JAMES BISS

Presents:

WHITE TAGGER

A WILD APPROACH TO MIND BLOWINGI

INTRODUCTION TO WHITE TAGGERS

Although I first observed White Tigers in Northern India and in Las Vegas, my
first encounter with a White Tagger was, curiously, on the Gulf of Mexico. We were on
our annual winter vacation and I was in a Target store - not especially well known for its
wild life. As I passed by one of the aisles I picked up a hand held device that enabled
users to produce beautiful and professional looking little white labels or "tags" with the
greatest of ease. There were several different price points and styles of the devices and
my "extremely mental" mind began formulating dozens of applications for the world of
mind reading. I bought one of each - as I'm apt to do on such occasions - and my fertile
mind was distracted all evening and especially at dinner over how these things could be
employed. Serendipitously, we dined in a Chinese restaurant - though not a particularly
great one. But at the end of the meal we were offered the bill along with a small
collection of fortune cookies... FORTUNE COOKIES! The perfect oracle! And the
little fortunes inside looked an awful lot like ... little white tags from my "taggers"! My
thought process took off and I barely slept all night.
These hand held thermal printers by companies such as DYMO and Brother are
not well known outside of North America. In fact, my international Mentalist friends and
fans have shared with me that they are oddly unavailable in a great many countries. You
won't find mention of them in any of the magical or mental literature in print or online.
They come in a variety of shapes and flavours in my comer of the globe but after
experimenting with virtually all of them (my office is full of a wide spectrum of the
things much to the frustration of my wife Laurie) I settled on one particular model by
DYMO that suits my mind blowing needs perfectly. It's called the QX-50. The key
feature is that it can be operated with one hand, yet can remain stable on a flat surface. It
also has a full QWERTY key board which allows rapid and accurate keying in of
information back stage - or even on stage. It's compact and quiet and works brilliantly at
producing little tags in a wide range of fonts as well as font sizes. The tags can be set to a
fixed length. The QX-50 thus became my full time secret assistant.
The actual labels by DYMO are equally perfect. First of all, they don't have an
overly plastic quality to them as their competitors do. They are more like durable paper
and look surprisingly like fortunes in fortune cookies. Secondly, they have an adhesive
backing on them which splits from the middle, making it easy to remove. The
competition is remarkably less friendly. Trust me. They're a struggle to peel - more so
at show time. And the adhesive on the DYMO labels resists the oil of skin - even mine which means when they are fixed upon the under side of the ring finger - they stay there.
In fact, they stay as long as you wish. When you're ready to ditch it, it just curls up into a
tiny roll which can fall unnoticed to the floor with a flick of the thumb. This creates
some remarkable possibilities...
All of these qualities are ideally suited for the effects which follow and I suspect
you too will discover the joys of working with your very own secret assistant. When my
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Oompa Loompas tipped me off that DYMO was phasing out the QX-50 for some PCbased replacement, I began my own crusade to save these White Taggers from extinction.
I thought of creating a glass habitat for them in the desert or even selling plush toys to
raise funds for the cause. In the end, however, I decided to negotiate with DYMO's
Oornpa Loompas and acquire all the QX-50's that were left in their holding areas. While
a few may tum up from time to time in non magical places, I am pleased to report that I
have secured enough of the beasts to insure they find a suitable home with Mentalists
world-wide for some time to come. I know that you will take very good care of yours
and that the following terrific effects will insure that your White Tagger will give you
many astonishing and heart warming moments.

TAKING PICTURES
I'm not a big fan of Q & A routines. I can honestly say that there is only one, or
possibly two, performers around today that can really work information - peeked right
from under audiences' noses - into entertaining mentalism. Generally speaking, divining
obscure trivia about individual spectators doesn't make for an engaging experience for
the rest of the audience! For example if the performer clairvoyantly knows, for example,
that the person two rows ahead of you has a niece named Nisha in Nepal - I'm not sure
how you're supposed to be enthralled. This is especially true if there is lots of fiddling
with "billets" (whatever the hell they're supposed to be) and suspicious activity galore.
Even the writing down of such information is itself, in the first place, quite simply suspect.
Please don't shoot the messenger. I'm simply sharing a personal observation
from witnessing countless Q & A presentations. Perhaps they made more sense in a
Spiritualist milieu, but such a routine seems strangely anachronistic today. In any case,
should you wish to pursue a traditional Q & A presentation there are a number of great
reference works to assist you. In particular, there are a number of secrets to taking
specific information you find on audience member's slips and build them into much,
much more. Richard Osterlind's extensive work on this has popularized these
approaches and for more complete study of the Cold Reading subtleties which can really
"punch up" information I would recommend you also consult the writings of Robert
Nelson, Burling Hill, Theodore Annemman, T. A. Waters, John Riggs (specifically The
Compleat Fortune Teller), Lee Earle, George Anderson (specifically It Must Be Mind
Reading) and perhaps Brad Henderson's publication The Dance.
TAKING PICTURES evolved out of a desire to rethink the Q & A idea and make
it more engaging to everyone in the audience. Twanted a presentation that would keep
everyone involved and observant, but also I wanted something that (sort of) justified the
use of pencil and paper in the first place. I think the routine that follows, to some extent
anyway, gives a context for jotting something down and then revealing it later. Most
importantly, I wanted a presentation that opened up lots of opportunity for quick wit and
real interaction with the crowd - something I deem as essential to mind blowing. The
idea evolved over a great many performances into the strong routine which follows. It's
flexible and fun and can play in the smallest to the largest of spaces with little baggage. I
also like it very much. Lately I've been using it as a show opener.
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Before my performance, to save time, I've handed out (or left on their chairs)
little pencils and pieces of paper about three inches square. [I've included some samples
of what I like to use in this package. Personally, I buy the pencils by the gross at
Staples.]] I've instructed audience members to picture something important in their
homes - an obj ect - something that truly matters to them. They are told to then draw a
picture of that object - identifying it with text if they wish - or if they're poor artists!
The slips of paper are folded in half and later collected in an opaque bag by a suitably
eager young boy or girl. We'll call him Juan.

How many ofyou have an active imagination? Ah - quite a few! Perfect! Some
ofyou seem to have a VERY vivid imagination and use it frequently I think. And that's a
perfectly good thing not to be ashamed Of ..
Anyone who knows me well will tell you that I too have a very vivid imagination.
I can picture things in mind with great clarity. In fact with very imaginative people. I can
even imagine what they're imagining' Can you imagine that? I can!!
Earlier I asked you to picture something special in your mind. On top of that I
asked you to draw a picture of it to truly focus on that thing alone. Juan here has been
skillfully guarding your drawings, right Juan? No one's come near them and even you
can't see through that bag can you? Good. So unless there are any final contributions,
please seal the bag closed.
I'd now like all ofyou to see those pictures in your mind. You can close your eyes

if it helps - but leave your mind open and focus just on that image. Maybe see yourself
drawing that picture again.

If you've got a really

vivid imagination - I may just get a glimpse of that picture

too ...
I wave my right hand, holding a magic marker, in the air as if trying to catch a
thought. My eyes are closed to make the moment more authentic. I then shout out, YES,
THERE'S ONE' Everyone open their eyes! I think I may have got an image of
someone 's thought.
I go to my sketch pad and begin drawing (depending upon the audience size, I
may use a large flipchart). I intentionally draw the image non-sequentially so the lines
and curves don't make sense at first and then gradually start to take shape. Each member
of the audience watches intently to see if I'm actually drawing the thing in their minds.
Their curiosity is natural.

Who's picturing something like this? It's a sad looking stick dog with long curly

fur. A man raises his hand and stands. You sir! Thanks for standing. What the hell is
this? He reveals that it is in fact his pet dog "Major" (or whatever). Sir your dog Major
needs a better diet! How sad is that? And this is like the picture in your mind sir,
correct? Please give him a round of applause to acknowledge his honesty ladies and
gentlemen!

