Paul Prater

Secret Whispers

EBook published August, 2011

Paul Prater

3115 Donaldson Lane

White Hall, AR 71602

Copyright © 2011, Paul Prater

All rights reserved by Paul Prater and the respective authors. No part of this book may be

reproduced, stored in or introduced in a retrieval system, or transmitted, in any form, or by

any means (electronic, manual, mechanical, photocopying, recording or otherwise) without

the prior express written permission of the publisher. Any person who does any

unauthorized act in relation to this publication may be liable for criminal prosecution and

civil claims for damages.

Design, layout and photography by Paul A. Prater.

Introduction

I enjoy making props and I do make a lot of my own. I never originally planned on getting

into the realm of prop making for others. However, after sharing some of my props, I was

urged to make some for sale. I have built props for people that I never plan on selling as part

of any line. Then there are things such as The Secret Key, where I didn’t know if there

would be interest enough to make it worth building the sets.

The response I have had has been really nice. I am glad that people want quality props, even

though it is a prop that is a classic and probably everyone already owns. I have had some

feedback from some customers and I thought it would be interesting to share this

information with everyone. Hopefully you will get something out of this short little

addendum that you can use.

Thanks again for the support.

Paul Prater

General Tips

By Roni Shachnaey

Roni was kind enough to drop me an email with some tips for handling the cloth. He was

also kind enough to allow me to share these tips with everyone.

Just a couple of thoughts: After you introduced the cloth fold it in half and put it back on the

table with the pendulum square facing up and the numbers underneath. This way their full

focus will be on the pendulum square.

When you are done with the pendulum turn the cloth over and do the numbers part. Once

the spectator has selected the row or column, give him a piece of paper and ask him to write

the numbers down one underneath the other for easy addition.

Once all five numbers are written down put the cloth back on the table with the numbers

side facing the table and put the key across one of the cross lines preferably the YES line. Of

course the force numbers will now be hidden from view.

Once the number140 is announced cheekily say: " Even the key is agreeing with you" point

to the direction the key is pointing which is YES. Now bring the box to play and show the

number 140. Pick up the key ready for the ROLL and put the box over the cloth.

You are done safe and sound.

Touch Up Tips

As you are no doubt aware, the key is aged using paints and stains. I do sand the keys down

to remove some of chrome. This, to some extent, replicates the look of old keys. However,

after this step, I then do the multiple coats of paints and stains.

I was contacted by a customer who said that there was a bright spot on the key and he

wanted to tone it down. I will give some quick suggestions for anyone who may want to do

the same. A brown Sharpie permanent marker will work well for covering any small spots.

If you want to keep the look of the original, then paint over the part using Minwax wood

stain. If you go over it several times, it will partially dissolve the paint around the spot,

allowing you to redeposit the paint.

Another thing you may want to do is have a higher shine on the box. As the box came to

you, it was coated with a furniture wax. You can reapply wax and buff the wood with a soft

cloth. Furniture wax can be found in most hardware stores. However, even the coat that is

on the box can be buffed more. The more you do so, the more shine that you can bring out.

Hopefully you are pleased with the key set and have had no issues, but I wanted to provide

these quick touch up tips.

Death in the Family

By

Christopher Gould

As you may know, I am now a part of Alchemy Moon with Christopher Gould. He put out a

routine called Death in the Family. Prior to our partnership, he saw my key set and said that

it would work well with Death in the Family. While, this routine is specific to his work, this

can very easily be applied to The Secret Key and the principles espoused here are relevant for

any work with the haunted key. There is good value in his handling and tips. I appreciate

Chris’s willingness to share.

I use the key for two purposes.

First, it is used to add tension, as well as to build up expectation and imagination.

Secondly, and more pragmatically, it is used to select the most compliant member of the

audience to be my medium.

Let me explain further.

After telling the story of Tilly's life. I will mention that I managed to procure the key to her

room. This key she always carries around with her. As keys are symbolic objects, this has a

direct contact to Tilly's spirit. As such, whenever I carry the key, I always feel somewhat in

touch with her. Also, iron acts as a sort of psychic battery, storing the thoughts and

experiences of the person who carries it. Therefore sensitive and imaginative people are able

to sense the impressions made, often in a startling and emotionally charged manner.

You will see here that I am implanting suggestions.

I am saying that only imaginative and sensitive people are able to sense something. Who does

not want to be seen as sensitive and imaginative? You are implying that if they do not pick

up a sensation they are insensitive and lack imagination. If any of your audience revels in

being insensitive and lacking in imagination, you really want to know who they are, so that

you do not inadvertently choose them to be your medium - they will be awkward people!

Next I suggest what they are going to sense. But I do so in the broadest possible terms, so that

any sensation will be ascribed to the supernatural qualities of the key.

