Occlus

Copyright © 2019 by Fraser Parker

All rights reserved. No part of this book may be reproduced

in any format whatsoever without written permission from
the author. For television rights and further information,
please contact: fraserparker1@hotmail.co.uk
The following is my second attempt at creating a perfect
date of birth revelation.

What makes this different from my previously released

method on this plot is the fact, you no longer have to have
the spectator count on their fingers. This method
streamlines the process even further and provides yet
another approach and set of tools that can be applied to
many other effects. I am not saying that I prefer one
method over the other but instead feel each of these
methods have their own merits and will fit different
performances and performance styles, depending on the
aesthetic you are going for.

Another difference between the following method and what

I have published previously is the fact, it doesn't rely on
needing to know the spectator's star sign to be able to
successfully nail down on their exact date of birth.

I feel this method is the cleanest and simplest solution

offered to the community, thus far.

It can be performed verbally and entirely prop-less, only

taking a few seconds of process to accomplish. Not only is
the process minimal, it is also thrown away early in the
routine and is considered unimportant – meaning the

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spectator will also pay it little attention and dismiss it.
This makes back-tracking the method difficult and helps
to cement the illusion in the minds of those who you
perform this for. The work is done before the effect seems
to have begun thanks to a clever re-working and use of my
good friend Ross Tayler's “context shift” principle.

I give an example of a process I have no intention of

utilizing whilst at the same time, secretly benefiting from
the spectator following through with this example process,
up to a point. More on this in a moment.

As with so much of my work, what matters the most is

how this feels to everyone involved. If what you say, how
you act and what takes place feels innocent and appears
above board then everything will be considered fair. This
will leave the spectator and everyone watching with only
the illusion left over and the notion that perhaps real mind
reading took place or at the very least, something strange
happened they can't easily explain.

Trust me when I say this method is simple. It is the easiest

date of birth divination, currently available.

However, fully understanding the concepts taught in this

manuscript is needed for you not to just dismiss this as

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too obvious or unworkable, in terms of method and its
effectiveness in performance.

It is the structure and psychology that make this work so

well and ensure the method flies right past everyone.

The easiest way to teach you this method is to break it

down into its constituent parts and detail each part of the
script. Then I suggest re-reading everything and imagining
how this will play out on the whole, to better understand
why each part of the method when combined creates
something much bigger than the sum of its parts.

First of all, I begin by giving direct instructions to my

spectator as well as a process for them to follow. It is
essential you deliver these lines as clear instructions.

However, this scripting is delivered in a casual and

conversational style, so that it can be dismissed as
unimportant, later on. This delivery of instructions and the
following of a process will shortly afterwards be re-framed
as an inconsequential example of what others typically do
but for now, you act as if you actually intend for the
spectator to follow your instructions accurately.

This is simple for the spectator to follow and should be

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seen for what it is by both yourself and spectator as: you
simply asking the spectator to perform certain basic
calculations in their head, to begin with.

They will not know where you are going with these
instructions and don't have a context as of yet in which to
view these instructions, so will therefore, naturally follow
along without any resistance.

“Because you are in front of me there's a chance that I

could estimate certain details about you such as your
age or the year you were born, so instead I want you
to focus only on specific numbers that relate to your
life there is no way for me to know, so – I want you to
add the last digit of your age to the last digit of your
year of birth, so that you arrive at a total”.

“If you are left with a two digit number then add these
digits together – we will call this your life number”.

This scripting justifies the reason we are only going to be

dealing with specific numbers – the last digits of both their
age and year of birth.

They don't know why you need to do what you do and will

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just go along with your instructions at this point. It won't
matter if this process is slightly illogical as you are going to
disregard it as something other psychics or readers use
and is not something you subscribe to yourself, in a
moment.

“Obviously, there is no way I could know what this life

number is, as it is something that relates specifically to
you and only yourself – at this specific time in your
life”.

This statement sounds true and will be seen as true by

everyone due to the fact, their final total is based on the
specifics of their age currently, as well as being combined
with their year of birth; both of these numbers added
together will be thought of as unknowable and will appear
to be entirely unrelated.

