contents vases evanawourze seas "E48 na siasow wo He Uribe agers cane ‘rte owememirAt cues coweenie comm ‘espana Hs wine (00 warts) rove ninco prone nenaekre oe mest Ee.introduction teeth canon oy thet book on the subsck of metaltin Tight-feartes and/whnasca Selote 2e'tponeetn. oN 2 ove maple An ait ot Lee tone, byt mentation U4 the beaen cat F setfcea fe nner Tan's efoSaaianal'gartatte, nd’ Sapp ‘= ie iteths 1a conjurios. wengal ” ‘Sly tour basic etfacees hoy tee Tubzaney —cnmanision bean tho late heute sent ote ar r'gecsiver, ene procenn ie merontis|ty/ the same from an abject SHaeleleStery sutupolst "uh se that of he"ssy auleree ELATIUOEANCE ~ ee ceception of Information Wnt is, unkrown to eveey= FeeeL¥estnevieaye without abperent Intorastiosel source! sascoonrrion = vsteranty. ‘Srente before they Senet, wowing BeLaRe”. Having Rroviedge oft ravenoximents ~ paysice! nani forcatsone ef manta) enorey. PPARs. mae te a posiye aoe to varh lth, prenmntanionay EiSegerten tage se fn thene four neo deoagtrationgy unere Coto), Shae we mont mtr sSetbstesey aches tase oven = mastpatacing « spectator into eaving, doing, oe tina inne'IS suprosuelys"Feoe"troite'S aon, $8°Fa0t you Aive maneeced MSS abe"Sceteity"snte a eatruceed choles STEALING ~ whlch, Ln to say obtaining information which fav batg steer eo! yon srreencrig — Le suse cocdor te stoance_ the tgs thet we are "Stteebeiy"Tinitel"share {nsa‘shrtous ‘Shiy aay" to. een‘ above tne Vontesttons St ‘Se, Hof oy Sevsupion anbanl tn’ neageeting presamtasiens an Entire contents - text & allustretions conrraght. © 1976 1. voldstetn AZL Charles St./Hd/Boston, Hess. 02136desire are heart ‘Siresploention, ecnice the sare (inv list that mnie’ Sanit tach 5 Se Shiae itettuncns aroylnce ot tw ming alee trv to eof the mage archer nauechn of The wy ge Anne ‘Theda‘tnd pees to98 Sey aeee a Sapetnanes “ugtore any et yorwrice Sayshine dom, et of Vn to a back walls SINE SFon Lies” Hla te'vtales toehana"you have read about satiate abe nave’ bson these’ est sou habe never boat ate you seit. ean iateUne" cet at vn ogte yoye tind oy ee fom FEE the nay coca aejaeioones : sien they en oe rts the pane of the city tn Tevoy the Foy cng fale t 3" te’ vage!apactaeae! ali fetelng diasatiet tecture trom Fica' far you ta visits this osuisents ‘Pele reoceds Ut fadioved or tne eae tour candy, leh tines. ee par: TecaE TGR tome srate" Patty Sek Stes. eae eg fa aa a SHEA Scectien, thas ‘ont OF the eaede sithowr eae CAE rge cathe, i cemealen, The aca Tie nes ceeeeais Tataty nrgctators ao thats of vith si serttnt ce uae Peyenomet ry. sb hy taste aliR cents eee Fades ae alas lp beh et cht ae naten ton thei, os cone eae Ue arbad difeetna Theeova pareioutoe tint ot dovste Tift (emis foctag ee Seung pei Sut of rose mentassien 1 eter apatite Sates ea ‘Shuai? Gollan the Sowie Liter Aeatle Cara eacn one ee" ea of eo ene” ee eee ese Racism et 2 Soubfa sued = menant beta not tne nae or he cu weit thee tl LM Up coumadin JOUTLREY sfCeth Soother: cazdy aod ae vow aay cher eaaweliy rommi Eis card Grudn ‘the Sesite! Sarde" “eoatom ot the muaets fo ae ie the” cuatened wathaae op fu atating ta'atog, antwes yoo sce aited with on it wate doe whe sane dg prone too ne 18s tuaon hy the ansctaton wale actly taglqtariawast Sproat Selita The ant‘ ciey ig tile" ae viata ree veaaen the 0G Fleates ond wil) give Spermlasione for You to ge on and faveal te burnt offerings ‘he pbon we tno-peraon cove coven (A churhe, eit your {efaeunaly a apause of fraons (not tha the to tarna are hateally shelve, 2) ahe'er'neinowt Het does fot share your unde er Setekden” zea sient thet ‘out ne Saw ene atvaneane ese nteral’ demonstration of ESP whch allows yoo So"toneone fos have net ae sone tue of ip eblay angers the resder ntgien the formation of the ehalTesine thelist ton OF fur soneup, sn8 atm thelr patter ine aii noren at fecret aastindge. toma. don"t parsonetay sf fuodngn, bat" con Sp gomething stmt iat. t'm refeeeiag ‘the woenSs'of Sesneataney” sealing burnt aches! Sp hse ae te i ar. om Hc ohio ttneas" ah place thon ge the aed. ood: how tata Rave’ took. pag ee aia eer “The spectator GAbFIey Ye sthen over! to your Wite, vis may Bein ‘thera seam Shoourd, Sener un conwnradeoe sha anger famaet Aoh only sgeyfonrina PagteTaspesces 20 cake 4D abe pla aun‘Temenos ip quice SER ai Eater te caters Ney ae ee Prhag theelouty E tava sie Gade’ tora' (vient he fad’ pave done Rilat'aabeis. in teen trun tive minutes we seve feady te week er nah {teste nedey dock, te Geacended’ ftom The’ minor Area ef j*Setneipige shish'are involeed Ie'atast winbet "or calendar vents In" enter pont te Piftyotees SDvot tte eigies or ehe'Cadasr in alps teey Staton eee? ferment Goer ek rs f "aiGalethon taot, “Te usea proper ies Sh ete rm om Bunce ware eee oe SLeey ee eer ‘octted eo" femaln absokasely tients spa eral, as inege ig ine BL Rei eS atte etsy veyay Te nddation tothe Heady men Tonga Uiseatnantat Beek nich. sEish‘Sa predic an sard ta soe, ory, thew dv Sey ee? ieee aaa ‘rate fen conceit fave ones. an fa Shey ace uses ere, Ip this reptine, ae oppeend se moet,’ there TTGleat fegaw fo" utainy the, ide ape! Re mer tad dara sttptene Tathe "foal, hss" aetisii0~ Mons Mth tee otter. apsetater'y lest at Alaerart cy foritat herent | ‘Site your thumb. ant write ge tune Sf the agpeupriate oard onte the ich nave anu loka Ieee tiny tenth feietes Sekelogtaet with “feos, the east han ales, tthe shit i fete es = ‘tis the season to be lying tivaey ppetormers mater wat branch ob antartassanrit Neck she J Uap aie ors Nanchge ag day he thet el aa manta ‘ telat dates peat mae Engel fe tte ne the onpeing Saad tant Te oeds eet eT ce bitter a vert th Aa aeod on Arthue Bpasnon' “Las Lice ene sopenee i Som Seal eevee teen th min tthe oc rn, ence Sues Boreas Saeco eat ey ah finer eee rate eee at tee Sieing gifee to their fetane and Tanti, a thot 4s the feo of 1 gotice se, they ce back 12m joing 42 tand"thom aut to tow taatey th ‘Mi Un den = cna the wna ab ge oegh ge tog at of aivaey tenciel person in yeor Iie = yes have bese ploerion Rect for’ he imtiviauas\ ta face’ tat person hay Geen te'yaur ind ‘af perean con't gett caw hap ay na EBRGISTTTEe ced “sxpending on t0 "acta boay blag pocket "atone vil the ‘lew cnet Gatiering hack: Homing 20.9 1n0y inn oat cow, the memaliat gopeinate ‘ieee pluses Gort tcoapn' thane Poi eqaer sad Ph you'didter eSsish your Latte font ae seoee, step anneal te eaten ihe fol Tie het tas S71 ie tae genuine "hertnesetion nam Lad PIarTN eSeatT Snc°SE the eS Tone Tel atbied “to! Qaetorenetate (efron the otters" sae bright Chetaunue tage dng: the fllugeea See a ree cere. ‘al gow. he do yes" innoce Tht thy" Taathgteceter pleke the prover hp? he’ anmwer 82 nqalsoque =e magicians choice %Scelatsct' oP” she Cadine ss sae a i Eimrehemee tes! me oe Pu a fe, a) a ‘Shurk'of toe sat st'a‘anall ser of Tae itlng phe" tage on a sabe att yee Car pace thaw 3 3 ees Elbe Sener ee! ikcing'he ia on We" aorttar's ap 0 abe ERIS Bee gigi arsara, pre-duck-tion Top duchy whten in suepanded’ Fon the fotilrey out of felch thoes eieTepticdcap piece of paper Us the ty iad ones ~ SS, fetta Stare a EE, ise, Pt hee, cone tony fw ebuated ee se epee stad irae imei Polaris st sae bentley ene © Sana heh sais as PIS Ree ts wae te cite ite oar ‘eat EER oe Eee ii cece gle ete 4 too et the Me Ser Raettyihls te Geitat ie eo arpite al emerson ata The aimey"'tos heaps leree'ety Soth mae owe ebeTok Raper on the dimey (am fiver ett ei ocx’ ts fo the aud he pectorner brings. che specuetor to the "4 a8 being con efor oe ESM" Boe werd vad, Sean te 3 ft only'b Ld. ehe"aonctatets incre No MieSEede' tie oot oe gee eit im fla vsdeaine tthe sie spesustol, eo Seiivot fefhehe esas exclein ‘he Malone! ig thanked for hin hele. peactator in thane, Aged Segpone. ca deck of unde Rundly oes we oe re ‘ouren sneer. he oli thio oF ehgae se oeBae ee ee z f fetarpererta et o"abiseatte ehat' the final Crd’on the tabte happens TRE Ta pone Sane “tan partotmer te acorted out of tha_coum by spectator Cy vba watts Siongae. Spe eber aye Stan's. theta, See nan rine former begita’ tr tal Stet! fivisg Sataemation eltearntny tie eanrount taupeynee Get, dedipdeane tye funnily eating iets coecnuye of he fain seid 82 Seah inge * Pirme of a2, 18 sits be obvious oiler Dead! tein. “Iaorate Satep betese you devise to ne ‘te Smyage ih Lea that’ Lone "Snearevegng pase. devedery a tiny Mable ltn tectabiect the tn sillier ote ee i SEA Cavciae te'aoked omni ca fyeciater h paul’ (n the duns, for feonans ee psenuctton, ing te pansies go far tne oblast: aah coamrtelats ers ittane “adept 12 SAN Loa motnoas oat fane aesope’ tor aecoredning i tine Senne, wy thn’ tale hes tenes’ to paranormal avenien of €@ oe’ commer geome h'your'alod st jon feschout ana toueh ne of the obta te ples aeths, Prgjdtocad Beedictibe, the pextorer. oni sea eeu ot the! FothoaSed tiabecast ay ttc mee ES Closes ee State” eelareks, a the Specks ‘yalalpes’ the Sarees the othetgostainn dune, ana. toe “oy tit year poche Wekew sectaee “Nomed ent Taped fou dea tae: fou ave gleay of Settcnt’soentai te Sirece titer het at the thelan’ ia linoa tne secem0_ the spiritis wiling (to write) ae oa ety wade and manta fae the Fouts rou vil ed An oda, othe pee ‘oecen wndtarehsi. Tn thle cave, Whe movenast ‘naide"Sht Cente ee Te ieee trier Sur tees tae ("sine Shel Tatton Sita “held the’ card’ ta the Loft bata dogcan wide owns Tha “Se [ans plone vbe Sard £fou‘ahovey hotainy ft the Saree tye Sine oe Se Flceee 3, he Fone ae he “eft hands ond eo he" madtanee:_ fesven the ms ee speeegh cee ence che isd belle ove the “Uibtpy! handhecciafs Leceing Sehand the ister piece jon do gular toyn tye cura over, oan ie flex aieeean a Hee a inte the Fold ef the hank, ao that itelemental He! Slgeonte’ef"coceh Siss “flue, a wtvet saree Sheteeeta tats’ cour Slsce'cctear slid’ only ool ot ena oman, exch of hone 1S Else arorches ty tianee! sine ti ue eae etude phe Vargest, pore te SSIS SbeSECE'REC. “tat o"attlng Slat letaoet peopte etter wn SET aos"one othe cee, te pre “hee ined wording jortnd vila eae eaten alESeean that Slo" the Sard teeina Oa Neye tStateed, ie SMtoyt nee ies tee sta nomeone reading this maa 4 etter, Shen tare the, herd paim down. The) Saa"pastor {P's"tne"erbus Sanine' the nowt" SE eter” weketng wlan “nen tha og nandne tot. rhe carte anon again, face yo. Ye pest ‘SSifseee: "vou turn the hand down, and Suice the eard, 40 har the one svete SiS: pusoed usa’ Sts oom on the tabier* tenses the Sask ates the ut esate z Saliba ety wieh'tho lat!” Sana the 6 ipa Gaten card Hie aon ies Vogts oe aoune tui daveb oats te gat te Rear e oe eerie sotarywomtorsaighatat oy mate steagelon posstiae. =") asin certe fe ene eco aterm aah tn ety slags fer ehe sity 2 for ane tater, a gat STARRY ot the aaryht ands Goth toe chedouble undercurrent AoE paaseeatan' aver tyne ture Sears eet See cna (Grats of the exeds 1s tonmiovely txnion hed’ to"ogan har fords! noes to cemove Sh paver contninwd Uherei ne SU TSSSeSE Uadad Be Lavatiay of thevsatd Se urate own eacfane So rattan tha tare he randoety chon ‘fe tae facar spectator’ Gealahaed hol 2 TelepretMaatonat ically evives tee second, spect Witla te Sipevtonety pense eusst'toe eles rectaneg soon, eee, usteni devices can ba impand of cad tome ‘ted ‘Geawiags he gerfovmet ivi nae shelovical toceer’= a11 o€ these aed more have Deon puto nace When re gutta ted sume ‘Ang hey 1 cans t,t tian thoy At bla e veeypnaEL AE 1 atte Be Sto ned nick the tata ae fitantated with Use Blnce { ha"aleendy porked! out a ee=ahesd foutines this soungd tobe peat Jomattc, Bu the solution Nt me in-le wlddle'of'« performance See ‘rat Une atety woke "out: he tense’ a clesn mente nie mene tenet ae ir haan eer a eae ec es piomele 128 ceeds a, Afters fora dsseu oes ee re ere Lroeee are ie he 2 sd ooatee Sate jou ee fed, Tacs L's leo oper an eaves rade ae ee ctr ane ean Sard tatastot 7 ettole carpet ton HB eit a Dts, Wate puece orgar cuit a thot?" Ping Sow foi the paper dn bait” Fold Te aaainy. tee Tod flace"the ship taee fae arvelops, and stal"fe7"oMt it pot eae the nae eieone‘either, simmer, savie star or peliticiars somo weal ‘Mush’ about had feracy "wnat fhey tak ister" ioe, th Bagge ek aa athty Mok (anaes, tae ebied ine" ertstope. nT APY ot 8 a out envelopes fae ound be anpieely tmaatiie eo ‘ger Tinct he eoken,s natting Son a pet i. Saene pet of paar, thd vata ones he SoebeNs alate Mate tondsatoe"go ssee Geeky salg'spe treat tpt tytmniy “roe acne ae weraapa, sues he ae fae ard baa SheT Hal Sopoceaton in the éeant rou, weleing xis dow ‘onto os noee Evy awe some ves Eye sigan row ay pT om ads nin ie adn the pal fronton spectator, Seaviog S1ee m areas aan ‘aise emis US nadia 2 mT raghe eo fart* tue apeciator agrees with 910 HE ey cient ete ee ‘Sony Sheraceas piyod by! beter Paikt Seabed eth some" very oe Sita cchtn ‘Mahe thee if ft SATT" be deserted matin oa rope teasedInet Panel ‘the thveloped tee hope its paper hind with a prise tan-an Tur aa's! You hed }aok vaschones enna cei ae feat vevad vith Nin iat Rae aarene “setunt Teet sane, Don't. forget te have thon hold” the Hote"S"Eige ia SUT any.thowanty by nome BE Legh hails ts tote the ereoiopny ane elantnne Sete J ‘guna ti, ta Yeu Eat setts Te a “heghuse. fou ehitted aie op cher you pera sg ee sceDRiiy paceisa's' Mont, gon Se ane Segan ses toofed oitoehe Pats. eired thes far Now enik over eres ad sence Poker’ fave duritg"tht of th Fresteical concept of