'...very few people are able to hold the key and feel nothing at all. Some people feel a quite

intense cold, whereas others feel the key warming up. If held long enough, some people see

flashes of images from Tilly's life - or hear something, or get a sense of some unworldly

presence standing behind them. More often than not, the key has a distinct emotional

charge'.

Now if you focus you mind on anything, you will instantly start to notice both physical and

psychological sensations that were previously unconscious. Try it now - just stare at a fixed

point on the wall, and allow the spirit realm to enter you consciousness. Come back when

you are done!

All that is happening is that by focusing conscious thought, we are suppressing it and

allowing sensations that were previously unconscious to enter our awareness. Furthermore,

we have hijacked these sensations and given them a supernatural 'frame'.

Next we will raise expectations.

The key itself will be wrapped in red silk (to insulate it from psychological contamination -

for as you all know, red silk is an excellent psychological insulating agent). I will treat the

key as if it is the most delicate and wonderful object that a person could touch. I expect the

audience to treat it with the same respect. I will often ask them to do so.

'….this key, is very special to me, as it contains within it all of the memories and feelings

experienced by this tragic young woman… It is quite literally the key to her life! Please treat

it with care and respect, if you are going to hold it.'

I will then amplify these expectations.

'...I must warn you that, in some cases with more sensitive and naturally intuitive people,

these reactions can be immediate and very powerful, as such they can come as quite a shock.

Also, the feeling that you may experience can be quite intense, I have had people moved to

tears. There is a sadness that connects with people, that somehow connects with unresolved

sadness in their own life…'

Incidentally, I do find it more effective if these nebulous feelings are attached to the persons

own experience, and I will remind them of 'unresolved' issues in their own lives that have

led to their own feelings of sadness. Some people may consider this a little too powerful and

a little unethical… perhaps it is. Use it with discretion.

More building up of tension.

I will allow some of you to hold the key in a moment. But I do want to warn you, that the

experience can be quite strong for some. Some of you will only feel something vague, but

you will feel something. If you do start to feel something intense please hand the key back, if

it gets too much. Also, on one or two occasions the shock has been so great that the person in

question has almost dropped the key. This is very dangerous, as the feeling will stay with you

for quite some time. If you fell something this intense -please just hand the key back

carefully, please don’t drop it.

...by now this is no ordinary key!

Next I look for the most eager and susceptible person (gut instinct will tell you who this is).

Why? Obviously, they are going to have the strongest reaction - this gives 'proof' to the

others that there is something there. It also give 'social proof' - everyone else will want a

piece of the action, and will not want to be seen as less sensitive (in reality, you will have

people who do just shrug and say they feel nothing - this is fine - just don't pick them to be

your medium).

Handing the key over.

Choosing my first 'victim' I will carefully unwrap the key for the first time. Obviously,

everyone is going to be very curious as to what this key looks like. I hold it up, imperceptibly

trembling (you do not want to look like you have Parkinson disease at this point - you want

to have it so that your audience almost sense that you are trembling, without seeing anything

- but I am going into too much detail now). Next I will fix her with unbroken eye contact -

for just a little longer than is comfortable. This heightens the anticipation and plant the idea

that something strange actually is going to happen. Also, making her slightly uncomfortable

helps the psychological dynamic. You are also conveying a clear message to all - 'something

strange is about to happen'.

When she holds the key, I will look at her with anticipation (looking at people with

anticipation makes them feel a need to fulfill this anticipation in some way - in this case, to

perform for you). I will ask her to close her eyes and direct her thought inward. She is to

clear her mind and not think… just concentrate on the sensation of the key in her hand.

You will notice that this is in fact a hypnotic induction.

However, more basically you want her to shut down her conscious thought and sensation

and become aware of any new sensations that she will ascribe to holding the key.

You may want to read that last sentence again, as this is the main mechanism we are working

with.

I will then look at her for any changes, she may flush, breathe at a different rate, or (more

likely) produce an involuntary twitch. As soon as I see this, I will say…..

'…..yes, you felt that didn’t you?'

She will nod - sometimes not, but this does not matter. Either way, I don’t want her to speak,

so I will say.

'...don't say anything, but before we pass the key on, see if you can go a little deeper, see if

you can intensify the sensations you are already feeling. I can sense that you are making

contact, as I can see images and something else…. I wonder if you can too?'

There is a lot happening in this sentence. Firstly I am telling her that she is receiving

sensations. This may or may not be true, although I will be able to tell from her reactions.

However telling her that she is experiencing something will improve the chances of her

doing so, or intensify any feelings she is experiencing.

Just as important, you are telling the audience that this person is having this experience.

They have no idea what is going on in her head - and you are not giving the subject any time

to report back! So what you say must be true! Furthermore, if it is true, it will happen for

them too!

Finally, you are implanting more suggestions that she will see images and something else.

This final vague statement is a vague command that something undefined is going to happen.