Alright let's see if [ can pick up another image from someone very focused
Everyone try to imagine their image once again. Some of you are breaking your
concentration. Whoa someone has a very strong image in their mind [don't know
where but [think [ have something. You can stop sending now. Let's see if [ can
reproduce it here.
Again I start drawing an unrecognizable picture at first, suggesting I'm getting
inputs in a somewhat jumbled way. There 's a curved line here and straight lines here
and is that some sort ofpersonal computer and monitor? Who's sending that image my
way? THREE OF YOU! NO WONDER IT'S SO STRONG! But there's this flat monitor
like this and the key board is flat too. Does that resonate with one ofyou in particular?
Yes? You sir. Very good. [thought it might. Please give these folks a little
appreciation ... Well done!
I've zeroed in on the one particular person who imagined their personal computer
that way, but as often happens, two other folks were thinking the same thing but picturing
it differently.
For a larger audience, I can continue with another two images in this way for a
longer set, but typically I'll do only two if I can get enough mileage with the second
image. In any case, I'm now set for the final revelation and the end of the routine. I
draw attention to my guarding spectator (Juan) who has been holding everyone's pictures
the entire time. (For larger audiences, there may be several of these guardians spread
throughout the theatre.)

Juan, earlier you sealed everyone's drawings in that bag, correct? And there's
no way that neither you nor the people near you could have been peeking at them, right?
Ladies and Gentlemen, let me know try and attempt something really challenging. Juan
do you have a vivid imagination? No? Well let 's see. For the first time, [want you to
open the bag. There's a tear strip to help you. Right where you're standing, please open
the bag and reach in and grab just one drawing. But don't show anybody yet. Just one
and keep it to yourselffor the time being. Pass the bag forward to the stage and keep
that one picture concealed in your hand
With Juan standing somewhere in the audience, he has apparently freely chosen
one of the pictures and send the bag forward to me. One at a time I pullout two or three
slips of paper, with my hands otherwise clearly empty. Juan you could have chosen this
one, which looks like a vase with a giant sunflower. Whose is that? You my dear?
Thank you. You also could have chosen this one, which looks like an enormous massage
device. Whose is that? Something very important indeed Thankyoufor sharing that!

But you do have one picture in your hand Juan, I'm going to close my eyes and [
want you now to look at that image for the first time and then close YOUR eyes and
picture it in your mind as clearly as you can. Come on Juan. Concentrate. 1'm not
getting anything yet! 1 still have my eyes closed Would the person next to Juan also
look at the picture and concentrate on that image alone - and would everyone else please
not focus on anything in particular. [now have two people thinking ofthe same picture
and I'm now getting a faint image. ['II give it a try.

With my eyes opened, I start to draw, cryptically at first, but then it takes shape it's a bottle of wine on a tray. Does this make any sense? Juan what were you two
focusing on? From the centre of the room Juan and his friend reveal that they were
indeed thinking of a bottle of wine on some sort of tray! Ladies and gentlemen a huge
round ofapplause for these two visionaries! And thank YOU!

CRYSTAL BALLS
The first phase of this effect is a delightful bit of carry-around mentalism I keep in
my wallet. It uses the White Tagger in a much less immediate way than the other effects
presented here, but the particular features of the device prove especially useful. The
result is a relatively impromptu performance piece that apparently happens quite
spontaneously using a single item which has been borrowed But by using my White
Tagger backstage when I can, it offers a very powerful second phase which takes the trick
over the top...

You may not be aware of this, but we have one of the truly great psychics in our
midst. Chad would you come up here with a little appreciation from our audience, I
begin. I've chosen a quite unsuspecting spectator who appears at first glance to be the
most unlikely of superheroes. After he's joined me I say, thankyou Chadfor gracing us
with your presence today, by any chance can you show us some incredible feat of
clairvoyance andpsychic prestidigitation?

Whatever he replies, I respond with, Excellent! We're in for a treat! Did you
bring your crystal balls Chad? You do have crystal balls, right Chad? No? Well we'll
have to use one ofmine!
I reach into my pocket with my left hand and with a little mime, pullout an
invisible crystal ball about six inches in diameter. How's this", I deadpan with Chad.
Here you go. Go ahead and hold the crystal ball in your left hand. You're not left
handed are you? I thought so. Perhaps you should give it a few magical gestures to get
it warmed up. Inevitably he will make some comical motions around the little bit of
nothing he is apparently grasping. That's interesting, I continue, I always thought it was
more ofa polishing gesture like this. I reach over to again grab the sphere with my left
hand and do a "polishing" like action above and around the imaginary ball with my right
hand.
For this test we'll need someone in the audience with a cell phone. You sir! I
believe you have a cell phone with you, correct? And we didn't meet before tonight, did
we? You seem happy about that sir. The gentleman indeed pulls out a phone, but
remains in the audience. Are your ready Chad? Yes? Sir, does your phone have a "last
number dialed" feature? Perfect. Would you go to that number please but don't call it
out. In a moment I believe Chad's going to try doing that for you!
Chad, please gaze through the crystal ball and see if you can see the first three
digits on this gentlemen's cell phone ... He does so and calls out "297". Is that right sir?
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REALLY? CHAD! Ladies and gentlemen! Now, I know what you're thinking! Of
course, that's a local area code Chad. Let's see if by any chance you can see the more
difficult next three! He looks into the imaginary crystal ball and calls out "322". How
did he do? The gentlemen in the audience acknowledges that these too are correct. Oh
come on folks! Religions have been based on less than this! Chad, you're doing
brilliantly. People are going to go wild with applause if you can do the following three
numbers on this gentlemen's cell phone. And you've never met each other have you? I
knew that. Okay Chad. Give it a go! Chad calls out three more numbers and they are
also correct!
Ladies and gentlemen this is a long shot but if you can get the last number right
Chad, these folks are going to give you a standing ovation! Chad calls out "3". The
audience member however announces that this is not correct. Oh Chad. I'm so sorry.
Nonetheless that's pretty incredible folks. Let me give the crystal ball a wee polish. I
wave my hand in slight polishing action and say it's a 5 isn't it? The gentleman in the
audience confirms that this indeed correct!
Chad, take this crystal ball as a small token of our appreciation for what you 'w
shown us today. I apparently hand him the crystal ball and in the process show that there
is nothing in my left hand. As he retums to his seat and accepts his applause, I stop
things for a moment and draw attention once again to the man with the cell phone. Wait!
Let me see that crystal ball again. Sir, we've not met before tonight and I obviously don't
know your private cell phone number. You seem REALLY happy about that. You've not
told me or written it downfor me have you? With a mock rub of the imaginary ball in my
right hand I look down and callout a phone number. The number is the gentlemen's cell
number! A person I've never met before this evening!
I return the "gift" to Chad and accept a well earned round of applause, showing
both my hands empty...

CHINESE ORACLE
As I suggested previously, my initial excitement with the potential of White
Taggers - and the QX-50 in particular - took off after visiting a Chinese Restaurant near
Venice, Florida I had been spending several days pondering the perfect prediction effect
and wondering about the ideal "vehicle" or "container" for a powerful prognostication.
Such things obsess me you see. What is a logical medium for a message of the future?
What is the nature of my clairvoyance about what is to come? What does it comefrom?
(Should something external to me be the source of my intuition and insight?) I've had
considerable experience with sneaky envelopes like I've provided you with in this
package and I've written about them extensively elsewhere. But thematically and
artistically (?) what would audience members associate with foretelling of the future?
What would be an interesting artifact to bring up on stage or, more precisely, to send
along to some dignitary in advance of a show? A Surprise Gift Wrapped Box seems
interesting but not quite right. A Time Capsule is both interesting and sensible - and I
had been doing lots of brainstorming in this direction - building upon John Kennedy's
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and Michael Close's work along these lines involving visible but just out-of-reach
dummy slips. (For this reason a long and funky Lay's stacked potato chip tube had got
me very excited on the plane ride south!) But it was the serendipitous night of Chinese
food that really thrilled me. FORTUNE COOKIES!!!! How perfect are fortune cookies.
Almost everybody knows what they are (in my corner of the world anyway) and almost
everybody associates them with PREDICTING in a fun way. They are an immediately
recognizable oracle - all wrapped up in a delightful package! (They also deflect MY
source of advanced knowledge - prophesy - to something I can live with along with my
audience members.) The presentational elements of a truly mind blowing piece of
mentalism seemed obvious to me. The CHINESE ORACLE was born that very evening
and the QX-50 provided the means to something quite remarkable.
[By the way, the message inside my cookie that night read YOUR LOVE LIFE
WILL BE HAPPY & HARMONIOUS. It was accurate to an astonishing degree.]