tes Reviesge Spegearber"d alse" touah’ af enia point Ante mony lon pee ame eee te ent se ‘ain Te the Sogctiphaon 3 Ene of Hey Se kan Rete i peare oe ga feet teat es ele Seti hor ee {ie shat aloft ae gt an he op “HOGS talaga he tla hin epteca the. apne ence oo oy ‘Toot hte teportant plese of Uhater rabeisrsacaeene sioner tegthntaa as mete gt amit matte SUP So arn ieee evaeeale tamer toe 3. Uris entire operation Sa vary quick, ot tn a ieShr ‘gets th Gad te Given to 1 fronterou spectator. The bidet at thin elec Se"clipped fr"the Tete hana," tyne"emelae #2 tne the fatboy ERs Gap it open tt wleh the nase Sunil ing as before, ay this ease aca eat Soot verlfieadons the ped te Tala yp cemeted 2. generally cand to sovneniay my secund auscass — sageonsing 9 cereaial st SuseneLataction betaute Suid oot scare satSect mit. This Senda sore Ua" peooeed ae. etal eleie Sasa "toa ate "golng’t tobe she tame honat ing done, Bee rate the presentation oe Eaten ha, te god srove, fend the pasty bécr to their eeae, an ame Sotevtanar netaason ch oho pad on thin toa onaves Af you sekees,Saen ene ete, ou wie dovn (he nevace Whe chanelee ot Hecate usta aun aa ot the'eatea ship by" edumo 0 lby aut (wrote and shat you di © and dslighsed’ at such = nexesper fect mats dogo Rinatn"fo” out stea srk at yu spate ent, Saptar fee's very tate seal eaes eee gene erat rete ce Ee cheat ant inter a ees gcse bd Ss om eh ‘haoe aes dumped into hankereate® Ee Seri enenoe Neues Be Cie oman eee fatal ckaye actose the Fons [Sejetee'actantty” jm, a sounie ff tanker in, thelair’— they are cieuriv SaEIG|e, “SAITEMAE Bevo’ ts ormistanasty visible: Tile "a mo optical ‘Sinalon “no eann Congest" paey save! foehing ever te the pacioes the pertarnec 14fce the handarehiat SSshaSoentt 2Rgeng tetesace of hte Canreal Senenne tation oF PaPS ‘obkttente ia action iotucalty, eveepehlog ay bo wamined, on 12 ix 212 borrowed. roe ‘lire deg Burn muri’ ehe Sehacevchiat’= Th Fest ske Mocat'obe aaa S ot conrge then Lea fimick. 84 aman te tao eh fs ean ae Span Stes, aside ‘imund Seientitie to. TPES BEES rot Raea pas atti sate, acne he dias wi juny at te ont nh ne ae Neovo sf nha alte 49'weght. vn cath cole ana Meta, Se wt Riatiaettueh“tae"sth evi mathe the lo "the duke makesIntroduction Half « year has passed since the appearence of the first book of this series, the Blue Book of Mentalion. Response to that book has been excellent. Here is the second small volune of this project. In the introduction to the Blue Book, I offered a brief analysis of the basic categories of effect in the field of theatrical ESP. The range of effects is extremely limited, and for that reason every mentalist runs into an imnediste obstacle in trying to routine « show: due to this limited choice of plot-lines, it is dangerously easy to put together an act that is highly repetitive, and thus ultimately boring. The emphasis, then, must be on presentation - even moreso than in the field of magic. A basic plot must be dressed up in an interesting fashion, to hold the interest of the audience. As few basic effects as there are in mentalism, when it boils down to actual performance, the vast ma- jority of ESP routines can be described with a single two-word phrase: "revealed choice". The spectator is of- fered 4 selection from a restricted field, and the per- former reveals that choice. It 4s & plot which can be extromely exciting. It can also be extraordinarily dull. | We search for unusual thematic approach we are often sidetracked by the romance unknowingly fall into enother trap. In 80 doing, novelty, and Mentalion demanis « straight line of action. The premise upon which most mentalists work is that they are possessed with uncanny abilities, pedestrianly referred to as "mind- reading". In approaching any effect, the question must be asked, "If I could genuinely read people's thoughts, what would it look 1iket" The fraudulent denonstrating we ac- tually do mst approximate this gemine action as closely 3 possible. 2 Many clover mentalism routines require a very circuitous chain of events before reaching their climax. When the spectators are required to pick two cards, add their values together, divide the result by three, turn to that page in a book, count down to the line determined by the number of fillings in their tecth...something is wrong - and the audience knows it, This is not mentalism ~ it 4s a puscle. Perhaps a very clever and baffling pustle, but a puszle nonetheless, There is nothing miraculous about a puzzle. Competent mentalism is miraculous. Another related problem with such cirowitous routines is that it takes far too long for the action to get under- way. This is also true of some relatively direct rou- tines. The action in a mentalism effect is the mentalien itself - not the preparatory steps. Unquestionably, the sequence of events leading up to the actual mindreading can ba - must be - interesting. However, os a general rule, the earlier one can get to the pay-off, the better. Yet another limitation in our field, of course, is that with rere exceptions we are unable to make use of par- ticularly interesting physical materials. If we exclude the related field of occult presentations, our props consist of very. simple, functional items: pads of peper, books, cards, and the like. Occasionally we get the op portunity to hang an ornate prediction chest from the coiling, or something similar, but by and large we must stick to the type of prop which seemingly exists only for its obvious functionality. For reasons of credibility, our materials must be very ordinary. Becsuse they are ordinary, they are therefore not very interesting. All right. Given that we cannot depend on our props to ience’s attention, we are forced to conclude sence it is the performer's personality, and that alone, which will be used to hold the audience du- ring the preparatory periods of a performance. Probably no other performance field, with the exception of stand- up comedy, makes such # demand on the presenter. In devising routines, I attempt to find dramstic vehicles for myself. All entertainment is besed on the fundamental principles of theater. Every performance - whether it be # song, @ joke, or @ miracle ~ is a piece of theater. This holds true whether the performanc: king pl stage situation, or off the cuff, 3Each performance piece must be considered « theatrical story - perhaps « very brief one, but still end all, « story. In order to develop as « story-teller (which 1 am contending is essentially what we are), one can benefit from studying other story-tellers, to exemine the ways in which they operate. In this manner, I have intentionally looked to fictional writers for inspiration; to stage