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.Whilethey react, my right hand is removed from thepocket and dangles casually at rest to my rightside.84. After the applause cue, my left hand picksup the bear by its head and turns palm up (figure1.).The right hand comes over the bears buttocksand places the finger-palmed sticky on top of thebears butt sticky note and removes both as one(figure 2.).The right thumb pulls its sticky noteback out of view while the fingers push the secondfolded note forward into view (figure 3,).The lefthand simultaneously sets the bear down for amoment so the left hand may grab the sticky notefrom the right finger tips leaving the hidden stickynote in finger palm (figures 4 and 5).The righthand immediately picks up the bear and the lefthand sticks the new folded up note to the bear sbuttocks (figures 6 and 7).Figure 1 Figure 2Figure 3 Figure 485. Figure 5 Figure 6Figure 7.The above move is done to the followingpatter, You may have noticed this bear is sittingon something.Well, that s his name tag.Wouldyou mind pulling it off the bear s buttocks,unfolding it and reading his name aloud? By the end of the previous sentence, the stickynote should be stuck back to the bear's butt readyfor an audience member s removal.You may frame each selection anyway youwish.I like to bully each participant a bit intothinking their choices aren t as free as theyoriginally assumed.This allows for some enter-taining by play.86. Final ThoughtsThis is my absolute favorite routine that Iperform.You don t have be limited to mypresentation or object.You also can use as manyattribute cards as you wish.The more cards, themore people may be involved and the moreimpossible the effect seems!Just a few final pointers: One should beaware of any light sources that may turn the cardstransparent during performance, thus tipping thegimmick.I ve made my cards out of double cardto help prevent this from happening.It would beadvised that one also practices in front of themirror with this effect before going out to performin front of an audience.The slight-of-hand isminimal, but it does require skill and confidence topull off well.1.This idea is a natural evolution from an idea inRichard Mark s book Mind Warp .He uses thisidea of a sticky, removable piece as a double outfor a playing card.I use the idea here muchdifferently by not removing it but by making itmovable.2.I ll often use a bit of Kenton Knepper s, hisConscious vs.unconscious choice equivoque, asan out which may be found in his book Miraclesof Suggestion .87. 3.When revealing the Bondage Bear at the end ofthe effect, it is important to refer to the bridle as a bit if the collar was selected previously.Also, ifthe Bridle was chosen, it is important to refer tothe collar as a choker .This will keep thelinguistic deception intact.88. 89. The ForgottenBasic Effect: A Card is forgotten.Verity:It's close to impossible to actually makeanyone forget something.Once information islocked into the long term memory, it's there untilit's no longer needed or replaced by newinformation.What other performers haveattempted to do (Luke Jermay is one notableexample) is to prevent that thought from evermaking it from the short term memory into thelong term.While this technique is possible, it isnot practical in all working environments.If thesubject is not in the proper receptive mood, he orshe will put up a wall of resistance if the effect isbrought about as being as a challenge to saidsubject.Chad Sandburn and Jay Sankey attemptedto solve this problem as well.Approaching itusing a dual reality concept that was quiteaffective in leading the subject into believing thathe or she had indeed forgotten the thought of card.Afterwards, though, when the audience and subjectcompared notes, they ran the risk of uncoveringthe truth of the matter.For a while, I used theSankey/Sanburn method to great success in largegroups.I ve also had success using Jermay'sR.G.M.Both have their advantages and disadvan-tages.However, the dual reality that exists in bothroutines is still a weakness.Both the audience and90. subject are impressed during the effect, butafterwards the magic is lost.I wanted to be able toperform this effect in any setting and in situationswhen the effect could stand alone.I didn't want tohave to follow the effect with something else toattempt to distract the audience away fromdiscussing and accidentally discovering a method.Even in instances when folks weren t looking touncover a method, it would, at times, bediscovered simply because the audience wasinterested in what the subject experienced.Andwhy shouldn't they be?It was in conversation with friend, GarrettThomas, that I hit upon the following concept.Hementioned something as an aside, as a joke: butwhat he didn't realize was that taking this conceptand adding a bit of subtly can make it into a killermethod.When applied, there is absolutely noexplanation left for the subject or the audience tounravel.What I've created does use dual realitybut in a way that when the two time lines arecompared they line up with each other perfectly,leaving out any discrepancy.The secret lies in an impromptu double-backedcard.One may wish to substitute an actual doublebacked card for that of an impromptu doublebacker.91. The brain is curious when it comes to memory.I misplace my keys constantly, simply because Ican t remember back to the moment when I setthem down.I like to think I have an exceptionalmemory, however, because I wasn t paying at-tention when I thought I was, I didn t forgetwhere I set my keys, I simply didn t rememberwhere I put them to begin with
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