Finally, ladies and gentlemen, it is my pleasure to present to you, one ofthe truly
great oracles of our time. A future predictor rhat Kings and Queens, Presidents and
Prime Ministers, Management and Front line employees all have consulted and no doubt
you do, too! I'm speaking ofcourse ofa window into thefuture that has allowed even me
to see ahead with remarkable wisdom and insight. I'm speaking of course - ofFortune
Cookies!!!
How many oj you have consulted the wisdom of Fortune Cookies in the past, I
ask. Inevitably most hands go up mixed with no small amount of giggling and nodding.
Well two weeks ago I sent a very big Fortune Cookie to our host, Mr. Big. Isn't that
correct sir?
Some appropriate dignitary or executive in the audience stands to
acknowledge that indeed they have received such a thing from me, well in advance of
today's show, and generally they hold it up prominently to display it to everyone present.
It is an enormous Fortune Cookie at least 4 inches in diameter still sealed in a transparent
bag.
Mr. Big, would you be kind enough to continue holding the bag in plain view
without opening its package or place it in some very prominent spot so that none of us
can touch it just yet. Generally they will put it in some very visible location or dutifully
continue holding it so the audience can keep track of it.
To begin with, I'd like anyfive people to take these large cards I'm handing out
and print a very large letter on the front of it with these markers. It can be any letter in
the alphabet but ideally a couple ofyou at least will choose some vowels. You 'll see why
in a moment, I explain. I've handed out large card stock [like the cover of this
manuscript] and magic markers and five or six people are encouraged to create a giant
letter card. When they are finished I send them up to the stage. While we continue, I'd
like you folks to meet together on stage over here and put your letters together to come
up with a last name. Please try to come up with as real a name as you can with the all oj
the letters you've created. It doesn't matter rhat it's silly. While I continue on with the
audience, this group meets as a committee and tries to put their letters together to arrive
at some sort of name. The process is ridiculous of course and with the letters they've
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created, H U AMY (or whatever) all they seem to be able to come up with as a
committee is "MAYHU".

Meanwhile, for all the rest ofyou in the audience, I'd like to invite you to pick up
your pencils and papers and jot down your very favourite food in the whole world I'm
crazy about sushi myself, Unagi to be precise, but I want you print the one taste sensation
that's your private pleasure. Just jot it down on your paper now please and we'll come
around to collect your choices. If you fold them in half that would be helpful to keep
them private for the time being. I collect a few in the bag but eventually hand over the
task to a spectator, Heather we'll call her, to continue collecting them all in a transparent
zip lock bag.
How are you all doing up here, I ask of the team on stage. I see you've come up
withMAYHU I wonder how you might pronounce that. "May Huu" I guess. How very
odd. It actually sounds a tiny bit Chinese. How appropriate. M-A-Y-H-U Please take a
magic marker and jot that name down on this flip chart so everyone in the audience can
see it. MR Mayhu would be great. I hand them a marker from my table or case and
direct them to a flip chart or my sketch pad to copy their name down before returning to
their seats with my thanks.
Do we have everyone's personal passions collected? I ask to gather up the bag
which has accumulated the audience's selections. Please come on up here Heather with
the bag. Let's give them a really good shake up to mix them up. Heather comes up on
stage with a collection of slips in the bag and the slips are mixed up. Will you now
please, Heather, reach down inside the bag and pull out just four slips. Just the four
please! She does and I invite her to read them out loud. They are Pizza, KD, Samosas
and Ice Cream. All excellent choices, I declare.
Mr. Big it's now time to come up on stage with your Fortune Cookie. Would you
please take it out ofits bag and examine it. It's still intact isn't it? Just as when I sent it
to you two weeks ago (or whatever). Please give it a shake. Do you hear the fortunes
inside it? Yes? Show Heather. Can you hear them too Heather? They verify that the
cookie is intact and that things are inside the enormous cookie.
Please hold open your two hands facing up please Mr. Big and we 'll break the
cookie open. I break the cookie right in Mr. Big's hands and he acknowledges that there
are indeed three pieces of long paper strips - fortunes - folded length-wise in half
Heather please pick out one ofthe fortunes and read it out loud to the audience.
What does this wise Oracle say first of all? She reads "YOUR FAVOURITE
FOODS ARE PIZZA, KD, ICE CREAM & SAMOSAS" - just as has been
determined randomly by the entire audience moments ago! Mr. Big ...you've had this
cookie for more than a week, right? But this audience just came up with their list of
favourite things a few minutes ago!
There's another fortune Heather. Hurry. Please read that one! She reads
"YOUR LUCKY NUMBERS ARE 2 10 12 23 37 41" Ahhh, I say. That's interesting.
Do you ever play lucky numbers from Fortune Cookies folks? Did you pick those lucky
numbers in this past week's lotto Mr. Rig? He says no. That's really unfortunate Mr.
Big, because you 've had those numbers for two weeks in that Fortune Cookie and guess
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which numbers had a 20 million dollar prize the other day? I pullout of my pocket a
Lottery outlet prize announcement or newspaper that confirms that these are in fact the
numbers of the week's winning lottery!
Wow! There's one last fortune in your hands Mr. Big. I'm afraid to look at it.
Go ahead and read it out to us. He reads, "HELP ME - I'M TRAPPED IN A
COOKIE FACfORY - MR. MAYHU"! The crowd goes wild...

All of this amounts to a fantastic prediction ROUTINE. In my view, it really

doesn't get any better - from anyone. Triple powerful predictions, with real time
variables, all on properly printed slips of paper which are fully examinable - and Mr. Big
gets to hand out cookie crumbs to the audience ...
(Note: The actual order the slips are read in is random of course so the reading sequence
above will vary from performance to performance. Upon careful reflection however, I
think you'll agree that each prediction is equally startling. Indeed the third revelation can
be emphasized - with greater impact - for different reasons in each case.)