end film performers; to all of the other story-tellars that intrigue me. Som times one can learn from the most unlikely sources. As an example, I vill mention that I learned s very valuable bit of theatrical technique from (of all places) a Bruce Lee Kung Fu movie! As reuoved from mentalism as it might seem, an approach of Lee's was appropriated, modified, and put directly into my work as a nightclub performer. It occurs to me that we all to often approach our work with a very Limited conceptual focus, Given that the na- ture of the material itself is, es I've maintained, very limited to begin with, this only serves to restrict us even more. From such conditions stagnation rather than progress is the most likely result. Ours is a game of imagination. Forgive me for waxing didactic, but it is # game I love dearly. I hope you enjoy the Red Book. oo Phil|Goldstein March, 1977 Entire contents - text & illustrations copyright © 1977 by Philip T. Golostein 121 Charles St./tis/Boston, Nass. O2114 4 Ladies and gontlomeri, I propose to show you something you have never seent a Four-Sided Triengls. Earlier this evening, I spoke to tvo members of thie audience, and asked then to par~ ticipate in an experiment which we shall conclude in « few mo- ments. I talked to a gentleman...is that man here? Ah, there you are. Sir, would you please verify everything I say. First of all, we have never met previously. About half sn hour ago, I asked if you would assist me by safeguarding a sealed envelope, The envelope has been in your possession since then. I asked you not to open it or to let anyone else handle it. Is this correct, sir? Do you have the envelope now! Fine. Please con- tinue to hold onto it for the next few minutes. Ladies and gentlemen - the first side of our Four-Sided Triangle. "Some twenty minutes ago, I spoke to a woman, and asked her to also participate in this demonstration. Madam, would you please Adentify yourself. I will ask you to elso verify all that I say concerning our earlier meeting. When we spoke, I asked you to first of all clear a blank space in your mind, and into this epace to insert the thought of a playing card. This was a free determination on your part. You were to Jock the thought of a card into your mind, and since that time you have not told the name of this thought-of card to anyone - not to me, not to your friends or to anyone else here. I specifically asked you to not even write the name of this thought-of card down. You have simply Kept the image locked tightly inside your head. Is a1] of this true! Fine, Please do not reveal your thought just yet. You are the secord side of our triangle. "T also have a deck of playing cards with and I'11 ask @ third menber of the sudience to help me out right now, Sir, will you join our triangle? Please extend your hand, and touch any one of these cards...that one? Fine. Remove it and hold it up against your chest. Don't let me or anyone else see that cerd st this time. You are the third side of the triangle. "Three sides, ladies and gentlenen..,but I promised you « Four~ Sided Triangle, The fourth side 4s,,.me. Madam, for the past ‘twenty-odd minutes you have kept e secret thought hidden in your wind; the thought of a playing card. For the first time, would you reveal to me and everyone else the name of this card you have been thinking of..." The spectator states thet she's been thinking of the five of clubs, The mentalist calls on the first man to open up the en- velope. It contains a jumbo card...the five of clubs. The other tor shows the card he removed from the pack. It, too, is e five of clubs, A Four-Sided Triangle. 9 e 5The reader has probably surmised that the selection made by the third spectator was a force, There is thus no mystery as to how the jumbo card in the envelope matched. The question is, how was the montalist able to obtein the information as to what card the first spectator was merely of, without the use of impression devices of any kind (since she was not allowed to write the name of the card down at any time)? The answer is disarwingly simpli uentalist takes a spectator aside. He says the following: like you to help me with an experiment that will be part of my show later tonight. The first thing I want you to do is to clear a blank space in your mind. Have you done that? Good. I've got a deck of cards. Would you take one? Look at that card, and then return it to the deck. Now please insert the thought of that card into the blank space in your mind. Have you done that! Lock 4t in there - please don't forget it, for I'l] ask you to tell it to me later. For the time being, don't tell me what the card is, Don't tell 4t to anyone else, either. Don't write it down, just keep it locked inside your head. Okay? I thank you in ad- vance for helping out in this, and if everything goes well, our experiment should prove a success later on during the show." That answers that! You simply use the same forcing deck that you will be using later with the third spectator to force the five of clubs on the initial participant. The deception really takes place when the performer ro-caps what went on. He asks the lady to verify all that he says. He states that he asked her to clesr a blank space in her mind. She agrees that this happened. He states thet he asked her to insert into this blank space the thought of « playing cerd. She verifies that this is what hap- pened. Of course, the performer neglects to mention that an ac~ tual deck of cards vas used in this process. When he states that it was a "free determination” on her part, the rest of the audi- nce assumes that this means 2 mental selection. The woman in- terprets the same statement to mean exactly what went ons she had a free (as far as she knew) determination from a physical deck of card What 4s being exploited here is double entendre. The performer's public statements are subject to two similar but different in- terpretations - one by the woman, one by the rest of the audienc: Note that the construction of the routine is such that the woman ds fooled herself, even though she knows that « deck was used in the selection process, for she still does not know how the per- former ascertained her choice. Thus, she 1s an unwitting accom plice in « beffling deuonstration of mentalisn, Parallax ‘The performer displays two pads of paper, and two marking pens (all of which may be borrowed). Three spectators are invited up on stage. They are given a pad and pen, and asked to stand st one end of the stage, The performer stands at the other end, with his back to the spectators. Addressing the first spectator, the performer asks hin or her to draw a simple geometric design. After a moment's concentra- tion, the performer also draws something on his pad. Without turning around, the mentalist telis the second spectator to take the pad, and to write on it a letter of the alphsbet. Af- ter some thought, the performer alse writes something on his pad, Still with his back to the assisting group, the perforser ‘netructs the third spectstor to take the pad, and on it to write any number froa one to a hundred, Knitting his brow, the nentalist writes his final thought onto his pad. Before turning around, the performer hands his pad to « randomly selected spectator in the front row. At no time has any of the spectaters announced his choice out loud ~ or even shown it to the rest of the audience, And yet, when the two pads ere com- pared, the information on each is identical. 