Perhaps you are now thinking that this above statement is

indeed true and are fooled like many of my friends were
when I showed it to them. Even though they were already
familiar with other applications of the basic mathematics
this is based on and already knew the “trick”, so to speak,
they couldn't fathom how it would work in the way I was
applying it.

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As you will see, it really does become completely fooling
even when you know the secret.

It will seem to everyone that because the age of the

spectator changes, so too must the outcome of the sum
when they add it to the last digit of their year of birth, due
to the fact the year of birth is fixed, yet their age is
constantly changing. This coupled with the fact that you
couldn't just guess their specific age makes it seem as if
the total they arrive at, is always different and impossible
to know.

If they do try to back-track they will find it extremely hard

to get past these false notions and false logic as the two
numbers really don't appear to be connected and have a
total that really does change as the years go by and the
spectator ages. It is so fooling in fact, I had to stop and
think about it again whilst writing to make sure I hadn't
made a mistake in my own thinking when writing this out
in my notebooks.

Perhaps you are already ahead of me.

Thanks to the trusty “The Life Equation” the total of their

“life number” they arrive at will always be one of two
specific force numbers that you know in advance.

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Note: “The Life Equation” is Peter Turner's scripted
update on the classic and well known number force
found in Annemann's “101 Methods of Forcing”.

In my variant, their total will always be the same possible

two numbers depending on what year you are currently
performing in.

This is true for any spectator no matter what their age and
year of birth.

At the time of writing in 2019, no matter who you choose

to perform for, they will always get to a total of 8 or 9.

The exact number they arrive at will depend on whether or

not they have already celebrated their birthday for the
current year of your performance. This is a simple
adjustment to make. Before I begin to perform I just
casually ask the spectator if they have already had their
birthday. Now I can easily calibrate and always know the
force number they will arrive at after following along with
the above process.

You can even ask them this question just before the reveal
of their date of birth and adjust in the moment, if you

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prefer. However, this reveal comes later so let's not get
ahead of ourselves.

If they have had their birthday already then the number

will be 9 and if they still haven't celebrated their birthday,
it will be 8 (for the year 2019).

These force numbers will go up by one value for every year

after 2019 and will cycle back to 1 after they reach the
number nine.

The reason the numbers cycle back to 1 is due to the fact,

we get the spectator to add the numbers of their total
together again, if they first arrive at a two digit number
and this ensures they will always arrive at a single digit.

For example, next year from the time of writing, in 2020,

the force numbers will be, as follows.

If they have not already had their birthday: 9

If they have already had their birthday: 1

And the force numbers for the year after that will be: 1 and
2 respectively.

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It couldn't get any simpler.

What is nice about this approach to “The Life Equation” is

the fact it uses single digits that make any calculations
with these numbers really easy for the spectator to
perform in their head, meaning this can be performed
entirely prop-less and without requiring the use of a
calculator.

Not only does applying the principle behind “The Life

Equation” to single digits make the maths easier, it also
hides the procedure perfectly and makes it that much
more deceptive.

You are now in the position where you know the total of
the spectator's “life number” or are down to two
possibilities, if you haven't yet asked if they have already
had their birthday.

Of course, the spectator and everyone else watching

believes something completely different. They feel there is
no way you could know the number they have just arrived
at mentally. The last line of the above script helps cement
this notion even more fully in everyone's minds.

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Here it is again.

“Obviously, there is no way I could know what this life

number is, as it is something that relates specifically to
you and only yourself – at this specific time in your
life”.

I use the word “obviously” as a way to suggest what you

are saying is self-evident and therefore completely true.
They will not want to argue with or challenge a statement
that is apparently self-evident to everyone else. This
scripting also suggests the total should be different for
each person who you perform for.

The reason we label their total a “life number” is not only

for theatrical reasons but also to make reference to it
easier, in a moment. This helps stop the following process
from becoming confusing and hard to follow for the
spectator. Having this reference term for the number
means we can call back to it without causing any
confusion.

“If you were to add this life number to the day number
of your date of birth what number would you arrive
at?”

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Here we instruct the spectator to add the total they just
arrived at to the day number of their date of birth in such
a way, it feels as if we are simply asking out of interest.

This will come full circle in a moment.

They will tell us this total and I simply remember it by

repeating it a few times during the rest of the performance,
as to not forget it. I then continue right along with my
script, as follows.