TAKING PICTURES
REVEALED
Anyone who has dabbled with design duplication, including my own
IMPRESSIONABLE MIND BOARD, is well aware that such demonstrations are among
the most effective in mentalism. Duplicating a picture, especially of something unique in
an audience's mind, looks and feels like real psychic ability. This routine offers such an
experience but shared across the entire audience. I can assure you from repeated
performances, every member of the audience zeros in on what you're drawing as the
image takes shape on your flip chart, bristol board or sketch pad. [I've included a sample
flip chart/sketch pad I use for most shows.] There is a natural curiosity as the picture
takes shape that is difficult to duplicate with a traditional Q & A presentation.
Because I typically invite someone from the audience to inspect the sketch pad or
flip chart before I begin and because my eyes are obviously closed (to "concentrate")
during the grasping of the images on people's minds, there is little suspicion of any
gimmicks or electronics. Regardless, there isn't any! The images really do seem to be
occurring to me in real time from the collection in the sealed bag, in the centre of the
audience - or as presented, actually from their imaginations. This is a powerful and
collective design duplication that
looks, disturbingly, like the real
thing.
For me, the hardest part
of presenting such an imageupon-image-upon-image design
duplication effect has always
been remembering what the heck
I know the images to be from
earlier! Because I like to work
with clean drawing surfaces,
detailed and legible "cheat sheet"
notes have never really been a
viable option. Remember, the
cards and paper are all fully examinable before and after the presentation. My White
Tagger created the elegant solution which I now employ without fail! Printed on my
thick magic marker, in clear print are my cues to exactly what I have to duplicate. In the
presentation above, my marker (generally the thicker, flatter, "chisel tip") is clearly
labeled HRY STCK DOG FLAT PC WINBOTL TRAY or similar. [I've included a
sample of what I use as well.]
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Trust me. In the heat of performance, it's amazing what the rushing mind of the
mentalist can forget from just a few minutes before. Unlike a White Tiger perhaps, my
White Tagger has actually saved me on several occasions! (Sorry. I couldn't resist.) The
labels on the markers are clear and easy to read in any lighting. You can casually peek at
them in a natural manner, at any time, as the marker approaches eye level while being
waived in the air. The idea of such a cue on a pen or crayon is of course as old as the
hills and I've no idea who credit should be given to for first dreaming the idea up. But
thanks to the way they're made, the adhesive labels from DYMO can also be easily
curled and rolled off the marker to the floor, in the end, to finish cleanly.
I've gotten use to abbreviating the information in the style suggested above.
(Reading lots of "vanity" personalized license plates while driving helps to refine the
process. My plate reads MENTALST by the way.) The little abbreviations immediately
jog the memory and the little details like "hairy" and "flat" and "tray" help sell the image
beyond apparent psychological forces and you can nail the particular image almost
exactly - at least close enough to seem really clairvoyant..
Note: For an added touch, if you have the luxury of a partner or assistant to work
with you, the magic marker can be delivered to you mid-performance of course with
standardized coding that you both are comfortable with. In this way, it is possible to
perform the entire PICTURE TAKING routine in real time with no pre-show on your part
whatsoever. You just take up the marker from them and run with it! They've loaded the
marker with all ofyour clues.
So how do I get the images from the audience members? As you've probably
guessed, I don't call it "Picture Taking" for nothing. You TAKE their pictures! In fact,
you steal them from right out of the bag when they aren't looking in the classic tradition
of greats like Robert Nelson, Burling Hull, Dunninger and currently The Amazing
Kreskin.
While this may seem embarrassingly bold to some people, it is in fact
remarkably simple to execute and quite deceptively practical. I must confess I learned
the technique by simply observing the brilliant Kreskin's move (a Ill. Nelson, Burling Hull
and probably Moses) over several performances. The trick is to wait patiently until
you've collected many of the slips, ideally when you're in the back of the house - the
rear of your performing space. With your right side facing away from the audience your
right hand goes into the bag, removes a bunch of slips of paper and deposits them into
your right pant or jacket pocket. From a distance, the move is practically invisible and is
allover in an instant. With practice I've found it can be done in a near continuous
motion as you continue to collect more papers from the audience.
Once I have my secret stash I select a suitable young person to continue collecting
and mumble something like, here why don't you collect all the slips you can - I don't
want to come near any' Curiously, after the show, people will swear that I never came in
contact with the slips at all. While your young guardian continues to collect the last few,
you pullout your stolen slips in private, review them and choose three or four interesting
candidates for revelation soon after. Because not all of the slips will be useable or may
be duplicate images - as will happen - having at least four slips is essential to avoid any
hassles later. You then pullout my White Tagger and tap out an abbreviated label to
attach to the marker. (The washroom cubicle has always been the traditional place for
such clandestine activity since the dawn of Mentalism!)
11

[Note: Again, if you do have an assistant, s/he may do all of this instead and load
up the marker accordingly. In this way, there is absolutely no connection between
yourself and the slips of paper in the minds of most audience members. Best of all, the
entire routine can be done in real time from the stage without the need for pre-show
preparation.]

The final phase of the routine is designed of course to throw off any audience
members (magicians?) who may be suspecting that I'm divining slips of paper which
aren't actually still in the bag. Instead the final phase takes advantage of a force - but in
this case, a force done in the spectator's (Juan's) own hands.
While the routine doesn't necessary require this closure and often times I've left it
out, wherever possible it makes for a truly baffling conclusion. The "bag" I'm using here
is in fact a double-sided switching envelope as first detailed in Tarbell (Vol. 5, Page 172)
and popularized by Ted Lesley as a "Teleport Envelope" in ParaMiracles. My own
contribution here is the adaptation to a poly shipping style bag modified with a tear strip
and self sealing flaps. The result is a clean and easy to set up opaque change bag which
spectators can handle freely. Yet, once they themselves have sealed it, the only way it
can be opened is with the tear strip, which automatically opens to the force side! There is
none of the fiddling associated with earlier versions of this idea and the whole thing can
truly take place in the middle of the audience as it does here. These opaque "Mind
Changer Bags" have secretly been favourites of my mentalist friends around the globe
and I'm delighted to share them with you here. (Some of the most famous psychics
around the world have used them on stage and live television specials. In one instance, a
Hollywood star found a chosen card appear in her previously empty envelope, despite the
fact that the Mentalist star was on the other side of the planet where the card was chosen.)
My favourite use of the envelopes is in my BIG HEADLINE PREDICTION described
elsewhere. I've included a couple of these for you to try out and more are available on
request.
As a result, when Juan opens up the bag which he himself sealed, the only
possible choices he can remove are force slips in the side compartment. Each of these
slips has drawing variations of a wine bottle as in the presentation described above.
I prefer to get the bag out of the audience as soon as possible which is why I ask
that it be passed forward, but in fact I've never had somebody go fishing into the bag to
actually look at the slips - which are of course all of wine bottles or whatever.
As an interesting subtlety I misread some of the slips from the force side of the
bag once it's back into my hands. Generally these are some of the choices still printed.on
my magic marker. Certainly this adds to the mystery and makes the final slip in the
audience seem that much fairer. It also creates a nice circle to the idea that all of the
audience's choices are in the bag and are fair game.

If you ever feel the need to improvise and bluff a little on your drawings you're
allegedly picking up - I've found that iPods, Personal Computers and toilets (!) come up
with remarkable regularity.
In a larger audience these can make for amusing
psychological forces should the situation warrant it! Check out your own leftovers after
every show to get your own repeaters. You'll find the results interesting and useful.
12

CRYSTAL BALLS
REVEALED
One of the lovely aspects of the particular tags that your White Taggar spits out is
that they have a fine adhesive which sticks well on the inside of the ring finger, between
the inner and outer joint crease. Because you're not actually palming the tag, it will
remain on your skin and allow your hands and fingers to move naturally. The tag will
stay there as long as you wish (despite sweaty palms), but is easily disposed of when
necessary by a simple rolling action by the thumb in a downward motion. The resulting
tiny "tube" will fall to the floor unnoticed and you end up completely clean. Your hand
can be displayed as completely empty in the end. The scripting above gives you lots of
opportunity to cover the action.
This aspect is used to maximum advantage in CRYSTAL BALLS. Chad is able
to see the numbers on the gentlemen's cell phone because they are clearly printed on a
tag stuck on your ring finger! (This is a variation of a wonderful old method I first
discovered in an old boy's book of magic from my youth - I think it was the great Bill
Sevem's - which used a finger palmed pip from a playing card in much the same way.)
The printing is clear and easy to read thanks to your White Tagger and remains in place
as long as you need Chad to reference it. Your fingers can be spread open to hold the
mimed crystal ball with far greater ease than if you were actually palming something.
I've
found
that
without
exception,
the
"instant stooge" ploy works
extremely well and that the
chosen member of the
audience will play along
with no resistance.
To
insure this, my instructions
are
reasonably
clear...

please gaze through. the

crystal ball and see if yOIl
can see the first three digits
on this gentlemen's cell
phone.
When they look
through the imaginary ball,
they alone will see the
printed numbers. They get it! As added insurance, I've introduced the spectator, in this
case Chad, as a gifted psychic and it is clear to him that I will be aiding him to look great
in front of the audience. By flattering him and assisting him along the way, rather than
teasing him as many mentalists tend to do, my spectator understands implicitly to play
along and all will go well for them.

