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TitleMiracles of Suggestion
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Total Pages22
Document Text Contents
Page 1




Kenton Knepper

Page 12


page number too. This is not what really happens, as the spectator is told this, but he is not
given the time to follow through. Instead, you force his attention to be focused upon the page

Once the peek happens and the spectator has the page number in his mind, allow the rest of
the pages to riffle by, as you secretly remember the spectator's page. The spectator's page is of
course one page after the one you saw, making his number one more than the number you
peeked. So knowing the page number is easy.

But how do you know or remember all of the details on the page? You don't, and the truth is
neither does the spectator. He stopped you and you told him to look at the page and remember
the page number, to be sure to recall the page number, as you will need this confirmation later.
You tell the spectator:

"Not to say a single thing - not one little hint right or wrong, until I ask at the very end,

This suggests that the spectator must SHUT UP and KEEP QUIET - period. The spectator now
must be given a mental reason why what you are doing has to be correct The answer begins
with pure suggestion.

All the rest that you say and do are suggestions that these other things were on the page. If
you know the book and a few main characters, then that is wonderful. But you don't have to
know. You say directly that the spectator has observed the entire page - probably not
consciously true, but subconsciously.

"Since telepathy is a process of the subconscious mind, I will access this to determine your

Please note the subtle focus here on "the page" suggesting "page number" although this is not
what is actually said.

The spectator usually thinks silently, "I was supposed to remember everything on that page?
Oh, do I feel stupid! I don't know! I hope this performer doesn't make me look foolish or ask
me too many questions"! This is happening inside the spectator as you smile, look at him, and

"Oh! Your subconscious knows it ALL"

If the spectator has been silently concerned, this will already appear to be telepathy - and he
will be shocked that you responded to his silent thought. If he was not thinking anything of the
sort, it appears that you are merely explaining the process about to occur.

Now launch into a rapid succession of names, events, a few details, mention a slight
imperfection on the page - just don't be specific, and so on. The suggestion is that all of what
you are saying must be on the page the spectator peeked. It must be, or you are a crazy
person having a public fit.

You need to have a planned on story — a dramatic line or two is all — near the end. You may
make it a humorous few lines instead if you so choose. You will need that so you can rant and
then stop suddenly mid-sentence. This is when you say that you would love to finish but that is
the end of page number (and name whatever page you glimpsed that he stopped upon). All of
the previous outbursts and dramatic storytelling has been performed primarily towards the
audience at large. At this point, you turn to the spectator and say

"Page 53, yes or no, was that indeed the page you had in mind - page 53? "

When the spectator confirms this is the correct page, grab the book back from where you
tossed it down and say

"Good! Thank you... Oh, thank you for applauding his fine mind, yes. But I meant that now we

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