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Do you like HARDCORE mentalism? Completely EXPOSED techniques? Want to ENLARGE your repertoire?
If so, I think this collection of effects should satisfy most of your mentalist desires. It's been a few years since I've released a manuscript, and since then, a couple of my manuscripts have been discontinued on the market. This is partially why I've decided to make this one a mix of both old and new material. Included here are three effects from past writings that people always ask me about, and I've decided to put them in here as a sort of "best of" compilation along with four brand new never-be forepublished items. The effects taught within range from easy to very complex. The main emphasis behind each effect is put on the mind-set and the language by which a mentalist communicates his/her intentions. Sometimes the "how-to" is easy, but the language is the part that takes practice. For the beginner, you are taught all the best techniques to exercise learning mentalism, particularly equivoque, and linguistic outs. For the pro, I hope you find my refinements interesting and my presentations creatively inspiring. By the way, I'd like to thank a few people here. My man Doug Moors, for his graphic wizardry, my wife Tanya for coming up with the title for this book, the boyz in the Magic Mafia, Vegas Represent, the Mysterious Dr. M, the Priest-man, the PEA radicals, the TRI contingency, and all the diplomats of mentalism. Thanks for the late nights. Peace, Alain
Perfor.mer predicts mentally chooses. which of three coins a spectator
There may be another source for this effect,but I will give the credit for this bit to mentalist Terry Nosek for his effect, which he calls Impromptu Influence in his lecture notes from the mid-eighties. I added a small improvement along with a nice presentation that makes the handling easier and will give your close up audiences a nice little mystery to think about. It's basically an equivoque-style effect to determine the outcome of three coins (a quarter, dime, and nickel), but EVERY outcome is solid and strong. And although it is not a "blockbuster" effect, it makes a nice opener or pseudoimpromptu demonstration. The Dope: Under the quarter hides a dime. No matter the outcome of your selection, you either show the quarter by itself or with the dime. After Terry showed me this brilliant idea, I came up with a method for doing it at trade shows, which allowed me to confidently perform this effect openly and without worry. Wax. Just take a teeny tiny (1 millimeter in diameter) ball of magicians wax and simply stick the dime to the back of the quarter. This way you can either freely show a single quarter by leaving the dime stuck to its back, or you can un-stick the dime from the quarter as you open your hand to display the two coins. The presentation of the effect depends on a flow chart of possibilities. There are three coins, but there are four possibilities.
As the conversation shifts to predicting the future, secretly put the quarter/dime set-up curled in the fingers of your closed fist. Your opening statements might sound something like this: "Futurist philosophy mentions that with the imagination, it's poss1hle to find reflections of the future-- sometimes with amazing accuracy. Anyone can do this if they just simply let go and try not to fight the moment. (Find a spectator). Let's try a simple test to see how well you can create a simple future event. (Hold out your closed fist). I want you to imagine three pieces of silver in my hand: A nickel, a dime and a quarter. I'm not actually holding all three coins, but I want you to imagine that I am for now, OK? Now I want you to imagine one of the coins spinning around within my hand and then rising out and hovering above my fist. Which coin do you see?" If she says she sees the quarter say, "Let me ask you, are you actually visualizing a reflection of a quarter there?" Let her respond in the affirmative, and then continue by saying "... because if that's true, you just aced your first psychic exam!" Open your hand to reveal the quarter keeping the dime hidden and stuck to it's back. I usually give the coin a quick flip, and catch it, as a sort of convincer that there is only the quarter in the hand. If she says nickel, you respond by saying, "Let me ask you, are you actually visualizing the reflection of a nickel there?" Let her respond in the affirmative and then continue by saying "I want you to physically imagine grabbing that coin out of the air and placing it into your pocket." After she mimes this action say "Do you realize that by doing what you just did, you just created a future event? Out of the three coins, you just visualized taking the nickel away, and that left me with the quarter and the dime, right? Well those are exactly the coins I am left with!" Open your hand, simultaneously spreading the dime over to the side in order to openly show both coins are in your hand. "Congratulations, you just aced your first psychic exam!"
Notice the play on words to emphasize "reflections of the future" and "creating a future event." I feel this makes the effect more about testing the spectator's ability, and less about my having predicted an outcome. Although this is but a tiny detail, I believe it does help to make the effect more personal and at the same time increases the impact of each final revelation. The effect becomes no longer about influence-- now it's about "the future." Now should the spectator say that she is visualizing a dime, go on with saying, "Are you actually visualizing the reflection of a dime in that space?" Wait for her affirmation, then say "Now I want you to imagine one more coin spinning around in my hand, rising out and hovering above my fist next to the spinning dime. This time, which of the remaining coins do you see?" If she says quarter, you will emphasize that she has somehow seen a "reflection of the future" while dislodging the dime from the quarter as you open your fist to show the two named coins in your hand. During this phase, however, even should she say that she sees the nickel hovering next to the dime, it's a matter of simply asking that she grabs them both out of the air and place them into her pocket, only then emphasizing that by doing so, she had "created a future event" by leaving you with the quarter. Casually display the quarter as you open your hand and give it a quick flip in the air before putting it back into your pocket. Of course when you're psychic, multiple choice is a breeze.
Flipped Out II
A folded prediction is shown and placed, in someone else's pocket just as two different coins are borrowed from someone who has some pocket change. Quickly, one coin is chosen and flipped. The side that it lands on is noted, and the prediction is brought out. As the prediction is unfolded once, it first reveals the coin chosen. It's unfolded once more to reveal the correct side is seen predicted correctly as well. But the mental-guy goes one final step further and unfolds the prediction completely to reveal a date. The spectator checks the coin- the date matches! "Flipped Out II" is a variation of the very old flippingcoin premise, popularized by Max Maven, Mark Strivings, Richard Busch, and a veritable host of other noteworthy celeb-mentalists. An earlier version of mine called "Flipped Out" was published in MUM Dec 1999, my one-man issue. It was a pretty clean idea, but this one is more direct, and has a tighter presentation than its earlier permutation. Prep: The "unfolding prediction" premise is a brilliant idea of Ali Bongo's. Here, I use the unfolding prediction as a "two-way out" in combination with the unfolding prediction premise. To make the prediction, I like to use r~gular 8.5" X 11" colored paper and a "flipchart" marker. Basically, you just want to use a marker that doesn't bleed through the paper. A crayon would work too. Find a penny to force. I try to find one with a date about 5 to 10 years prior to the present year. Note its date and write the date in the middle of the paper. Although you can write the exact date on the prediction, I prepare it so that it's not as precise, adding a slightly "human quality" to the effect. I'll write (if the penny is, say, 1991), "3rd impression: Date- might be between 1990 and 1992." This still means you're right on, but it does take a little heat off the force.