13

The "miss" on the [mal number is nonetheless a little subtlety to make the ending
that much stronger and gives you as a performer a final kick to increase your credibility.
This also plays with the "too perfect" theory and provides a little redemption at the finish
of the piece. The result is a more dramatic conclusion to the predictable finish by the
time that Chad (or whoever) has already got nine nwnbers correct.
The very final twist is a lovely touch based on idea given to me by Uri Gellar's
successor, Lior Suchard...
The last nwnber dialed on the audience member's phone is of course - dialed by
you! Before the show you find someone with a cell phone (or two different people as a
back up if you can) and ask them if you can "try out their phone to see if it will work in
here". I've found this is a perfectly reasonable request as many phones do indeed have
difficulty working inside some theatres, clubs and homes. In actuality you simply dial
your own cell phone number and let the call be placed. This takes only a few moments
as only one "ring" will do the trick.
As a result, the last number dialed on this spectator's phone will correspond to
your own - providing they don't make any more calls before your show, which is a
reasonable assumption. The tag affixed to the inside of your ring finger is simply your
own, previously printed. I carry these prepared labels in my wallet for impromptu standup performances.
Through the magic of Call Display, because the nwnber you dialed was allowed
to ring at least once, the cell number it was called from will now be displayed on YOUl'
phone as the last nwnber incoming. By leaving the ringer turned to "silent", backstage
(or in your pocket), your phone will thus quietly capture a private cell number that your
audience member has never shared with you! They will be just as astonished as the rest
of the audience that you know their nwnber!
Typically, in a full show, I use my White Tagger backstage to print out a tag with
this private number to stick on my right ring finger. In this way, when I look back into
the crystal ball in my right hand - I can comfortably see the phone nwnber I need for the
closing piece ... and ditch it at the right moment with a roll of my thumb to the floor or the
microphone or my pant leg.

CHINESE ORACLE

REVEALED
On many levels, for me, CHINESE ORACLE is the perfect prediction effect. The
problem with many headline prediction presentations - including my own in MESSING
WITH MINDS - is that for the audience, it all comes down to the reliability of the
dignitary who allegedly got the sealed prediction in advance. If spectators have any
concern that the person guarding the prediction is in caboots with the performer, some of
the impact is lost. The same is somewhat true if a spectator guesses (correctly'} that the
sealed envelope was tampered with, just before show time. With CHINESE ORACLE
14

however, two of the three phases are based on outcomes determined collectively by the
audience themselves - in real time during the performance - after they have observed the
sealed prediction (i.e. the Fortune Cookie) and they have kept a collective eye on it.
Furthermore, with all prediction effects, spectators inevitably wonder about using such
prophesy to pick winning lottery numbers. (I'm asked this EVERY time, without
exception.) So in this presentation this element is included but in a light hearted way they are just lucky numbers that happen to have turned out VERY lucky. I'm allowed to
be just as surprised and as delighted as the audience, without really having the
moralllogical dilemma of apparently knowing something so valuable ahead of time.
Of course this is also a lot of fun from an entertainment standpoint because of the
whole tie-in to the nonsense of Fortune Cookies in general. Kenton Knepper, Docc
Hilford and Jay Sankey (to name three) have all played with the theme in the past. [Note:
Kenton's "Slip of a Reading" effect for example would make for a delicious and
customizable tie-in with a White Tagger! You'll find an excerpt from his "Lasting
Effects" book, in the section following.] For performers who don't have a cultural
connection to such things or who just don't like the Fortune Cookie premise, obviously
the "container" can be changed to be anything you wish. As I mentioned earlier, the
"Time Capsule" premise is especially appealing to me for example, or the surprise gift
wrapped package. Obviously it's possible to craft these out of the Model Magic material
as well.
So let me break down the various secrets behind CHINESE ORACLE to help
make it all come together as I've described. It's a tad complex. For novelty sake I'll
explain these things in a series of Questions and Answers ...
Question: Oracle, where do such large Fortune Cookies come from? Where can
I get them?
Answer: You make them! You don't have to buy them anywhere. They're
really quite easy even for baking-challenged magi. As Master Hofzinger might direct,
you'll need:
~
~
~
~

I egg white
1/8 teaspoon vanilla extract
I pinch salt
1/4 cup unbleached all-purpose flour
1/4 cup white sugar

Then you must:

I. Preheat your oven to 400"F. Butter a cookie sheet. Print out copies of one fortune
on your WHITE TAGGER of a set length. This slip will read YOUR
FAVOURITE FOODS ARE PIZZA, KD, ICE CREAM & SAMOSAS or similar.
Generously grease 2 cookie sheets.
2. Mix the egg white and vanilla until foamy but not stiff. Sift the flour, salt, and
sugar and blend into the egg white mixture.

15

3. Place teaspoonsfull of the batter at least 6 inches apart on one of the prepared
cookie sheets. Tilt the sheet to move the batter into round shapes at least 5 inches
in diameter. Be careful to make batter as round and even as possible. Do not make
too many, because the cookies have to be really hot to form them and once they
cool it is too late. Start with 2 or 3 to a sheet and see how many you can do.
4. Bake for 5 minutes or until cookie has turned a golden color 1/2 inch wide around
the outer edge of the circle. The center will remain pale. While one sheet is
baking, prepare the other.
5. Remove from oven and quickly move cookie with a wide spatula and place upside
down on a wooden board. Quickly place the fortune on the cookie, close to the
middle and fold the cookie in half. Place the folded edge across the rim of a
measuring cup and pull the pointed edges down, one on the inside of the cup and
one on the outside. Place folded cookies into the cups of a muffin tin or egg
carton to hold their shape until firm.
Alternatively, a terrific alternative to actually baking real cookies is to form your
cookie props from children's modeling clay. The best possible material I've used is
called "Model Magic" (how appropriate!) from CrayolalBinney & Smith. (See
http://www.crayolacornlproducts) Most toy shops, art supply stores and office supply
stores (such as Staples) stock it - or you can buy it on-line. It's lightweight and spongy
and dries to a consistency that's kind of cookie-ish. It will break in your hands just as a
real cookie does. It will also keep its form indefinitely and doesn't crumble or fall apart
between shows. Its only handicap is that it is white in colour, although it can be painted.
In my experience this is
hardly an issue.
But
Question:
Oracle, how do you get the
audience to choose the food
choices pre-printed by the
WHITE TAGGER - and
"baked" into the Fortune
Cookie before the show
even starts?
Answer:
The
choices on the label in the
cookie are in fact forced.
Members of the audience
will come up with dozens of their personal preferences and these are indeed dropped into
a "Zip lock" type bag which circulates through out the crowd. However the bag is one
of my very useful MIND CHANGER BAGS and is, in fact, a completely clear "change
bag". These bags look quite innocent - unlike most change bags available to magicians but contain a secret side compartment. [I've given you a couple to work with and dispose
of when they start looking worn out. More are available on request.] The four forced
food items are written by me in advance of the show to correspond to the choices inside
the Fortune Cookie.