2 Yes, there's a catch. Spectator $3 is a confederate. You've pre~ viously agreed that he will write down the number 49, In addi- tion, he is the one who codes you as to what the first two spec- tators wrote. This is information easily available to him, once ‘the pad is handed to him. The coding is done quite openly, but it is disguised. For all intents and purposes, there is no banter between you and the spectators, However, as @ perfectly acceptable (and inconspic- uous) social gesture, you ask each spestator his or her name. The nane spectator #3 gives you codes the inforustion to you. The geometric shape is coded by the first name, with this simple system Andy = circle; Andrew = oval; Bruce = X or plus-signi Charles = triangle; Dan = square; Daniel = rectangle; Dave = parallelogran or diamond: Devid = trapezoid; Ed = pentagon; Edward = pentagram; Fred = hexagon; Frederick = 6~pointed start Harry = octogon. These will cover virtually anything draw by the first spectator. The letter of the alphabet 1s coded by your confederate's choice of surname, The initia] letter of his announced last name is two places earlier in the alphabet than the letter to be coded. For example, "Jones" would code the letter L. When you state you are drawing a shape on the pad, you actually write down the first digit of the pre-arranged number. when you seemingly write the letter, you in fact put dewn the second pre- arranged digit. In pretending to write the mmber, you actually write the letter and draw the geometric shape.Disposable Color "In order to allow myself a completely random selection of assistant fron this audience, I shell toss this paper Ball over my shoulder. Whoever catches it, please come up and stage." This is done, me ——e Addressing the spectator, the performer continues. "If we vere te aeot at a social gathering, we'd probably ask certain qui tons about each other, to find out what the other person is like. Questions such as, ‘what do you do for a living’, or 'do you have any unusual hobbies'. However, I'm not so much inter- ted in what you ere like, as in what your mind is like. In ay Line of work, I must find out the way you think. Thus, the kind of question I ask in order to gain sone understanding of Personal psychological make-up would be this: vhen I snap ay. fingers, would you call out the first color that comes to mind. The mentalist snaps his fingers. The spectator nanes « color - for example, blue. "Would you kindly un-crumple the paper ball you've been holding onto." The spectator dees thie. written on the paper, in large letters, is the word BLUE. P The method depends on # psychological force, plus an out. bs probably know, if you ask a spectator to quickly name a color, the most common choice is red. However, if you give the spectator @ moment to consider the process...4n other words, tell him that youtre gsing to ask hin to nane « color, and then demand it, the most common choice is blue. If you'll try this out, you will s that there 4s 2 high success ration ” “se Ah, you're wondering what to do if the spectator should name color other then blue. The answer is,,.nothing! Remember, you've not informed the audience that this is a prediction effect. It is introduced as a method for gaining psychological information about the spectator. If he names, say, orange, you just smile and + "That's fascinating! Most people would have said red, or per- haps blue...but you said orange, and this tells me a lot sbout the independent way in which your mind operates." Casually take the paper ball from the spectator, and get rid of it. Contime by saying, "Given this individualistic uentality of yours, I must adjust my approach accordingly..." -~ and now dive right into your next routine, using this spectator. Writer's Cramp This 4s « billet-switching technique, which will allow you to ex- change a reasonably large slip of paper for e duplicate, under cover of a naturel set of actions. The billets should be made of relatively stiff paper, to make the handling easier, The dumy billet 4s finger-clipped between the fleshy base of the right thumb, the the center joints of the second and third fingers. Also held in the hand is a pencil ~ which both jus- tifies the curled position of the hand, and also helps to accomplish the actual switch itself. When the spectator has finished writing on his billet, he folds 4t. You teke it with your left hand, holding it at the left edge, between your left thumb end right finger. State, "I will initial this slip, for future reference." The hands come together - apparently for the right hand to mark your initials on the slip using the pencil you hold, What happens is ‘that for an instant the right hand comes in front of the left, blocking the spectator's billet from view, During this instant, the left hand cops the duplicate billet between the tips of the first and second fingers. ihe gemuine billet 1s reteined by the right hand in between the base of the thumb and the first joint of the second finger. ‘This takes but « fraction of a second, and it is all done during » natural action. Immediately, use the pencil to jot your ini- tials onto the (dummy) billet in the left hand. The switch is done. Proceed as you vill. the Happy Horoscoper The performer displays a set of twelve large cards. On each is printed the symbol for one of the astrological signs. A spec- tator 48 asked to name his or her birthdate, Let's aseume the named 4s the tenth of June. "Ahi" excleins the mentalist, you are e Gemini." He openly reuoves the Gemini card from the packet, end places it aside on a nearby chair or tables He now proceeds to give an astrological reading for the spectator. For 2 climax, he informs the audience that the reason he was sble to give the spectator such an accurate reading is that he came prepared to meet Gemini that evening. Turning the packet of eleven cards over, each card 18 soen to be blenk