Open here if heads
Open here if tails
Once you have done this, fold the ptediction in half so that the date is folded towards the inside, and on one of the outer sides, write "2nd Impression: TAILS". Now fold the prediction again so that the writing is on the inside and write "2nd Impression: BEADS." Fold the prediction a fourth time, and write, "1st Impression: Man tosses Penny." Finally, fold the prediction one last time and write on one side the word "COIN-TOSS: IMPRESSIONS." Wrap this folded prediction with a rubber band or a clip it with a paper clip. Put the penny to be forced so that it is held under the band or clip. Put this package in your pocket, and you are good to go. The Dope: Start by removing the package, and stealing the penny into right hand finger. palm. Hand a guy the package and ask him if he has any loose change on him. Have him place the package in his pocket and remove the loose change. As soon as his hand comes out, reach over and take one of the coins (the larger the better) out of his hand while simultaneously leaving the nickel with the rest of the change. This should be done almost immediately as the person removes the change. I have in fact done this with people who had as few as four coins in their hands, and yet it still skated by them that I was adding a coin while picking the other up. Let's say, in the act of leaving your penny, you grabbed a quarter. Next, fish around in his hand and then openly take the penny, and place it down next to the quarter. Have the spectator put the rest of the coins away. Say, "Now I want you to have a free choice here, but we need to 1.oose one, so take one ... If the spectator picks " up the quarter, immediately follow up by saying, "... put and it away with the others." If the spectator picks up the p.enny, say, "... nd 1.et this be the one we'1.1. a focus on." Either way, you're left using the penny. Although the magician's force is hardly anything new, the add-on/switch that is used in the beginning is a gem of a switch and will sneak past the wisest observers. I am the only one that I know of who has come up with the application of such a switch cOmbined with an equivoque force to predict the date of a coin in this manner.
Once the coin has been forced, you are home free. Simply have him toss the coin to take note of either heads or tails, and then ask him to remove the prediction from his pocket. Remove the rubber band, and while pointing to the words written on the outside of the folded package, say, "You know, I just can't seem to get through the day without making a 'coin toss ~ression.' Somet~es I'm right on the coin but wrong on the toss. Other t~es, I'm right on the toss, but wrong on the coin. Today, however, I've been feeling pretty good, so I tried something different. Now I honestly don't know how I did on the new part, but as you can see ... you begin to unfold the prediction, "... " first impression: Man tosses penny. Second ~pression: HEADS! Right on, yeah? Now, let me see how close I came on the last one. Please, cross your fingers for me! I wrote: date might be between 1990 and 1992. What does the date on your coin say?" It's almost self-explanatory at this point. Since the coin is forced, the only part you don't have control over is the coin toss, and that part is taken care of by the manner in which you unfold the prediction. By simply knowing how to unfold the prediction properly, it is possible to do so without revealing that there is a "twoway out" encrypted within its folds (see illustration). I don't believe the idea of using the unfolding prediction premise in this "two-way out" manner has ever been explored before. I find it provides good entertainment value, and I've never had the prediction questioned by the spectator. If, however, you would rather the prediction be examined, you could use a double envelope or a Himber-style wallet with two separate predictions inside (one that individually predicts each side of the coin toss along with the other impressions). Personally, I like the two-way out unfolding prediction premise in this effect. It nicely frames the moment. For further edification on this subject, my earlier version of Flipped Out (MUM Dec 1999) did not use a conventional two-way out for the coin toss. A more daring mentalist might find parts of it interesting. Of course, after all is said and done, you are one penny short. But it's a nice one-cent effect. In fact, it's literally "a penny for your thoughts!" 10
A ring, a watch, and a key are borrowed. A prediction is also introduced and set aside in full view. You explain that while your back is turned, the objects are to be mixed about so that there is no way you know the position of those objects. With your back still turned, the spectator switches certain ones around in order to "psychically tune into each object" then the spectator to focuses on one object at a time, placing one object on her finger, another object on her wrist, and another one in her pocket. When you turn around to find that the watch is dangling on her finger, the key is balanced on her wrist and the ring is in her pocket, everyone laughs. Addressing the prediction made earlier, however, it's soon realized that YOU are the one who laughs last! The principle is the classic Bob Hummer's "Math Monte." The presentation of the routine and the slightly different handling of the principle are, however, my own. Others who have experimented with this principle include: Dave Arch, Banachek, Alain Belon, Karl Fulves, among many others. I've included my own version here. The Dope: Try this. Lets say you have a ring, watch and key in front of you. Switch them around so that they are in ANY order from your left to right. Now if there's an object to the RIGHT of the RING, switch the ring with that object-if there isn't an object to the right of the ring, just leave the ring where it is. OK? Now if there's an object to the LEFT of the KEY, switch those two objects with each other, and once again, if there is no object to the left of the key, just leave the key at its present position. Finally, if the WATCH has an object to its RIGHT, switch those two objects, otherwise just leave the objects where they are. You should now have the key on your left, the ring in the middle, and the watch on your right. Was I right?
If you accurately followed the above instructions, FIVE OUT OF SIX TIMES you will end up with the key on your left, the ring in the middle, and the watch on your right (in alphabetical order from left to right, making it easy for you to remember the outcome). ONE OUT OF SIX TIMES, however, you will get the key on your left, the watch in the middle and the ring on the right. Like I said, this is an old method and it's not my original concept, but my handling of ensuring that you never have to worry about the one unsuccessful outcome is, to the best of my knowledge, my idea. The way I get around this outcome is to simply set up the objects so that the RING is on their LEFT, the WATCH is in the o~ . MIDDLE, and the KEY is on their RIGHT (see . illustration). If the objects begin in this order, and your ~ spectator follows the above instructions, the effect WILL NOT WORK. However, if you set them up this way, then turn your back, telling your spectator that sin~e you now know the order of the objects from right to left, for them to
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to work for you! Play around with this, as there are methods for utilizing this concept over the phone or in other creative ways.
"Switch them around so that they are not in that original order," as long as they follow those directions, it's sure
Let us summarize what you have read so far so that you can further understand this concept. Assume the key = A, the ring = B, and the watch = C. The aim is to get A, B, and C into alphabetical order by name of object. The instructions are to: Switch B with the object on its RIGHT Then switch A with the object on its LEFT Finally, to finally switch C with the object on its RIGHT The instructions must ALWAYS be stated as above. It's also important to mention that if there is NO OBJECT to the left or right of the object that is being switched, then NO SWITCH will take place.