16

Because of the design of the bags, these forced choices can remain "locked" in the
side panel without fear of detection. People can handle the bag and drop in their slips
without noticing the few slips off to the side. The force slips ofKD, Samosas etc. can be
loaded into the side panel sereptiously, once a few of the real slips have been collected.
In my experience, you can get away with pre-loading them before the show. In
the confusion of people writing and handing in their slips from different parts of the room
it's easy to just pullout the bag and get on with it. Folks just seem to assume that the
four slips in the bag are from people other than themselves - especially if you start
collecting from the rear. This is generally how I get the job done!
To actually force the slips of paper you want the audience member to pick, you
apparently zip the bag closed and give the bag a shake, a rattle and a roll. It is then
logical for you to unlock the zip closure and then to open the force side of the bag. By
directing the spectator with the words Heather, reach down inside the bag and pull out
just four slips. Just the four please! That's exactly what she'll do. If you ask them to
close their eyes and reach into the bag with one hand as you hold it high in the air, this
too will throw them off and they will easily pullout just what you want them to.
(Spectators tend to be nervous on stage and with their eyes closed they will quickly latch
onto the four slips of paper without much hesitation.)
Question: Okay Oracle, I understand how the Fortune Cookie can contain one of
the tags, the one about the food choices, but how do the other two get in there if I don't
bake them in?
Answer: Elementary,
my dear Grasshopper. The
tags are never actually IN the
Fortune Cookie. They're IN
your hands as you break open
the cookie. The labels from
the WHITE TAGGER are
pleasantly rigid when folded
in half lengthwise - like a
fortune. As a result, they can
be comfortably finger palmed between the inner and outer joint crease on each of your
two ring fingers. As you break open the cookie and the pieces fall into the spectators
outstretched
palms,
you
simply release your palming
grip and they fall into the pile
along with the one tag
already there. The illusion is
perfect! Even from up close
they appear to emerge from
within the cookie itself. In
fact,
the
large
cookie
completely covers the tags in
your hand as you're holding

17

it and the whole process seems completely clean as it crumbles apart. As they say, you'll
fool yourself (Jay Sankey's done similar things with a bread roll on his hit TVO show
Spellz.)
Question: So the lottery numbers are just printed up by my WHITE TAGGER
before the show and then added in when I break the cookie - from one of my hands?
Answer: Exactly.
Question: Wow! Then how the heck
do I get the other printed tag with the name
already on it? Surely that's not forced, Oracle.
Answer:
Correct!
Your WHITE
TAGGER also has a delightful memory feature,
whether it is on or off, and it remembers the last
thing that has been typed into it. Before your

show you make sure that HELP ME - I'M

TRAPPED IN A COOKIE FACTORYMR.
is already to go for printing.
All that's missing is the last five characters
which form the name.
Question: Holy cow! So let me
guess. You push five buttons on the WHITE
TAGGER and then press the Print and Cut
button and it delivers the tag on your table or in your bag? And the whole long message
is fully printed out. ..
Answer:
Well Grasshopper, if you want the solo version of CHINESE
ORACLE, yes, that's what you do. It's a bit knacky but thanks to the unique design of
the QX-50, you can actually do this with one hand and one finger in a couple of seconds
- right under people's noses. Lior
Suchard for one, prefers this route.
Personally, I like the easier
path to revelation.
I have a
devotee backstage listening in on
the show. When I say I see you've

come up with MAYHU. I wonder

haw you might pronounce that.
''May Huu" I guess. How very
odd It actually sounds a tiny bit
Chinese. How appropriate. M-AY-H-U. Please take a magic
marker and jot that name dawn on
18

this flip chart so everyone in the audience can see it. MR. Mayhu would be great ... this
gives my assistant all kinds of time to clearly hear the five letters, punch them in and
deliver to me a printed and folded tag - along with the magic marker (or whatever) I've
referenced. It's simple and it works. (There's simply no "heat" on the performer at this
point of course as the Fortune Cookie has not yet been opened. There is still time
misdirection because the food choices are yet to be made.)
Question: So I just finger palm the two tags, the lottery number one and the
name one, in each hand, and then break open the cookie at the appropriate time, creating
the illusion that all three were in the Fortune Cookie the whole time and for days?
Answer: Just so, Grasshopper.
Question: I'm overwhelmed with the simple yet elegant solution to this
incredible mystery, Oracle. The WHITE TAGGER is indeed a wondrous beast, just as it
is. But I have one last question if it is not too impertinent of me to ask. Is there any way
that it would be possible to break open the Fortune Cookie at the very start ... before any
food has been chosen by the audience and even before the name has been decided by the
committee on stage ... yet still the labels would be correct? That would truly be a miracle
of a semi-religious nature!
Answer: You've asked a very challenging question Grasshopper, but the answer
is YES! I have indeed performed the CHINESE ORACLE in this way and it is truly
MIND BLOWING! But to learn this yourself you must seek out one more master for this
added element. His name is Devin Knight and he calls this lesson the "Glass Box
Prediction". Master Knight's wisdom combined with the QX-50's magical length setting
feature - make this astonishment possible. Seek him out for this wisdom, Grasshopper!
Question: Thank your Oracle!
Answer: May your audiences thank you for it, too, Grasshopper.

And so there you have it. A strong multi-phase prediction ROUTINE that will
change lives - hopefully yours too!
Note: Quite seriously, if you don't already have the Glass Box Prediction you can
reach Devin Knight at devin@zoominternet.net. I'll be happy to clarify its application to
fhe Chinese Oracle upon request. The combination of the two takes CHINESE ORACLE
to the next level...

19

SLIP OF A READING
From the book LASTING EFFECTS
by Kenton Knepper
Here's a bonus effect ideally suited for White Tagger handlers, compliments of my oracle
and friend, Kenton Knepper. Creative mentalists will see some interesting possibilities of
creating a more customized (and accurate") ending - even printed omfor a selected
spectator ifyou like with just a little advanced preparation.

. .0"-a.
~

that!"

"Cynics think that intuitive readings are like fortune cookies .

They imagine readings are general and can fit just anyone.
Cynics think people make readings fit them. We'll see about
.....

The performer spreads little sheets of fortune cookie type papers along a table, writing
side down.
"Let's create a reading. Use your psychic powers, if you have them, and hand me six
slips of paper, one at a time. Don't look at them yet. We won't stand for your cheating!
We'll check your abilities once you are finished"
The participant selects various unseen papers and they are put into a paperclip to make
one completed reading. The clipped papers are handed to another person to read.
"Read these aloud and let's see if the person admits this reading more or less fits their
actual personality or life circumstance."
The second person reads the papers, and while some might argue the rearlings are a little
general in nature, they do seem to fit the person who chose these papers.
"Perhaps you feel this rearling has been too general, or that you could have chosen other
papers that would have made a better reading for you. The only objective way to check
your abilities is to look at the papers you did not select."
The other papers on the table are read by the person and found to be anything but fitting.
One paper reads, "You wear green lipstick" and the Caucasian woman certainly does not
wear that! "You are a Black Asian Man," reads another paper - not even close. "Your
shoes are made of paper", "You have been smoking coffee" and other bizarre and entirely
unfitting prerlictions are revealed as the ones left behind.

20

"It would seem to me that you selected the only writings that come close to fitting your
unique personality. Perhaps there is something to this after all. Or maybe it was all luck"

What 1 like most about this commercial effect is the constant subtext that takes a
skeptical assumption and makes it out to be ludicrous in an indirect way. The working
is easy enough. You have a dozen or so funny and outrageous predictions that are
unlikely to fit anyone. You secretly select a person for this effect that is sure to never
match any of these predictions (a white woman so the black man prediction could not
likely be, for instance)
Six other, more common cold reading predictions, are used and clipped into a paperclip
ahead of time These are finger palmed. A second paperclip is attached to an elastic cord.
This is Corinda's marvelous idea. The chosen papers are put into the paperclip that is also
secretly a pull. The same hand holding this pull-clip holds the finger palmed predictions.
After six papers are collected and put one at a time into the clip, the performer states that
will be enough for the test.
Turning to another spectator, the performer says that they ought to act as a third party (for
fairness), and read the predictions selected During this tum, the pull is released and the
chosen papers go up the sleeve or jacket as the finger palmed papers are extended to be
read. It is important to encourage the "psychic spectator" to consider how each prediction
read might actually fit her. In other words, you play this part as if it is a legitimate
reading. No matter what debate about the accuracy ensues, the punch of comedy makes a
fine bit of entertainment for all in the end, proving the spectator was psychic. Note too
that this ending indirectly implies that any cynicism is wrong and that we might need to
keep an open mind. All readings might be better than we first assume, more accurate
than they appear on the surface, and so on. Devious subtext is definitely at play.
It's a bit of entertainment that can provoke interesting discussion at a party or restaurant,
especially at a Chinese restaurant where fortune cookies are common. Using the notion of
fortune cookie readings makes sense of the otherwise odd slips of paper. Such readings in
cookies are already considered general or humorous from the start, so the ending is a real
turnabout, while remaining in context theatrically.
Some Odd and Funny Paper Slip Examples
You wear green lipstick.
Your coat is made of cat fur.
Your pants are purple and green stripes.
You were bom a Black Asian Man.
You bave a busby beard on your face.
Your eyelids are pierced with knitting needles.
21

You have blue polka dots on your face.