“And if you were to add your life number instead, to

the month number of your date of birth, what number
would you arrive at this time?”

They will again tell you a different total and I also

remember this number by repeating the two totals to
myself, intermittently throughout the performance.

Naturally, once we know if they have already had their

birthday, we can then easily back-track to their exact date
of birth by subtracting whatever force number we know
they were focusing on from each of the totals they have
just provided. I prefer to do this at a later stage in the
performance right before the reveal of their date of birth.

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This way any mental effort will look like mind reading. If
you were to calculate this in real time instead then the
moment you perform your mental work would be wrong
and would be telegraphed as working something out.

Of course, doing so at the correct moment in the routine

will seem impossible to the spectator and those watching
you perform.

If you prefer, you can preface each of these questions with

the line: “Out of interest”, to further suggest its lack of
importance but I don't feel this is entirely necessary. As
long as you perform this part of the routine as if you mean
to ask out for your own mere curiosity only, then you will
be fine. Again, this looks as if you are simply asking out of
interest and the notion that this is done purely for the
purpose of giving an example, is now cemented in the
minds of everyone watching, using the following script.

“Traditionally, in the east they would now get you to

add each of these numbers together to arrive at a total,
referred to as your astrological number and it was the
belief of the readers that this number would tell them
specific things about your life that would help them
give a reading that was specific to you”.

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Here we talk about what others would “typically” do as a
clever way to cover the fact we never actually follow
through and complete the entire process. If we were to do
so then we would have no way to back-track to their date
of birth. Therefore, we make it appear as if we were only
offering an example.

It will seem as if we are simply providing a brief insight

into how other mystics would typically read someone else
and that we never actually intended for the spectator to
follow along with the entire process.

“I'm not going to do that but will instead rely on the

impressions I receive intuitively from you, as you sit in
front of me”.

The fact we abandon the process before completion implies

that everything that went before was nothing more than a
way to offer an example and has no way of helping you
gain information from the spectator due to the fact, the
process needed to do so has been left incomplete and
therefore rendered useless.

At the very least, even if they do think the process was

important to you somehow they will still not be able to

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work out how it could help you or possibly give you their
exact date of birth, later on.

As you can see, all of the previous process has been

dismissed with the suggestion you are going to utilize a
different divinatory method to the one you have just
provided an example for. Therefore, the date of birth
revelation which comes later, will appear to be because of
and based on your ability to read the spectator in an
intuitive sense as opposed to being because of any process
involving numerology or calculations using numbers
relevant to the spectator's life.

You may wish to take this further with your dismissal of

the previous example of adding numbers together and
reject such procedures entirely:

“I personally think that adding numbers together to

reveal specific information about yourself is bulls***t!”

This way you will completely throw away the method as

irrelevant and something you are not relying on or placing
any relevance on.

Those who prefer a more tempered approach or don't want

to dismiss outright such things as numerology and still

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wish to strongly dismiss the use of adding numbers
together may prefer the following more soft approach.

“This process is an aspect of numerology that some

believe helps in giving a reading. Personally, I don't
find such things helpful but prefer to instead just trust
my insights and intuition that comes from simply
sitting in front of someone else”.

You are now free to give a reading and later end with the
kicker of seemingly knowing the exact date of birth of the
spectator.

If you prefer, you can even change to performing

something entirely different and even perform for someone
else, knowing you can reveal the date of birth of the other
spectator whenever you want, later on in your set. Now
you can keep on turning back to the spectator who's date
of birth you know and deliver specific readings lines, as if
you are subconsciously still receiving impressions as you
perform for someone else. Do this a few times and then out
of nowhere reveal their exact date of birth!

This would be perfect for a kind of real time “pre-show”

where you do the “dirty work” right in front of everyone

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then later on when the group has grown or the spectator is
with a different set of people, reveal their date of birth
using a seeming different process.

I should mention again that this seeming change in how

you are going to approach reading your spectator is an
aspect of Ross Tayler's “context shift” and is also
reminiscent of some of the work found in Michael Murray's
“Isolation” book, although this is handled very differently.

