The audience is gathered around in chairs in a semi-circle. The performer introduces himself and speaks of dreams, the collective unconscious, and the Shadowland.
A set of three paper balls are tossed to audience members who join the performer on stage. They name in quick succession a color, a wild animal, and a flower. The balls are unfolded to reveal the very things they named written within. The three are then seated among 4 chairs, one of which is left empty. An envelope the performer left in full view the whole time is opened and inside is a paper that correctly names which chair was not chosen.
The host speaks of dreams not only offering premonitions, but also giving us a connection to our memories, a window into one another's minds. The first volunteer is given a coin borrowed from the audience. He is asked to think of a name from his past, a goal he plans to act on tomorrow, and the date on the coin he is holding now. The performer correctly names all three.
As the first volunteer is seated, the performer approaches the second and tells them he will send them a memory of his own. He writes the memory down, folds it up and places it in a pan. As he focuses on sending the memory, the volunteer says they can smell pine. There is nothing in the room that could be producing the odor. The volunteer unfolds the paper and learns that the performer was sending a memory of Christmas morning and the gloriously decorated tree with the scent of pine filling the air. The paper is replaced in the pan and set alight. A lid is clapped down to smother it, but when lifted the ashes are gone and replaced by Christmas cookies in a festive paper wrapping. The cookies are given to the second volunteer as they take their seat to share the goodies with the rest of the audience.
The third volunteer is offered the chance to use dreams to peer into past lives and ancestral memories. Selecting an old fetish from a pouch of similar, the volunteer relaxes, is given a folded square of blank paper to hold, and is placed into a hypnotic trance. The performer begins narrating a scene from the memory, becoming more immersed and frantic as he goes on narrating the experience of hunting mammoths in the rain, the exact memory experienced by the volunteer. The paper is opened to reveal the blank surface now covered in crude cave drawings depicting the hunt.
The performer explains his connection to his volunteers is through the ancient Celtic practice of soulgazing. He instructs his audience on the how-to of soulgazing and gives them a moment to practice on the people next to them. With this spiritual connection established, they join hands and encircle the performer's table where he has propped a block of wood up against his briefcase. Motivated to believe that dreams and ambitions can move mountains, they are asked to visualize moving that block of wood. In moments, it teeters and falls over with a clatter onto the table.
Retaking their seats, the performer asks for a brave soul to step forward and write down the name of that which they fear the most. Without the performer seeing it, this information is concealed in a wallet set on the table. Another hypnotic trance is induced, and the volunteer finds them self alone in the room with a horrific avatar of their greatest fear. As the performer describes it drawing closer and reaching for their vulnerable throat, they feel the touch of it on their necks and are startled out of the trance. The performer assures them they need never fear spiders (or whatever it was they wrote down) again.
With this final demonstration of a nightmare confronted and conquered, the performer makes his closing speech and bids his audience good eve.
Weiss routine