Using this formula, you will ALWAYS be able to get the objects into alphabetical order UNLESS the formula begins with the objects placed in B, C, A order. So the subterfuge is to have them ALREADY set up in B, C, A order, then turning your back, tell them that since you already know the order they are in, they must now change the order to a DIFFERENT order. This action, done by the spectator as a "precaution" to ensure you will NOT know the position of the objects in front of them, will, in fact, delightfully set you up for a successful outcome! From this understanding the presentation. of the concept, we may now move to
Borrow a ring, watch, and key. While they're searching for these items, make your prediction which states "Your watch will be on your finger, your key will be on your wrist, and your ring will be in your pocket!!!" Let them know it is your prediction, then set it face-down somewhere in full view, but off to the side. Make sure you openly place the prediction somewhere that will call attention to it, yet be off to the side enough so that it does not become the centerpiece in the presentation. You want the audience to know that it's there, but then forget about it as you continue through the process. Once the objects are laid out, select a spectator to try this "experiment"-- say, "I'll need to use someone who has an innate ability to ooncentrate and stay mentally focused, you will be my 'thought transmitter'." Find someone who truly looks as though they have those qualities because they will need to be able to follow your instructions, which are crucial to the outcome.
Say to them, "I'm going to turn my back and I'll have you mix these objects around so I'll have no way of knowing which objeot is where. If everything goes right, I'll be able to tell you where each object is, s~ply by having you focus on them." As you say, "mix these objects around," take the three objects and arrange them in a row in front of the spectator (as if you were mixing them around!) so that the ring is on their left, the watch is in the middle, and the key is on their right (B, C, A order). Turn your back and continue by saying "For instance, I know now that the ring is on your left, the watch is in the middle and the key is on your right, so please, switch them around" so that they are in a completely different order that I could not know-- have you done this?" By stating your instructions in the above manner, the spectator is "psychologically forced" to move the objects into a newly ordered configuration. The wording here is very important, rehearse the above statement so that you can state it exactly as it's written, and you will always be accurate. Keeping your back turned, you will now lead in to giving them the formula instructions by telling them that you will now try to "tune in" to each individual object. Say "Now I will try, by using all of my senses combined, to 'tune in' to each individual object by having you move them around. Listen to me carefully because I'll need your concentration here. We'll focus first on the ring. If there is an object on the right of the ring-- don't tell me if there is or not-- but if there is an object to the RIGHT of the RING switch those two objects, ok? If, by chance however, there is no object to the right of the ring just leave it where it is. I'll give you a couple of seconds to either silently switch the objects or leave the ring where it is ... Are you done? Good. Hmmm... I think I need to tune in a little bit more, so this t~e let's focus on the key. If there is an object to the LEFT of the KEY, switch those two objects with each other, and once again, if there is no object to the left of the key, just leave the key there ... ok? I feel like I'm beginning to get a sense of their energies, so to be sure, lets do the same with the watch. If there is an object to the RIGHT of the MATCH, please switch those two objects with one another, but if not leave the objects where they are. .. good!"
By clearly giving your spectator the above instructions, your spectator will now have the three objects in alphabetical order in front of them. The key will be on their left, the ring will be in the middle, and the watch will be on their right. You could now theoretically go straight to divining the placement of the three objects, but I prefer to go further in order to psychologically lead them into a direction where they will feel as if THEY were in more control. Tell them that this time they will get to decide upon the object that they want to focus on. Say "Now if you had YOUR CHOICE to focus on one of these objects, which one would you focus on the one on your left, middle or right-- don't call it out by name, just say left, middle or right." Whichever they say, tell them to place it where your prediction ultimately says. So if they say "right", you will know it is the watch that they are focusing on. Tell them to "Slip it onto your finger-- ok?" They will immediately think you screwed up, but without pause, tell them to select one of the remaining objects. If they say, "left" (the key), tell them to "place it on your left wrist-- did you put it there?" Ignore their sniggering and tell them to put the remaining object (the ring) in their pocket. All you need to do now, is turn around, and let everyone laugh at you. Once they're done, reveal the prediction you made at the outset (that they forgot all about!). They've done been spanked.
Pantomime as if you are giving him the two black queens so that each imaginary card is in each of his hands. "Now we're left with the two black queens, the queen of clubs and the queen of spades. As you look at them, which one seems the ~east interesting to you? The spades? Take it and throw it back into the packet. I'm going to take the Queen of C~ubs a~ong with these two red queens that you a~so chose, and now watch me c~ose H Pantomime as if you ... are making the imaginary cards 'disappear'. I know it's silly, but it's amusing. "They're gone! ... f course the one o card that you decided to ~eave behind," Spread the packet, nis the one card that remains! ... and the others that we've made disappear," Turn over the face down blanks, "are truly gone! I had a funny feeling you were the kind of person who wo~d leave behind something that stuck out!" Reveal the odd back. As you can see, even though this last scenario would be considered a "worst case scenario", a simple adjustment in the presentation makes as if everything always goes planned. Hardly, if any, impact is lost whatsoever from scenario to scenario. Obviously, the main adjustment in this last phase is to make the queen of spades, the card that the spectator "left behind~" The other three cards are made significant by causing them all to disappear, while Simultaneously placing emphasis to convince everyone that those are the three "chosen" cards. Finally, in this scenario, when revealing the outcome, it's important that you reveal the blank cards immediately after revealing the reversed Queen of Spades, since the effect has now changed to the "vanishing of the three chosen cards". Consequently, it is the revelation of the "vanished cards" that climaxes this outcome and the revealing of the odd back is presented as a "kicker" after the climax. One nice aspect of this effect is that you don't need to carry around the special cards used to do this. With an ordinary deck, use the queen of spades along with three other indifferent red spot cards. Of course, you won't be able to reveal a different colored back, but you can use masking tape, a sticker, or a label. However, if you don't .care about losing a queen, there are countless impromptu ways to graffiti the back of a card. How you play it, is how they see it.