on the back, The card previously renoved ~ which has been in full view at all times - is now turned over. Printed in large letters on the back of this card 4s the message, "Happy Birthday!" °The method is extremely simple, Thirteen cards are used. Each card hes an astrological sign draw on it with marking pens. (You can locate the appropriate symbology in any horoscope booklet.) Two cards are mace for the sign Aries. They are identical on their faces, but the back of one has the "Happy Birthday" massage printed on the back in large letters. The cards are arranged in proper dete sequence, vith the "Birthday" Aries card on the face, the normal Aries card be- hind it, then the cards for Taurus, Gemini, etc. The face of the "Birthday" aries card is prepared with e generous quantity of magician's wax. When the cards are displayed, the two Aries cards are kept to- gether, so that only twelve cards are seen by the spectators, When the chosen spectator is asked to reveal his or her birth- date, the card for the appropriate sign is removed from the fanned pscket, and placed on the face of the group. Obviously, the prepared Aries card adheres to the back of this card. The two will stick together, due to the wax. The double card is placed aside, facing the audience, An Aries card will still show at the face of the packet, so that all will eppoar to be fair. After doing a combination astrological/cold-reading on the spectator, turn over the group of eleven cards to show blank backs, then turn over the tabled double card to show the birthday greeting. Should the spectator's birthday fall during the sign of Aries, do not discard the Aries card. Instead, simply turn the packet face down, and fan out ell thirteen cards (the audience will not think to count the number of cards in the fan), to show that the back of the face card - Aries - bears the message, The effect 1s described as a stage routine, but obviously « smaller set could be made up for close-up performance. You might wish to make up duplicate cards for each sign with the birthday greeting on the back of each, so that the card could Inter be switched, then given to the spectator for a souvenir. In this case, you would probably want to include an adver- tising message in small print on the face of the card. a Satan's Nightmare Earlier in the evering, the performer has given a sealed enve~ lope to # spectator to hold onto. If the spectator cares to examine the envelope (by feel or by holding it up to the light ~ he has been asked not to open it), he will find that a card of some sort is contained therein. Later on, during the performance, a deck of tarct cards is in- troduced. A spectator (other than the one holding the envelope) is asked to take one Tarot card. He is given « pen, and asked 10 ee - & to write down the first three digits of his license numb social security number, or any other number which is in sone way connected with his personal life. ‘The card is taken back, the pen also, as the wizard discusses the "significance" of the numbers. The card is given to yet another spectator, who also notes the written mumber as well as the card's value, and proceeds to tear it into pieces. These are placed into « bowl, and burned, While the flames ere consuming the card, the envelope is re~ trieved from the spectator who has been holding it up untal now, The performer dips his finger into the ashes, and writes the spectator's number across the outside of the exvelope. With proper mystical chanting, the envelope is ripped open, and its contents extracted. Those contents happen to be. the selected tarct card, bearing the written number, all of which can be verified by the various participants. Having truly transcended the laws of space and time (among others), the performer bows deeply. 2 This routine is based on an old and lovely routine of Henry Hardin's, called "Satan's Meil", and also an effect of Willian Lindsay Gresham from the Phoenix, entitled "Nightmare Allez". ‘The deck of tarot cards is « Menetekel deck, which is to say that it is made up of pairs of duplicate cards. The envelope is prepered by having an arbitrary tarot card glued inside of dt. This will never be directly viewed - its only purpose is so that the spectator who is holding the envelope will be able to feel (and see, should he hold the package up to the light) a card inside the envelope. The other required materials aro a bowl, some matches, s pen, a nailwriter with lead to match the pen (the thick Lieto is best), and a tiny amount of ma~ gician's wax. The daub of wax may be stashed in any one of a variety of locations - select what is best for you. ‘The envelope is given out before the show. Luring the per- formance, the deck of tarot cards is introduced, and one is taken by a spectator. When the spectator takes your Liste pan to write his mmber on the face of his card, you are obviously able to see shat card he selected. Thus, when you break the pack at the place the card vas taken from, it will teke but a monent to note whether the mate of this card is now on top or bottom of the pack. In either case, position it so that it is on the bottom. As the spectator 4s writing his three-digit nunber on his card, you casually look over his shoulder, and write the same nunber on the mate card, using your nailwriter. The deck of tarot cards is large enough to supply adequate cover for this activity, and besides, all attention is on the spectator at this point. There's no need to try and duplicate the spectator's writing - just get the right mumbere down in the proper area of the card's face.Have the spectator return his marked card to the top of the face down deck, face up. Turn his card face down on top of the pack. Right now you have two duplicate cards - not only of the same value, but bearing the same j-digit number in the same position. As you walk aver to the spectator who is to do the burning, it is « simple matter to boldly remove the face card of the deck and hand it to him. There is no move involved - just do it. He will inmediately see that he is getting the right card by noting its velue and the number Anseribed on it - both of which have been stated out loud ‘already. Thus there cannot be any thought that you have switched carde, unless your own guilt serves to telegraph this fact. ‘This spectator is given the card, and asked to verify the written number, He is now instructed to rip the card to pieces, and to burn it in the bowl before him. While this is being done, cop the pellet of wax on the tip of your middle or ring finger, right hand. As the card is being burned, ask for the return of the envelope. When you receive it, smear the wax on the center of the back of the envelope. Casually show the back and front of the sealed envelope, and then rest it for « moment on the top of the deck (which is still 4n your left hand). The spectator's marked card will stick to the daub of wax and vill be concealed behind the envelope when you pick it up. Take the envelope by the edges with the right hand as the left gets rid of the deck. Transfer the en~ velope to the left hand - once again, by the edges (not to make a big thing out of it, but just suggesting by your handling that there is no "sleight-cf-hand" going on..