Your shoes are made of paper.
Your socks are woolen mittens.
You have been smoking coffee.
Your underwear is made of glass.
Your favorite hat is a bucket.
Your favorite drink is meat.

Some Basic and Generalized Cookie Style Readings

You're smarter than you think.
Insecurity is your biggest hurdle.
Your fmances will improve greatly.
Don't waste time with self-pity.
You constantly struggle for self-improvement.
You see beauty where others do not.
Avoid negative thinking.
It's right in front of you.
You understand marketable ideas.
It's behind you now.
You believe in the goodness of mankind.
Now is about the time some critic snidely remarks that I apparently endorse all that is
horrid in readings As a few critics have entirely misunderstood practical entertainment
value in such effects from my previous writings, allow me to point out what I thought
was obvious.
Such effects are meant as entertainment, not legitimate psychic readings.

22

Further, the subtext and indirect commentary is often more powerful than directly
dodging and weaving to appear to make the point seriously. I am all for readings that are
more serious in tone, if they be woven with respect. But often the very critics who bash a
piece of entertainment as being anti-readings are the same ones who insist that real
readings are nonexistent or that people who have such beliefs are morons. Unless of
course, they listen to those very finely honed readings as performed by the critic.
There is a place for seriously addressing readings and all manner of more esoteric
thought. This effect happens to be one that is not like that. Not directly, anyway
Frankly I believe that there are times when mirth can make a serious point better than
self-important and heavy-handed readings. Good comedians and entertainers of all kinds
are aware that when people laugh at an idea, they let down their defenses against that
idea Often the minds of the public are changed by laughter or humor
Insight can be had or shared with a wink.

If you have yet to learn that, I hope you too will soon discover the truth in the
dance of humor, It is among the tools of any esoteric performer, real 01' imagined,

Note: One more idea 10 consider in addition to Kenton's use of a paperclip P1l1l
here, is to take a fresh look at Jay Sankey's paperclip switch
This would fit in
beautifullyfor this routine and it's delightfully sneaky ...

One more thing. I have another terrific bonus effect to share with you based upon
George Schindler's "Watch Your Thoughts". It's a killer routine which I've dubbed
"Cellular Thoughts" and it uses a borrowed cell phone and your White Tagger in a rather
interesting way. You'll love this and will carry it with you as one of your favourite
impromptu pieces. Send me an e-mail with the subject "CELLULAR THOUGHTS"
and include your name and the serial number from the inside front cover of this
manuscript I'll forward it to you right away as an attachment. While you're at it, tell me
how you're using your White Tagger! You can reach me at james@magical.com ... I
look forward to hearing from you.

23

CARE AND FEEDING OF YOUR

WHITE T AGGER:
~---------

e~

--

24

25

:! I 3
~ !

.'
~

! A
tfi
,,'
B 't
t ~
'"
c: (JJ ! X, 3. .~.'
"-.
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t..:..-.

1-.0"1

": 0it

Q{(

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c::;,

=
f

-+

-"

(9

Il-T

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l'

'i

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~

<

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>

*
F

INSTALLING BATTERIES:

L On the back of the unit, push the tab and lift the battery compartment cover off (fig,

A)
2, Match the + and - marks on the batteries to the + and - marks in the battery
compartment case and insert 5 "AA" alkaline batteries, Start with the single battery in the
upper slot, then slide the second and third under the bridge, Slot in the fourth and fifth
batteries,
3, Press the battery cover back into place, Remove the batteries if the unit is to remain
unused for an extended period of time,
INSTALLING LABEL CARTRIDGES:

L Press the tab on the front side of the cassette cover (figure B) and open cover. Insert
the cassette, The cassette inserts with the tape exiting to the top of the machine. Gently
press on the center of the tape until it clicks into position.
26

2. Close the cassette cover.

me DlSPLAY:
The display will show 9 characters including the cursor and feature indicators that are
highlighted when a feature is activated.
. ~
12345571

Feature indicators include:

CAPS Characters are typed as capital letters
<->

Fixed length is activated

The label will be printed in BIG FONT

~ The label will be printed in a certain type of box

STYLE The label will print with the style selected
123

Number lock

ABC The text will be underlined

If an incorrect key sequence is pressed, the display will flash.

mE FUNCTION KEYS:
ON/OFF

~ums the unit on or off. When turning the unit on, a DYMO welcome screen will be
displayed for a few seconds. The unit will automatically turn off after 2 minutes if no
keys are pressed. The last label will be saved and displayed when the unit is turned on
again.
[Note: If the batteries are removed for more than a few seconds the text and settings will
not be saved.]

CANCELS
The

key enables you to exit from a menu or to cancel an action.

[Note: The printing function can not be cancelled.]

DELETE~
Press the ~ key to delete the character on the left of the cursor.
CLEAR

Press the
key and the ~ key to clear off the text from the display. This also will
restore the style and size to the default settings.
27

NUMBER LOCKg
While this feature is active, only numbers will be typed

....

SIZE
_~n_.

'-

~_~

~,

1. Press the
key to display the size menu:
narrovv(condensed)

normal
wide (extended)
B big font (full print height)
2. Use the > and < of the Navigation Key to scroll the cursor to the size desired.
3. Press

It?> to select or press IE3 Key to exit menu and return to prior setting.

4. If Big Font is selected, B will be shown on the display.

5, Label prints in selected size.

[Note: For 2-line labels, each size will be half their normal height. Big Font size is not
available for 2-line labels.)

STYLEC:~)
1. Press <;.;;:,) Key to display the Style menu; which shows 6 style options:

00

2. Use the > and < of the Navigation

scroll the cursor to the style desired.
3. Press (2) to select a style or press ,"~
Key to exit menu and return to prior setting.
4. The label prints in the selected style. Each style is independent and cannot be
combined with other styles or with Big Font setting.
BOXIUNDERLINE

1. Press the
Key to display the box/underline menu which shows 8 box options:
Fl. DYIIO
Text without a box
A
DYIIO
Underline
Square box
C~
Square box with rounded corners
C CEID
Shaded box
I[ 0ii'iiiJ
Pointed box
DYMO>
Zigzag box
I DYIlIO \
Crocodile box

28

2. Use the > and < of the Navigation Key to scroll the cursor to the desired box or
underline selection.
3. Press IE:?) to select or press

Key to exit menu and return to prior setting.

4. The ~ will be highlighted on the display to show feature is activated

5. Text will print on the label in the selected format.
[Note: The underline and box settings cannot be combined or used with the Big Font size
selection.]

EXTENDED MEMORY
Adding to the buffer/ label breaks
The extended memory can store up to 70 characters for a maximum of 20 labels.

Ic:?

Key and the

Key to insert a label break.
I. Press and hold the
2. The --11-- will show on the display in between the labels to indicate the beginning! end
of each label that is stored in the memory.