A card is selected and returned to the pack. The deck is ~ediately passed out for shuffling. The perfor.mer and the spectator each hold one end of the deck. Now the values (ace thru king) are then recited to her, slowly and deliberately, "Ace two, three, four" etc.,.until all the thirteen values have been counted. All the while, the perfor.mer and spectator are connected by nothing but the cards between them. Once this has taken place, the cards are spread towards the perfor.mer, and after some deliberation, he removes four facedown cards in a row on the table. "I'm a little confused as to which one of these might be your card, so let's see if this might work. I'll let YOU decide by process of elimination. Please place one of your hands down on any of these four cards." The spectator does, and is asked to name her card. "The ten of hearts" she says. "Really?" replies the perfor.mer, "Well, I don't know if that card is it, but I can say, it was one of my choices." At that, the perfor.mer one at a time turns over the three other cards, and they are seen to be the ten of clubs, the ten of diamonds, and the ten of spades. As she turns her card over, it is seen to be exactly the ten of hearts. The Dope: This is one of my favorite impromptu card effects. Read on and learn why. Though, I've made some refinements, the method is almost embarrassingly obvious. This said, I don't know of anyone else who has any work on this, so I offer you mine. I love this effect so much because the premise is easy for a layperson to comprehend, it has an unexpected finish, and it looks like real mind reading. I call it "The Gypsy" because perhaps a gypsy might use a premise like this as a vagabond demonstration of sense-power. The method is simple, and dependent almost completely on the presentation to make it sell. Only one technical move is accomplished to make this entire effect work: the glimpse. There are many different ways to glimpse a card, but the manner that I will explain also has some personal work put into it. I call it the "pointing glimpse." 21
A spectator, through a process of elimination, selects one of four queens. It is revealed at the conclusion that although the performer has not handled the small packet of cards (that sat in full view the entire time), the one card reversed in that packet is the queen that was selected! Furthermore it is the one card with an odd colored back design, and it is finally revealed that the other three cards in the packet are completely blank! Everything is examinable. I had been doing an impromptu version of Max Maven's "B' Wave" for some time. I added some touches and thoughts that I felt were clever and I liked the notion of doing this effect with examinable cards because although the impact of "B' Wave" is very strong, the sight of the blank cards can cause a skeptical spectator to deduce that they are "heatsensitive" or make some other outrageous claim. Blank cards are unusual, but people find them interesting. I thought it would be nice to let the cards be examined if someone asked to take a look at them. Another reason for my interest in this exercise is that it occurred to me that (theoretically) every individual who attempts to use equivoque as a means to duplicate the effect of (for instance) "B' Wave", could come up with a totally different means to achieve the effect, and therefore it became a challenge for me to try to create the most deceptive method for a gaff-less version of this effect. It was an interesting notion that all methods of equivoque could be different. Prep: Three blank-faced bluebacked cards face down, one red-backed Queen of Spades face up, third down from the top of the packet (see illustration). Square them up and place them on the table in front of you.
Intro: "We're going to try a little psycho~ogica~ demonstration that will involve this small packet of four cards. I will not manipulate them in any way as they will stay right here in front of us until the end of this experiment. Everything will happen only in our minds. Let's say that these four cards are the four queens and I remove two from this packet." Pretend to hold two imaginary cards in each hand. "Let's say the two queens that I have removed are the same color. If you were to use your imagination, what color would you say the two queens are-red or black?" By stating early on that this is a "psychological demonstration," I have found that you will guide people to choose black over red because they will more likely opt not to go for the obvious color, which would seem to be red, given the choice of the two colors. On the off chance that the spectator says "red", you have already used the key word "remove" (italicized in above script) which could be interpreted as if you are discarding the two cards in question. The key is to use deceptive equivoque to force the queen of spades, so there will be four separate scenarios depending on which direction the spectator chooses to go in. Let's run through the four scenarios beginning with the best and most probable outcome ... 1st Scenario: "You say they're the two black queens? How odd, I didn't even show you the faces!" Pantomime as if revealing the faces of the two imaginary cards-- this is a great gag. Thank you Al Cohen, for that one! "You're moving along perfectly! Bold out your hands and take each card. Now on ~ulse, throw one of them back into the packet. Good! Which one was it? The spade? Now 1 had no influence over the color you had decided upon, nor the suit that you ~sive~y ended up choosing, right? Yet, the one card that is reversed inside this packet is the Queen of Spades!" Spread cards to reveal face up queen of spades. "I was so sure that it would be the card named that I made it the only odd backed card as well!" Remove queen of spades from spread and reveal its red back. "In fact I was so certain, as you can see, I need not have used any other queen!" Show all other cards to have blank faces.
Obviously, in the above scenario, the emphasis is placed on the color and exact suit that the spectator names. The key word is impulse. The act of throwing back one card is emphasized to seem appropriately relevant to the outcome of the effect. 2nd Scenario: "You say they're the two black queens? How odd, I didn't even show you the faces!" Pantomime as if you are revealing the faces of the two imaginary cards. ~You're moving along perfectly! Hold out your hands and take each card. Now on ~pulse, throw one of them back into the packet. Good! Which one was it? The clubs? Which leaves in your hand the ..." (Let him answer for you). "Turn it over and show everyone!" (Get him to play along and pantomime showing people) "... keeping this ~aginary card face up, and carefully slide it back into the packet so it is left u,pside down. Now although I had no influence over the color you had decided upon nor the suit that you ended up reversing, the one card that is inverted inside this packet is the Queen of Spades! I was so sure that it would be that card, that I made it the only odd backed card as well. In fact I was so certain, as you can see, I need not have used any other queen! " In this scenario, the key word ~impulse" is downplayed once the spectator chooses ~clubs." Instead, the spectator is drawn into the theatrics of the routine first by helping to announce the one imaginary card that remains in his hand, then by displaying the imaginary card for all to ~see", and then finally by pretending to slide the card back into the packet so that it is reversed. It will be assumed that the card that was announced to have been ~impulsively" tossed back in to the packet, was thrown back in order to get it out of the way. The key word to end with this outcome is "reverse". Of course, by emphasizing that the spectator is to reverse his imaginary card before returning it to the packet, the revelation of the reversed prediction will, in retrospect, support the outcome. 3rd Scenario: "You say odd, I didn't even show are revealing the faces moving along perfectly! in front of you-- where out your hands. You get they're the two red queens? How you the faces!" Pantomime as if you of the two imaginary cards. ~You're We'll place these cards right here we can keep an eye on them! Hold to do this next part yourself." 18
Pantomime as if you are giving him the two black queens so that each imaginary card is in each of his hands. "Now we're left with the two black queens, the queen of clubs and the queen of spades. As you look at them, which one seems the ~east interesting to you? The clubs? Give me the club, so I can put it here with the other red queens that you didn't want." Follow action to suit. "Take the spade, the one you found most interesting, and slide it back into packet so that it is facing ~ards. Now although I had no influence over the cards that you decided to eliminate, much less the card you found most interesting, the one card that is reversed inside this packet is the Queen of Spades! I was so sure that it would be that card, that I made it the only odd backed card as well. In fact I was so certain, as you can see, I need not have used. any other queen!" This third scenario is the flipside, since this time the red cards are "removed." The imaginary red cards are then placed into an imaginary pile in front of the spectator. Upon giving the spectator the two remaining black queens and asking him which looks the "least interesting", two presentational subtleties take place simultaneously: First, it becomes clear that the routine is a process of eliminating cards in order to arrive at one. Second, (from my own experience) a spectator who is given a choice of determining which of the two remaining suits is least interesting almost invariably chooses "clubs." I believe that the reason for this is because iconographically, the spades are considered the most powerful suits in the deck, whereas the clubs are considered to be the least significant. It has been my experience after trying this on numerous occasions, that if they do not say "black" at the outset of the motions, you're at about 80 percent certain to get them to say "clubs" in the second round. 4th Scenario: "You say they're the two red queens? How odd, I didn't even show you the faces!" Pantomime as if you are revealing the faces of the two imaginary cards. "You're moving along perfectly! We'll place these cards right here in front 6f you-- where we can keep an eye on them! Hold out your hands. . You get to do this next part yourself."