You are now free to move on however you wish having

secretly obtained the information to reveal their exact date
of birth, providing you read your spectator in some way
before the actual reveal, as a way of providing the required
context or justification for how you are seemingly able to
nail their exact date of birth later on in the routine.

If you prefer not to have to give a reading you can cheat in

the following way. After leaving a certain amount of time to
pass, you can simply state the following to your spectator.

“As I have been performing for the group a few

different impressions have come into my mind about
you – and based on all of the characteristics and traits
I would say you could only have been born on the [say
their date of birth]”.

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This line of scripting suggests you were picking up on
accurate impressions even though you have at no point
had to state out loud what these were. The reveal of the
correct date of birth will confirm that you must have
indeed been picking up on accurate impressions relevant
to the spectator's life, otherwise you wouldn't have been
able to get their date of birth exactly right.

This is an application of Kenton's “confirmation principle”.

You may also wish to reveal the spectator's star sign right
before revealing their date of birth, as a way of creating a
double “hit”.

Naturally, you would have to ask whether they have

already had their birthday to know their date of birth
before working out their star sign also. If you have the
different star sign dates memorized as they occur
throughout the year then working out their star sign
becomes easy and requires very little additional effort on
your part.

I recommend learning these correlations to the Months as

well as how each of the Month numbers relate to each of
the names of the Month cold. Having such associations

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“pegged” in memory will make working with this method
and performing the needed mental adjustments that much
easier under the pressure of performance, leaving you free
to concentrate of presentation.

Note: You don't always need to ask if the spectator

has already celebrated their birthday. Most of the
time it will be self-evident whether they have had
their birthday, once you work out an estimate of their
date of birth just before the reveal. If you always
work out their birth day calculating it by taking off
the highest possible life number from each of the
totals they give you then you will arrive at an
estimate for their date of birth that is either correct
or off by one (one digit out on the Day and Month
number).

Then based on where you are in the year and

whatever the current date is you are currently
performing, you will instantly know if you need to
adjust the estimated date you have just arrived at.

For example, if they give you the totals of 27 and 12

then you will always work out their estimated date of
birth by taking away the highest of the possible life
numbers they could have been focusing on: This

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would be 9 (for the year of writing 2019).

27 – 9 = 18th
12 – 9 = 3 (March)

You're estimate in this example, would be 19 th of

April. That is correct if they have NOT already had
their birthday. So if you are performing on a date
that occurs after this estimation (for example, you
are performing on the 4th June), you know you will
NOT need to adjust and can just reveal this as their
date of birth. However, if you are performing on a
date that occurs before or on the exact date of this
estimation (such as the 2nd of February) then you will
know you have to shift the date up by one by simply
adding one to the day and month numbers
respectively.

This would make the correct date of birth in the

example: 19th April.

You may prefer to work out their date of birth this way and
then simply shift your estimation by one digit for the Day
and Month numbers.

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This will eliminate the need to ask an additional question.

Or you may prefer to ask the question and work out the
date of birth knowing you don't need to shift your results.

Do whatever you are comfortable with and works best for

you.

Note: Another important detail is that some of the

time the mathematics will not work. This occurs
whenever the spectator's age or date of birth ends on
a zero, so to ensure this is never a problem I suggest
asking if anyone in the group is born on an exact
decade or has a rounded number as their age and
then proceeding with the effect with someone else in
the group. The reasoning for dismissing these
spectators will be inline with your opening scripting
of wanting to deal with specifics, as opposed to
generalized decades or estimations.

I personally, don't worry about these dates and just

fail from time to time because of this inconsistency.

Read this a few times and follow through with made up

examples, to fully understand how simple and easy to
apply this actually is.

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Utilize these tools however you wish.

What is important to remember is the structure of the

routine and the way in which we secretly obtain the
required information under the guise of simply offering an
example of how others would give a reading. You should
always first give clear instructions then frame these
instructions as an example, followed by a reading of some
kind and then reveal the date of birth or the star sign and
date of birth together. This is done after you have allowed
some time to pass, either by giving a reading or performing
other effects and implying you are still picking up on
impressions silently.

This will provide some good time misdirection which will

help what you do not be back-tracked, after the fact.

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For more from Fraser Parker
check out his website:

www.fraserparker.co.uk

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