Some people are visual people and will tend to imagine in images. Some people are aural

people and will tend to imagine sound, others specialise in physical sensation, other are good

at imagining smells, tastes or emotions. Putting in these vague statements allows for the

individual to use their 'specialism'.

Passing the Key on.

I will ask the subject to open her eyes when she is ready. Then I will wait. I will ask her if

she is ok and nod. I will ask her not to talk about what she just experienced until we are all

finished. I then say; 'is that o.k.' The hypnotists here will recognise the 'yes set'. Basically,

getting the subject to keep nodding will increase her compliance - and for the other around -

compliance is contagious.

I will then pass the key to selected members of the audience. In each case, I will be looking

for the people I sense will give me the best reaction - seem the most compliant - enthusiastic

- or just look like they will play along.

It does not actually matter is the subjects do not 'get anything', as long as they say that they

do!

As the key is handed around, I will play with what I have - if someone reacts in any way, I

will verbally amplify it.

To some people I will ask for the key to be handed back (in a somewhat panicked tone). To

others, I will just say, I can sense that you are picking something up here - stay with it,

concentrate, see if you can go deeper….'

...and so forth.

Finally…..

I will discourage anyone from talking during the 'experiment'. However, now I will

tentatively ask for feedback….

'How was that (inviting response)?... Weird, wasn't it (defining the response I want)?'

You will find that the person who speaks up first tends to be the most obliging person, or she

may have genuinely have felt something. Either way, she is probably the best person to use

as your medium.

Incidentally, announce at some point that this is the reward for the best performance - the

best reaction get the person chosen to 'come up on stage'. Obviously you don't say it quite as

obviously, but you want to subtly inject this idea.

At this point you should manage any feedback loops. Few people will own up to feeling

nothing (some will, but that is fine - just show some mild condescending pity for them! - err,

no, don’t really do this! However, it is their fault not yours.), Most people will not want to be

left out - this is hotwired into our psychology. Furthermore, people will amplify any feeling

they did get, because of this mechanism.

Sometimes, if it feels right, I will make an open suggestion. Something like - 'Now you saw

something didn’t you? How clear was it?' The pressure to answer in the positive will be quite

high. You will also notice that the question I ask is not - 'what did you see?' - but ' how

intense was it'. Why? First, I know she is not going to say; 'Well, not very intense actually'.

And, it gives her time to make something up, if she need to!'. Worse case scenario, she just

says; 'No, I didn’t see anything..' You just say 'sorry' and throw it out - 'who was it who saw

that image….?'

These ideas are great fun to play with. Try them out.

Again I have gone into tremendous detail here. In reality, this is an instinctive process - just

work off the people you have and respond to what they say. I have just detailed some of the

'tools' you can use.

At the very least, try this out, if only to determine the best person to give you the best

performance as your medium.

Maleficium

pages of bizarre presentations. "Paul Prater’s ‘Maleficium’ is not

only a beautifully produced book, it's an excellent collection of

direct and entertaining routines of the bizarre genre. I really

enjoyed reading it and highly recommend it."

Fate and Freewill

and free will the spectator makes a series of choices. At the end, it

is revealed that maybe their choices were all for naught as the

fortuneteller knew what was going to happen all along.

The Witch of Glastonbury

As the mage tells his story, he illustrates it using old tarot cards.

Regardless of the choices made, one always meets death.

However, death is a better

end. The surprising revelation will leave your audience gasping!

www.paulprater.com

Don’t forget about the other products from Paul Prater! Go to www.

paulprater.com to check out all of the offerings.

Maleficium is Paul’s book of bizarre magic. It is softcover and 180

pages of bizarre presentations. "Paul Prater’s ‘Maleficium’ is not

only a beautifully produced book, it's an excellent collection of

direct and entertaining routines of the bizarre genre. I really

enjoyed reading it and highly recommend it." --Bob Cassidy

Fate and Freewill -In a test of fate

and free will the spectator makes a series of choices. At the end, it

is revealed that maybe their choices were all for naught as the

t was going to happen all along.

The Witch of Glastonbury-A story is told about a fortuneteller.

As the mage tells his story, he illustrates it using old tarot cards.

Regardless of the choices made, one always meets death.

However, death is a better option than who he truly meets at the

end. The surprising revelation will leave your audience gasping!

www.paulprater.com

Don’t forget about the other products from Paul Prater! Go to www.

paulprater.com to check out all of the offerings.

is Paul’s book of bizarre magic. It is softcover and 180

pages of bizarre presentations. "Paul Prater’s ‘Maleficium’ is not

only a beautifully produced book, it's an excellent collection of

direct and entertaining routines of the bizarre genre. I really

Bob Cassidy

A story is told about a fortuneteller.

As the mage tells his story, he illustrates it using old tarot cards.

Regardless of the choices made, one always meets death.

option than who he truly meets at the

end. The surprising revelation will leave your audience gasping!

www.paulprater.com

Don’t forget about the other products from Paul Prater! Go to www.