Once the selection has been returned to the spread, get a pinky break just below it. If you push the top packet to the left with your left pinky, you'll find that the rear part of the packet steps to the left slightly diagonal to the lower half. This is what you will do as your left hand turns the deck perpendicular to the ground in the action of pointing towards someone with the left forefinger to ask "Are you a pretty good shuffler?" As you ask this question, and while you are pointing towards the spectator, glimpse downward towards the bottom-side of the rear left of the deck. You will get a nice and easy glimpse of the index corner of the card that was just selected (see illustration). Note that this glimpse does not need to happen quickly-- it is virtually angle proof. Nothing can be seen from the right side, and the base of the left thumb obscures the potentially bad angle from the left. If done properly, not even your own right eye will be able to catch this glimpse. It's for your left eye only. Once the index has been glimpsed, it's a simple matter of just quickly resquaring the deck in the left hand, or jiggling it, as you pass the cards out for shuffling. This destroys any evidence that could possibly be found regarding your knowledge of the selected card- and yet, its identity is already known. This next phase is actually the most important phase of the effect- you will make the spectator think that you are going to try to read her ~tells." Hold the deck with your right hand at one short end with the thumb on top and the fingers on the bottom. Have the spectator hold the deck at the other short end in the same manner so the two of you are ~connected by a single pack of· cards." Lock eyes with your spectator and then slowly recite out loud the values of the cards to her, watching her eyes as you do. You may even want to repeat it again. My audiences are always convinced that this is how I am able to know what the value of the card is. This routine is not nearly as strong without this bit of business. It is the basis by which this effect rises from trick-status to full-blown ~mystery demonstration." You will be given credit for not only being clever, but ultra-perceptive as well!
Let's evaluate what has happened so selected and returned, and then the During that time,the selection was cards were retrieved after shuffling emphasis was placed on reciting the within the deck.
far. A card was cards were shuffled. secretly glimpsed. The and then an unusual 13 values contained
Now, take the cards, and with the faces toward you and away from the audience, spread through the cards and act as if you are deliberating between your options. If during your glimpse, you spotted the ten of hearts, find all four tens and take note of where the ten of hearts is among the four. Lay the four tens face down in a row, so that from the spectator's point of view, the ten of hearts is the third card from left to right. You will use equivoque to force her the card at this position: Tell her that you've narrowed it down to four choices, but you would like try an experiment to see if she is able to find her own card through "a process of elimination". The key phrase that sets this up is when you tell her that this will be a process of elimination. Don't overlook saying this, as you want the outcome to appear as fair as possible, and not look like some crackerjack force. Say, . "Place one of your hands on one of these cards ... If rr she places her hand on the ten of hearts, you'll have no reason to go any further. In my experience, this happens a good majority of the time. Continue by saying, "Somehow you were compelled to place your hand on this card. We've now eliminated three." All your work is done and you are now ready to move on to the big finish. If, however, she places her hand on any of the other cards, continue by saying "... place your other hand on one ,more and card." Let's assume, this time, that neither of her hands end up on the ten of hearts. Say, "Push those towards me and out of your way, we have two left, so let's try this: When I snap my fingers, I want you to hand me one card, but keep it face down." Once you snap, if she hands you the selection, keep it in your hand and pause for a moment before coming in for the kill. You're done son.
If she hands you the other card, immediately put it on the pile of "discards" (which should be right in front of you) . So she helps you to eliminate three cards, there's one card left from the elimination process, and that one card left is her selection. You're set to move on to the big finish. Now, on the flipside, if the second card she places her hand on IS the ten of hearts, YOU pull the two un-chosen cards toward yourself forming the discard pile. Say, "Somehow you felt drawn to those two cards out of the four. When I snap my finqers, I want you to hand me one, keepinq it facedown." Snap your fingers. Just as in the above scenario, if she hands you the selection, pause a moment in a triumphant manner, before you bring it on. If, after you snap your fingers, she hands you the card that is not ten of hearts, immediately drop it on top of the other two cards, and continue by saying "There. We've eliminated three cards and are left with one," You're now ready to bust it all out. Note that no matter what choice the spectator makes, it is always made to seem appropriate- just part of the "process of elimination." The wording of ANY equivoque strategy will either make or break the impact of the demonstration. The equivoque strategy should always be designed with the sole intent to make any spectator feel comfortable with each seemingly unique decision. Ready for the grand finale? Say, "Frankly, I don't know if your card is even one of these- but it might be. Don't forqet, you shuffled the cards before AND after the selection was made- yet we've arrived at one card. You tell me first, what was the card you selected?" As you say this, turn the three remaining cards over one at a time to show the three of a kind. The visual image, from the spectator's standpoint, of revealing the three cards before the selection is turned over, is very creepy. I don't know exactly why this is, but maybe it's like the feeling of experiencing an omen. Or maybe not. At any rate, follow through by saying, "Please turn over the one card that remains!" The reaction is always emotional. It was my friend, Frank Paparozzi, who first suggested the idea of revealing the three cards before the selection, and what can I say, it's the way I do it now. 25
Three effects done with business cards. More than just . another "psychic spectator" effect- it's good marketing. In one of my earlier tomes called "Mind Over Matter," I .published an effect, which was derivative of an effect of Richard Webster's, called "You Must Be a Psychic!" Since then, the effect has gone through many permutations, and I've come up with a much more thorough routine that will leave a strong impression. Prep: 25 business cards with two short cards on top (top short card has boldly written on the back: "ONE OUT OF TWENTY FIVE", and written on the second short card is "YOU MUST BE PSYCHIC!"). Also, make a subtle mark on the top (short) card so that only you can spot what it says. #1: Spectator cuts to her signed business card.