+)+ Using your right forefinger, dip into the bowl of ashes, and write the chosen munber across the front of the envelope as you mutter suitable incantations. Rip open the and reach ins: of the right hand. Ignore the card that is glued to the interi- or (it won't come out, anyway) The right thumb slides the marked card along the back of the enve~ lope. From the front it will look exactly like the marked card is being removed from within the envelope. The card will come out with its back to the audience. Pause a moment, then turn it around. Astral Projection, ores? To clean up, simply crumple up the envelope and throw At sway. The spectators sre not interested in the envelope, but rather 4n the card - which they're free to examine to their hearts! content. 12 Psychini the mentalist has been epproached by an interes party, vho would like to see's deeunstretion of the former's abilities. "Fine," replies the mystic, who proceeds to take @ pocket writing pad and pen from his pocket. As he writes on the pad, he explains, "what I am committing into writing has some bearing on # choice you will be making in the next few moments. It is my intention to mentally contrel your response to & simple question I will ask. You make take your time in answering, and you may even change your mind befere finally deciding - but I assure you that this psper vill give proof Sat your. tinal choice was not the product of your ow free » but @ 5; e je andl - ait, as srecitigaliy guid controlled choice...con: As he concludes this statement, he finishes vith his . writing, Tearing the sheet from the pad, he folds the paper into . mall packet, and places it on the table. "There - 1've committed myself. Now for your question, I want you to consider the musbers from one to six. Take your tine, but decide on one of thase numbers. Then lock me straight in the eye, and state your chosen nunber.! The spectator thinks for a moment, and calls out "four", The performer invites the spectator to The performer, inv spectator to open the paper. On it "The Great Psychini is: 1, Remarkable 2, Unusual 3. Fascinating 4, YOUR CHOICE 5. Uneanny 6. Entertaining" ? ° The method is simplicity in itself, In the performer's pocke' 4s a simple five-billet index, loaded with Foplinate lists, Each list has been re-ordered so that the phrase "YOUR CHOICE" appears at a different number - one, two, three, five and six. During the presentation, the performer writes the #4 list on the pad, and folds thst slip to resemble the pre-written bil- lets in the index. Should the spectator name "four", no further aeeie is nosessarrs For any of the other choices, he must of course remove the proper billet from the pocket index, end do a billet-ewitch as the tabled paper is picked up and handed to ‘the spectator, Note that the action of writing out a slip as spectator 5 to suggest that only coe alig!gcald poses. be in play. The effect is not earth-shaking, but it is « nice direct demonstration of mental control - and the spectator is” left with « physical reminder of the event, which progotes your name, Additionally, if the pad of paper used has your name and address imprinted on it, the list given out as e sou- ren a ar will be even more a from an advertising point ofVision Version Over the years there have been many routines devised using « deck of design cards. One of the very first to appear in print was Annemann's "Extra-Sensory Perception", first published in the Jinx in 1935 This routine made use of a stacked deck of design cards. In the time since, meny variations have appeared using the sane basic concept, What most of these routine lack 4s a climax. Most follow the Annemann effect, where two de~ signs are selected by as many spectators, and the performer is able to duplicate the chosen images. ‘The problem is that once the first design has been revealed by the performer, the successful revelation of the second has no particular impact. True, it is impressive and baffling, but there is nothing to theatrically cue the audience that this is ‘the finish - that it is time te burst into an eppropriste round of applause. In this routine ve will discuss the handling an presentation of ‘the basic design deck effect, and then explain a follow-up use of the deck for an improseive finish. "Some fifty years ago, at Duke University, Professor J.B. Rhine established the first parapsychology laboratory, to investigate something he termed 'ESP' - Extra-Sensory Perception. In order to scientifically explore this phenomenon, Dr. Rhine devised a set of five designs, know as ESF Testing Symbols. The five syabols are a circle, a plus-sign, three wavy lines, a square, and a star. Bach is an easily identifiable visuel image, and thus the symbols lend themselves quite nicely to the testing of telepathic interaction. "IT propose a series of tests using visual imagery. However, in order to expand the possibilities, and to make things more dif- ficult for myself, I will not limit our materials to a field of five choices. Instead, we shell make use of this pack of visual dnages. You will notice that there are about thirty cards, and on each there is drawn « different simple design. Observe also that the backs of the cards are blank - to preclude any possi- pility of marking the card After mixing the cards, the performer picks up a large drawing pad. The pack is placed face down onto the pad, and the pad is extended to « spectator, who 1s asked to cut off some cards, and to hold them up ageinst his or her chest. This is repeated with a second spectator. "Please note that even if it were possible for these cards to be marked, thers would be no way for me to take advantage of 4t. Both the faces and backs of the designs that have been cut to are concealed from my view." 4 With his left hand, the mentalist holds the balance of the cards, plus the drawing pad, as he takes a marking pen from his pocket with his right hand. One of the spectators is asked to look at and concentrate upon the randomly selected design at the face of their cut-off group of cards. After some thought, the performer begins to sketch on his pad. When he 4s done, the spectator