3. Press the
key + < to move to the beginning of the buffer or ~) + > to move to
the end of the buffer. The labels will remain in the memory buffer, even if the unit is
turned off. If you try to type when the memory buffer is full, the message ERROR 4 will
be displayed. Delete part or all of the text in the buffer in order to store a new label in the
memory.
4. To clear the entire memory buffer, press the

REVIEW
This feature allows you to review all the text/labels stored in the extended memory.
I. Press
Key and
Key.
2. The text will scroll across the display.
Key to exit.
3. Press

LENGTH
Length is automatically set based on the text entered, but length can be adjusted if
desired.
Key and the
Key to set a fixed length.
1. Press and hold the
2. The screen will display X.X inches (or XX mm depending on the language selected).
3. The length of the label can be increased or decreased in steps of 0.1 inches or 2 mm
by using the A or V arrows on the Navigation Key. The maximum length is 12 inches or
300mm. Press I(2j when the correct length is selected. 4. The fixed length indicator will
highlight on the display. If the selected length is too short for the label, the display will
flash ERROR 5.

K.::5

29

5. To return to automatic length default setting, press and hold the SKey and the
Key.

[Note: For a fixed length label, such as I use for Fortune Cookie slips, the text is always
centered.]
TEXT
FIRST LINE
SECOND LINE
COPIES
9 copies of a label can be printed at one time.
1. Enter the text for the label.

2. Press and hold the f::"~Key and the

FIRSTUNE

Key.

SECOND LINE
TEXT
3. The screen will display n= I.
4. Use the A or v arrows on the Navigation Key to set the desired number of copies (1-9).

and the labels will

5. Once you have entered the correct number of copies press
print the text. The labels will print in one continuous label with a vertical chain mark to
indicate where to manually cut the labels.
FEED
Additional blank label tape (1/2 inch or l2mm) will exit from the unit when the
Key and the ~ Key are pressed.

SYMBOLS

1. Press the
Key.
2. The display will show: A and 7 symbols.
3. Use the Navigation Key to cursor to the desired symbols. The A or v arrows will
scroll through the various symbol rows.
enter it into text. The last
4. Once the cursor is under the desired symbol, press
symbol row selected will be displayed the next time the symbol menu is entered.

ao

Changing the Language

The labelmaker default setting is English with additional international character sets that
can be accessed by selecting a different language. The selection of a language defines
which characters (see next section), measurement setting and currency symbols can be
accessed. For example, if Spanish is selected then the diacritical characters for Spanish
will be available first with the measurements in millimeters and the currency pesos.

To change the hmgllage setting:

1. Press the
Key and
key

<:3

30

2. An abbreviation of the language will appear.

US = English
F=French
E= Spanish
UN! = All Diacritical Characters
3. Use the A or v arrows on the Navigation Key to scroll to the desired language.
4. Press <:::!j to select.
5. To return to English setting repeat steps 1-4.

Diacritical Ckuracters/Accented Characters

Many diacritical marks (accented characters) and extra characters relevant to a specific
language setting are stored and can be accessed by selecting a language. Once a specific
language set is selected, the diacritical and extra characters are accessed for the specific
language as follows:
If the key is tapped repeatedly within a short time, you can scroll through a list of all the
diacritical characters for that letter.
As an example, pressing "E" repeatedly in the French-language selection will scroll
through e - e- e- e- e. If you wait for more than one second, the character will be
selected and the cursor will move to the next position on the display. In addition, the

currency key
will operate in the same way. This offers an easy access to the most
commonly used currency symbols quickly.
[Note: When the batteries are removed the language setting will default to English.]
TWO LINE LABEL
A second line of text can be added to your label by pressing
shows: abc ~123 the label will print as:

e> to select. If the display

Abc
123

[Note: Big Font and vertical styles are not available in 2-line printing, ERROR 6 will
flash if Big Font or vertical are active when 2-line printing is selected.

Printing Your Label

PRINT PREVIEW

Preview label before printing by pressing and holding the

Key and
Key. The
label text will scroll across the display once. You can also scroll manually through the
label using the < or > arrows on the Navigation Key. If you want to edit the label, use the
navigation
Key to move the cursor through the text to the place you want, then type or delete.
PRINTING A LABEL

31

Type in the text for your label and press

e' Key.

PRINTING A LABEL FROM THE MEMORY

1. Press and hold the

Key and
Key to view the labels stored in memory.
2. Use the < or > arrows on the Navigation Key to position cursor inside the text of
the label desired to print.
3. Press

During printing the message PRiNT ... will be displayed.

CUTTING THE LABEL

After the label is printed use the cutter button on the left-hand side of the unit and press
inwards, towards the machine (see Figure E). Labels have easy peel split back tape for
easy removal of the tape backing.
DO NOT PUSH THE CUTTER BUTTON WHILE THE LABEL IS BEING PRINTED,
THIS WILL CAUSE LABELS TO JAM AND DAMAGE THE UNIT.
PRINT CONTRAST

1. Press
Key and the
Key simultaneously.
2. The display will show the 5 contrast symbols.
3. Use the < and > arrows on the Navigation Key to select a lighter or darker setting.
4. Press IE?) to select desired contrast setting.
TROUBLE SHOOTING: PROBLEM ... SOLUTION

Error]
Tape jammed or low battery ... Remove cassette to clear the tape jam. Replace batteries.
Error 2
Big Font cannot be selected... Select another format with characters in memory
Error 3
Big Font cannot be selected with style/box/underline/Z line or lower case
Select
another format.
Error 4
Memory buffer is full .. , Delete some or all of the buffer text
Error 5
Text is bigger than defined length ... Choose a longer label length
Error 6
2 line cannot be selected with the format ... Select another format
Display Blinks
The cursor cannot move further to the left or right ... Wrong key pressed in editing mode.
Wrong key pressed in menu.
No display. Check that machine is on . Check batteries and replace.
No response from keys Remove batteries and re-insert after a short period of time. The
machine will reset and return to default settings.
No printing or poor text Check batteries and replace if necessary. Check installation of
cassette. Clean print head regularly. See figure D.

32

..AFTERTHOUGHTS
You're now armed with an incredible utility device and some of the strongest and
Your WHITE TAGGER will
most entertaining pieces of Mentalism available!
undoubtedly give you many years of remarkable assistance- quietly in the background
These effects described in this manuscript are only the beginning of some remarkable
things that are possible. I hope they serve you well and help you to blow the minds of
your audiences. I also hope that they will be the foundation for remarkable pieces of
mentalism that you develop yourself.
Special thanks to Kenton Knepper, Haim Goldenberg, Bill Abbott, David Peck,
Richard Sanders, Patrik Kuffs, James Allan, Lior Suchard, Rob Evans, Christina Kaya,
Christopher Caldwell, Andrew Gerard, Robert Wong, Gordon Precious and Tony
Iacoviello for all their feedback and inspiration on this project. My appreciation as well
goes out to the Oompa Loompas who have made your unit and put your package together
and who continue to amaze me with their patience for my various brainstorms.
I've set you up with enough supplies in this package to serve you well for several
performances. When you're ready for more, replacement kits with the transparent and
the opaque MIND CHANGER BAGS are available from your favourite dealer or myself.
Standard DYMO refill cassettes for the QX-50 labels are available from office supply
retailers around the world, or you're welcome to contact me for help. If you have any
technical questions or problems or simply need service for your QX-50 itself, help is
available from support@dymo.com. (You'll find your serial number inside the cassette
cover.)
Let me know how you make out with your WHITE TAGGER and what routines
you develop on your own. Please don't hesitate to contact me with your suggestions or
thoughts.

James Biss

james@magical.com
98 Guildwood Drive
Hamilton, ON
CANADA

L9C 6S4
P.S. Ask your favourite dealer about the IMPRESSIONABLE MIND BOARD (if you
haven't got your own yet) and my new book MIND BLOWING...
33