Proceed: Tell the spectator you have about 25 bus cards, and.hand her one to sign, explaining that by signing it, we are making it the "target card" for this ESP experiment. Turn the card over and, pointing to your own name on the business card, say "By the way, this ESP test is brought to you by: ME! You can find me on the web at www ..." Just do it. Take their card and place it 'on top of the pack (above the two short cards). Now mix it into the pack so that you, (1) keep the spectator's card on top of your two shorts, and (2) so that the signed card ends up a little above the middle of the pack with the 2 short cards just below it.
Turn over a few top cards casually and flash the bottom card saying "so now it's not on the top or near the bottom." Square them on one of the short ends and placing it on your hand, the "short side" towards the volunteer. Ask her to cut off a portion, and hold their cut off packet about an inch above your packet-- that way, if she cuts deeper than the short cards, tell her to let a few more drop from her pack, and if she cuts too shallow, you can ask her to pick up a few more cards. Done correctly, you will find that a good majority of the time the spectator cuts to the short. By looking for your secret mark, you will always know if she cut to the correct place. If she has, her signed card will be at the face of the packet that she has cut off. Now with the short cards are on top of your half, you can give the cards a "Svengali deck" display, showing the blank backs of the remaining by letting them riffle off your thumb. The two short cards will not be seen if you use this display correctly. Done impromptu, in non-working situations, this phase is real strong just by itself. My suggestion is that it's just as powerful as a stand-alone piece. There's never any need to overdo it when performing impromptu. However, if they ask that you do it again, you're prepared with two more surprise phases at the ready.
#2: Point back to your name on the business card and say "Did I mention, this next ESP experiment, is brought to you by ME, parties, conferences, good times, you've found the right guy" or whatever. Never let slip an opportunity to give yourself a good plug. Ask them to "imagine" that there is another target card in the pack. They assume that all the cards were blank backed, having seen many of them during your last phase, so by your using the word "imagine," in their eyes you seem only to be contemplating. Continue, "IF there was another target card in the pack, and you were to use your signed card (signature side up) as a 'dowsing rod' to find this target card by sliding it into this pack of, say 25 cards- please slide your signature in anywhere." once the spectator follows suit, you continue, " the odds that you could find that target card would be " She says "l out of 25", and as she does, you cleanly lift the cards above her card turn over the packet to reveal a business card that that says on the back, "lout of 25!" Proceed: First, overhand shuffle the top two cards to the bottom of the pack so that top short card (the "lout of 25" card) is at the bottom while explaining that you want her to slide her card back. Spreading the cards between your hands, surreptitiously also slide out the bottom card so that it rides underneath the spread (a la spread cullsee illustration below). From here, you can slide your target card so that it's directly over their card wherever they decide to put it.
(View from below) 28
You might want to try alternative messages on the second card like ~YOU did it!" or the name of the business you are working for or whatever. Once again, I feel that this effect can be seen as a nice follow up to the first effect, but should not necessarily lead into the final phase. The final phase is best done in front of three or more people, so unless a frenzy of people have showed up eager for one more, it's best that you just call in your powers for the night.
#3: A small crowd has gathered. The cards are divided into three packets and three people are asked to shuffle them. You mention that there is one final target card, and that you will let them examine all the cards and even let each of them take one home by the conclusion of the demonstration. Collecting the cards, you first check that the top few cards as well as the bottom few cards are NOT the alleged "final target card." Ask the same spectator to help you one last time. She is to name a two-digit number between 10 and 25. Whatever she names, the cards are counted down to that position (blank side down) as you say "Remember, you all shuffled the cards, so I couldn't possibly know where that card is in this stack ...ut if you b managed to find this card just by having named a random number, you know what that means? It means ... Have her turn " over the card at the number position she designated to reveal a card that says "YOU Must Be Psychic!" As you pass out these business cards for inspection and as souvenirs, don't forget to say "By the way, this ESP demonstration was brought to you by ME, so uh, for a good time, call!" Proceed: Divide the cards into three packets, handing them out to three people for shuffling. 9 cards, of which one is the target ~YOU Must Be Psychic" card, goes to one person, the remainder is split into two packets and handed out to two others). Collect the packet of 9 first,' and quickly riffle to the short card and discreetly cut/pass it to the top. Do this instantaneously in the act of collecting all the cards. Place the remaining cards on top of the target card. This places the target exactly 17 cards from the top (of a pack of 25) .
Now here's a clever concept I've been using for about 10 years: Act as though you are "checking" to see if the target card got shuffled to near the bottom (as you flash the bottom two or three cards) or near the top (openly flash the top 6-7 cards) so there is no question that the final target card is somewhere mixed into the middle of the deck. Say, "Now there's about twenty five cards here, and we already checked to make sure in isn't near the top. So let's try this now: out of say 25 cards, name a number, we'll say a two digit number between 10 and 25." I've found that about 40% of the time the spectator says 17. And if they say 17, everyone's happy. But also, a good amount of time they will also say 13 or 16. If they say "Thirteen," you need to pass four cards to the bottom using your best invisible method. Whatever number is selected, you are in fairly good position to get their card into place so that THEY can deal themselves to the target card. Knowing a good pass will definitely help to strengthen the impact of this effect when less desirable numbers are called out (like 11 or 22), but you will be surprised at how many times the average person calls out "17" when asked to name a number between 10 and 25. Also, business cards are so small, that executing an invisible pass is hardly difficult. There are other methods of combining the half-pass with the gamblers flip, among others, but I never liked any method that didn't let the spectator deal for themselves to the target selection. So get a good pass learned-- some things you gotta earn.
Anyone who knows me also knows that I have worked on the impromptu zodiac sign revelation for a long time. I have many different methods scattered throughout literature, particularly systems that are NOT based on the branching anagrams. It's not because I don't respect branching anagram systems or anything like that, but rather because there were so many systems out there that used the branching anagram premise, that I felt no reason to contribute to that area. However, this is not to say that I did not have my own anagram system. Thinking about it, I felt that my style of using anagrams was different enough from the others to warrant publication. I'd even say it's pretty hardcore. The root of all this probably goes back to Bob Farmer in an effect with cards that he published in the 1980's. From there, Ray Grismer published "What's Your Sign" a few years later, which was the first completely impromptu version of this effect. Others who have developed similar versions to the Grismer effect would include Max Maven, TA Waters, Jas Jakutch, Banachek, and Doug Dyment (who has a very thorough dissertation on this subject). The following is my version. I think you'll find it snazzy. PROCEDURE: This system requires some memorization, but it won't be that hard if you carefully read through these instructions. I have designed a way for you to visualize and properly memorize this system. Of course, there are only twelve different signs of the zodiac, so it would be good for you to start with remembering those. Also try to remember roughly the dates that each sign begins and ends. Figure 1 shows a list of the twelve signs of the zodiac along with their dates that correspond to them. Do your best to remember these first, then come back and read the rest.
