coin. You ask them to imagine
writing their name in pen on the light in front of them.
This will ensure the participant is thinking of the correct hand.

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 Subtle ideas

In the two previous routines, I demonstrated how the “Subtle Hands”

principle can be used either as a force or as an indicator.

This principle can be applied to almost any routine or premise.

A good example would be using the “Subtle Hands” principle to force a

drawing by forcing the specific category and nature of the object (e.g.,
using the different categories of Proteus by Phedon Bilek).

Alternatively, you could use it as an indicator to determine whether the

participant is lying or telling the truth.
Here’s a small example of what that routine would look like:

Subtle truths:
“Back in the day, the ancient tribes would rely on all different sorts of
mystical oracles to guide them in their daily lives.
What they would do is take a small ancient artefact, something that
looked like a coin, and use that as their oracle.
In fact, in a moment, I’m going to ask you to imagine something for me.
Now, when I say ‘imagine’, I don’t want you to just think it. I want you
to actually imagine seeing it. As if a third eye has opened and you can
visualize and see yourself.
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Whenever you are ready, I’d like you to take a deep breath in and out
and close your eyes.
Perfect, thank you.
I’d like you to see yourself holding a small, ancient, and mysterious coin.
This coin starts to emit a glowing bright light.
It’s...it’s kind of a beautiful light.
This light starts to grow brighter and brighter and it actually starts to
light up your whole hand, until your hand shines with this beautiful
light.
Perfect. This hand will be your oracle, your guiding hand.
You can open up your eyes now.
Now I’d like you to decide whether you want to choose the light and
easy path and tell me the truth in the questions to come or you can
decide to lie. Let me know when you have made your choice.
Usually, the right hand would be connected to the truth. Righteousness
and correctness. The left would be connected to deceit and trickery.
Now before we start, I’m going to ask you a baseline question. Is the
hand you are connected with the same as your guiding hand?”
As you can see, before you even begin, you know whether there have
decided to lie or tell the truth.
This routine can be applied to all sorts of routines, from a Which Hand
routine to a PIN divination (e.g., by asking them if there is a 0 in their
PIN, then a 1, etc.).
It’s very advantageous to have this knowledge, as you already know
what role they have chosen before the routine and before the mind-

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reading process has supposedly started. I will also add that this
technique could be easily combined with a routine of my Pin Project.

Outro:
I would like to express my gratitude and thanks to you, the reader.
I really appreciate your support with my projects and your time for
reading this project.
The core message of this project is that you already have everything
you need to create a beautiful moment. You should take the methods
and effects that you already know and, using a proper script, focus on
the experience you want to create. This will enable you to share
something truly special.
As always, I look forward to hearing the amazing feedback from you
guys, and I can’t wait to hear your thoughts.
You can always reach out to me at: [email protected].
Hoping you are all well and safe,
Luke turner 2022.

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