Back so soon? You really remembered ALL those signs and the dates? Great, because even though you really don't need to know any of that to do this, it's better to have some knowledge of astrology purely for the principle that if you possess the power to divine the zodiac sign of any random person, then surely you ought to have at least some knowledge of astrology, right? Ready to proceed? Always begin by asking if the spectator knows what her zodiac sign is. It's important that you always ask your spectators to concentrate on their own zodiac sign, because there is always a chance that they won't know how to spell the different signs. But if they are thinking of their own sign, your chances are increased. If they know what their sign is but they don't know how to spell it, you can resort to one of my other methods (My dissertation on one such premise can be found under the title of "Zodiattack" and was published in The Mystery School Book by Todd Karr in 2003; an earlier version was published by me in the Looking Glass in 1994 by Kaufman, Hobbs and Racherbaumer) . This effect requires that the volunteers must know how to spell (correctly) the zodiac sign that they are thinking of, but it also takes into consideration that some people may not know the exact spelling of their own sign, and is designed to work around possibilities such as this. OK, so keep this low. The secret code word is "RlASE." Pronounce it whatever way you'd like, but most importantly remember how to spell it. That's important because you're going to use the spelling of this word as the backbone to this system. You're also going to need to remember five magic words too-- very specific magic words that don't have any meaning in real life, but are designed to get you through this system. The magic words are: Rei, las, Aor, Sa, and Es. These are words that you'll never have to say out loud to anyone-- I promise. You'll only callout the letters used to spell these words. Calling them out in a very special way will help you divine any thought-of sign. Just try to remember the "words." Try to especially remember how to spell them. It shouldn't be all that hard, learning to spell four new words. But by doing so, before too long, YOU will be able to divine the thought of any of the twelve swingin' signs of the zodiac! 32
Notice that the code word "RIASE" is made up of all the capital letters in the five "magic words." Just knowing this will help you to remember both the code word and the magic words. The basic rule is that you must first callout the first letter of each magic word- in other words, simply recite each letter of the secret code word "RIASE" until the spectator tells you that a called-out letter is not in the sign she is thinking of. When the letter called is NOT in the spelling of the thought of sign, you will move to the spelling of the magic word that begins with that letter in order to divine the correct sign. This is just the basic premise. There are some nuances that one must also learn. For now, however, let's look into the definition of each magic word. REI: unlocks the signs Gemini, Leo and Pisces. Once you have the spectator concentrating on her sign. Ask her to imagine it being whispered in her mind. Tell her that you hear an "R" sound, and then ask her if there is an "R" in the spelling of her sign. If she says no, act as if you weren't concentrating properly. Tell her that you'll try to make it easier on yourself and then ask her if there is an "E" (second letter in the magic word "REI"). She will say yes no matter what. Make a mention that you are not good wi th the vowels, since you can't hear them in your mind. I always mention this when using this system, even though I callout vowels. This way, on the occasion that I'm wrong, I can point out that I told them earlier that I'm not good with vowels. It gets a good laugh since you're taking credit for having predicted your own failure, right? Tell her that you are sensing that the "E" is the second letter in the sign that she is thinking of. If she says no, you -know that she is a Pisces. .Lf she says yes, you'll know that she is either a Leo or a Gemini. Continue by asking if there is an "I" in the spelling of her sign. If she says no, you know she is a Leo (For this, you can make the comment about how you're not good with the vowels-"See? what'd I tell you?"). On the other hand, if she says yes t~ere is an "I", you know she is a Gemini. In summary of the above, first react to your not getting the letter "R" by apologizing quickly, switching gears, and then announcing the letter "E."
Knowing the placement of the "E" pretty much redeems your first miss with the "R". The placement of the "E" at second from beginning will determine whether or not she is a Pisces. Following up by asking if there is an "I" will determine whether or not she is either a Gemini or a Leo. lAS: unlocks the signs Taurus and Cancer. Before announcing the letter "I", make sure to make mention of the fact that you are not good with the vowels. If she says no to the letter "I", let her know that you had that feeling that you wouldn't get it right. In a funny way this counts as a hit(!). Max Maven uses this premise jn his "Tossed Out Deck" routine, and it makes for a good out. Since there is no "I", you now know that she is either a Taurus or a Cancer. The rule now is to go to the second letter of the magic word lAS, the letter "A". Say, "I'm sorry, it was a letter 'A'. It's the second letter in the spelling of your sign, yes?" You don't need to worry this time since an "A" is at the second position in both Taurus and Cancer; you're covered. This statement should boost the respect-level of those who are still bustin' your balls after having gotten the "I" wrong. Now, you announce that you also heard an "S" (the final letter in lAS). If she says no, say, "Are you sure? I thought I could hear an'S' sound in the word as you whispered it in your mind .. She will have to say that " there is an "S" sound in the sign she is thinking of (the middle "c" in Cancer). Now you can reveal she is a Cancer. If there is indeed an "S", you know that she is a Taurus. As you can see, this system does its best to work around any "no-responses" received. AOR: unlocks the signs Virgo and Scorpio. Act surprised when getting a yes response to announcing the letter "I" from the RIASE-code since you, after all, are not normally good with vowels. Try your luck again with the letter "A". If she says no, your reaction should be as if you expected that your luck was going to eventually run out. But now you know that she's either a Virgo or a Scorpio. Use the spelling of the word "AOR" to find out. Say, "It was an '0' at the end of the word you were thinking of, wasn't it?" This should be, once again, a strong enough retaliation to the no response given to the letter "A", that it should redeem you of not having gotten the letter right to begin with. Not only are you guessing correctly, but you also are announcing where it is in the word you were focusing on. 34
Since both Virgo and Scorpio end with the letter "0", you will always be correct. At this point, there are several directions that one can take in order to determine whether she is a Virgo or a Scorpio, but rather than running the risk of seeming too obvious by calling out more letters, I ask them to concentrate again on the letter "R". Ask them to concentrate on whether the R is near the beginning, middle, or end of the word. Say, "... and I'm sensinq that the 'R' is about the third or fourth letter in, yes?" This statement is a soft hit, but now you close in with "Is it the third letter?" However she responds to this, will determine whether or not she is a Virgo or Scorpio for the obvious reasons. Even though this last statement has potential to miss, when it does, it still somehow psychologically comes across more as a "near miss."
SA: This two-letter word unlocks the signs Libra and Capricorn. If you have gotten this far in the RIASE-code, you know that your volunt~er is now only one 6f 5 signs. Say, "I don't know for sure, but did I also hear the letter "S"? If she says no, it will have been your first miss. Say, "I'm sorry- didn't I tell you I wasn't sure? Anyway, let's qo back to the 'A'. It isn't near the beqinninq of the word is it?" Here, an interesting premise is being used. You are purposely vague in how you deliver the last line as a question. Saying this in this manner makes you appear correct regardless of how the spectator answers. For lack of knowing what else to call it, I've dubbed this as the "ambiguous-negative-pump" principle (perfect for a XXX Hardcore technique). In other words, if she says yes to your statement, you continue by saying "The second letter from the beqinninq!" which makes you look as if you were going there all along. If she says no, you say, "No, there is only one 'A' and it is at the end of the word, yes?" This, once again, makes you appear as if you were already there. Either way, the ambiguous-negative-pump principle is designed to feel like a hit. No matter, by the spectator's response, you will be left to divine, in whatever manner, her correct sign, be it Libra or Capricorn.
ES: unlocks the final three signs left to determine- Aries, Sagittarius, and Aquarius. If you've made it this far in the RIASE-code, congratulations, but be careful here! The following can be tricky. With the affirmation that there is an "SO in the thought-of sign, announce that you will try once again for a vowel (remember, going for vowels is tough!). Announce that you are getting the impression of the letter "E". If the spectator says yes, be careful because there is a chance that she might not be concentrating hard enough and be quick to assume that there is a letter "E" is in the word Aquarius or Sagittarius. Say, "Are you sure it's an 'E'?" If she is sure, reconfirm by saying "And did I get al.l. the l.etters?" If she says yes, you have her pegged as an Aries. If she tells you that you did not get all the letters, you now know that she is either an Aquarius or a Sagittarius. Continue by saying, "Let's go back to the'S'. It doesn't begin with the l.etter S, does it?" As you can see, just as with the magic word "SA", with "ES" you use the ambiguousnegative-pump principle. To maintain a level of integrity as a mentalist, it's more powerful to use the ambiguousnegative-pump principle as few times as possible. But in these instructions, I can say "ambiguous-negative-pump" as many times as I want. Don't worry though, with the RIASEcode, no one will hear it more than once as you divine a sign, even though it appears more than once in the system. Of course, if she responds that her sign does begin with the letter "S", you are ready to reveal that she is a Sagittarius. If she says no, it doesn't begin with the letter "S", say, "No, it begins with the l.etter 'A', but it DOES END with the l.etter 'S', yes?" You are correct; she is an Aquarius. Mixing it up: Using this "Signagram" system, you have what I believe to be a very subtle zodiac anagram system. Feel free to experiment with the others, but I think this one meets all objectives of a deceptive anagram system. Of course, it cannot be accomplished without a lot of practice and experience doing it for different people. But mastery of this system will allow you to experiment with other ideas that can push even further its own capacity to be repeatable or even performed for several people at the same time!
Let's say you have just done this for a person, but now someone else steps in and wants you to try doing it for him. Since the person you just did it for is sticking around to watch you do it again, and you don't want her to notice a pattern, you can simply mix up the first three letters of the RIASE-code (RIA) and then finish up in the same order, simply mix up by asking if there is an "A" first, and then work your way back to "I" and "R", before continuing with the "s" and "E". It will only Ghange the system slightly by mixing up the first three letters of the code, and with an internalized understanding of the Signagram system, it is possible, by doing this, to repeat the effect for someone else immediately after the first person sees it. SIMULTANEOUS MULTIPLICITY: You can perform Signagram for two or even three people at the same time. Simply have each person concentrate on repeating in their minds, the name of their own zodiac sign, and then mention that you had a strong sense of the letter "R". While getting everyone's response to this first statement, if one or two people say that there is no "R", so long as ONE PERSON out of the three says that there is an R in the spelling of his sign, you can count your statement as a hit, right? So then you move on to the next letter of the code and so on until you know which of the five "magic words" can be ascribed to each of your three volunteers. From there, you can work with them individually, and know before too long, each of their individual zodiac signs. I originally came up with this idea to use with Max Maven's effect "Contimental," which is a beautiful anagram that reveals a thought-of European country. Using this Simultaneous Multiplicity approach, I would be able to reveal three thought-of European countries. I amusingly called it "Contimental Divide." STUDY GRAPH: To help you study this system, please refer to Figure 2, which will give you a quick overview of what you've just put yourself through here. I feel that by learning this system, you will not only have learned a nice effect, but also will in turn have learned a solid exercise for practicing the subtle art of linguistic tai chi.
House House House House House House House House House House House House One: Two: Three: Four: Five: Six: Seven: Eight; Nine: Ten: Eleven: Twelve: Aries Taurus Gemini Cancer Leo Virgo Libra Scorpio Sagittarius Capricorn Aquarius Pisces Mar 22 - Apr 21 Apr 22 - May 22 May 23 - Jun 22 Jun 23 - Jul 22 Jul 23 - Aug 23 Aug 24 - Sep 22 Sep 23 - Oct 23 Oct 24 - Nov 22 Nov 23 - Dec 21 Dec 22 - Jan 20 Jan 21 - Feb 19 Feb 20 - Mar 21
r _. e _. i _.
yes: move to "In of RIASE-code' no: see below 2nd letter "ell? yes: see below' no: PISCES ( "en 2nd to last letter) yes: GEMINI' no: LEO
i _. a _. s _.
yes: move to "An of RIASE-code , no: see below second letter nAn?always yes yes: TAURUS' no: CANCER (middle "c" sounds like "s")
a _. o _. r _.
yes: move to usn of RIASE-code , no: see below last letter no"? always yes third letter Urn?yes: VIRGO' no: SCORPIO ("r" is only 1 letter off)
s _. a_'
yes: move to liEn of RIASE-code' no: see below "isn't near the beginning, is it?" yes: CAPRICORN'
e _. s _.
yes: "did I get all the letters?" yes: ARIES' no: see below "it doesn't begin with "S", does it?" yes: SAGfTIARIUS' no: AQUARIUS (ends with the letter "S")
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