is asked te show the design on the face of his or her packet. Simultansously, the performer turns around his pad the drawings match exectly. Taking back the spectator's cards, and tearing the top sheet off of the pad, the perforuer turns his attention to the other assisting audience member. Again, the mentalist 1s able to pre- cisely duplicate the spectator's design. Taking back the spectator's cards, the performer places the psd and pen aside. "I would like to use this selection of images for 2 further demonstration. Would you please join me on stage, sir. Here in uy pocket there is « sealed envelope. Would you please take it, and hand it to anyone in the audience. Fine. Now take the cards, and deal them slowly, face down, one on top of the other, onto the palm of ay hand. At any time you wish, you are to stop dealing. “Right here? All right, let's take « look... You have stopped at the diamond. Let's see...had you stepped one card earlier, it would have been the star...one card further, and it would have beoer the exirulsssbnt zo decided te stop here at the d4amond , "Where 1s the person holding my envelope? Would you be so kind as to unseal it now. Take out the folded paper inside, Unfold it, and hold it up so that we all may see what is drawn on it." The spectator does this. On the large sheet of paper is an equelly large drawing...of a diamond. ap ) Let's discuss the two parts of the routine seperately. For the first phase, as mentioned earlier, a stacked deck of de~ sign cards 18 used. Some versions of this idea have involved a cue-list of the order of the images. I prefer to use « set of mneumonically-ordered designs, so that no list 1s needed. Although the deck is stated to have “about thirty" cards, it deste contains just twenty-five - to make the memorization simpler. Many others have published design stacks, so if you do not care for the following, you can research others...or devise your own. This is the one I user 5» +O we earn awev wT eoOeeO 10 i 12 13 uy 15 16 17 18 25 BZ eid padu#Z Qi ki MM single line (first Rhine symbol) two lines (second Rhine symbol) three lines (third Rhine symbol) four lines (fourth Rhine symbol) five lines (fifth Rhine symbol) six points cloud ("seventh heaven") resembles figure eight resembles figure nine resembles figure ten resembles figure eleven hourglass shepe (twelve hours) Lightning bolt (unlucky) vaguely resembles figure fourteen easily associated with preceeding figure Maweet sixteen" easily associated with preceeding figure resembles figure eighteen N for nineteen tventy-dollar bill legal drinking age is 21 « “two-two" train a second three-line figure four & twenty blackbirds in « "pil! twenty-five cent piece 16 ‘The cards are stacked in order from the face of the packet (4. the circle at the face, then the plus-sign, etc.), When the cards are mixed, they are of course actually false shuffled. The stan- dard Charlier (False Haymow) Shuffle, described in many texts, is fine for this - or you can just use a series of cuts. When the two spectators have each cut off a portion from the top of the face down pack, the card which is left on top of the re- mainder of the deck will cue you as to the second spectator!s de: sign. In other vords, if the two parallel lines is on top of the pack after the cutting, the second spectator!s face card is the hourgless. A simple action allows you to look at the top card of the remain~ der, The cards are eitting on top of the pad, which is being helo by the left hand. With the right hand, remove the top card and use it as a scoop to pick up the rest of the cards. As these are ‘taken by the left hend, you can easily glimpse the new face card, which cues you as to the second spectator's design. Therefore, direct your attention to that person, and "telepathically re- ceive! the image froa him... Draw it on the pad, show that they match, then retrieve the second spectator's packet. The top card of this packet will cue you as to the first specta- tor's design. When you get the second person's packet, place it on top of your own packet. Now you will boldly sight the top card, by lifting it off of the pack end using it to gesture to etator #1, you ask that person to concentrate on the image they've selected. Again, craw the picture on the pad, show, then retrieve the packet from the first person. ‘That covers the first part of the routine, Now for the second phase. How sre you able to force the diamond on # spectator, with no apparent sleight-of-hand or suspicious activity? The fact that there is no diamond in the stacked pack of cards should indicate te you that a second pack 4s secretly substitu- ted for the first, Before explaining the switching technique, let us quickly de- seribe the forcing pack. Twelve of the cards in this deck bear the diamond design; the other thirteen cards have different designs as in the first pack. The force cards oecupy the even positions in the deck. The forcing pack 4s in your left coat pocket. In righ - your it inside coat pocket you have the envelope with the diamond pre- diction, The technique used to switch the packs evolved from a write-up by J.G. Thompson Jr. The legit deck 4s in your left hand. The spectator is stand: on your left, With your right hand, pull open your jacket to display the envelope in your pocket. Ask the spectator to take the envelope from your pocket. As he does so, his body blocks the audience's view of your left hand's activities. The left hand goes into your left coat pocket, and switches decks. 7‘The actual switching action itself is something I call "DAveswitching". The legit deck is held between the left thumb and forefinger. Wen the hand enters the pocket, the fingers splay out. The legit deck is pressed to the right - agsinst the side of your body, This causes the deck 4n your pocket to fall to the left. It will automatically be caught between your first and second fingers. Let got of the legit deck, and withdray your hand, holding onto the forcing pack. This activity is one that can be done extremely fast - in less time than it takes for the spectator to accomplish his activity, which is blocking the audience's view. After the envelope has been given out, hand the (forcing) pack to the spectator, telling him to deal the cards face down onto your hand. You can easily keep track of the cards as they are dealt, so when he stops you'll kmow whether there is 2 force card on top of your packet, or on top of his. Interpret the si- tuation so that he gets « diamond. The cards before and after the diamond can be shown es being indifferent cards. Note also that the bottom card of each packet can be flashed as an in- different card, Discard the rest of the deck. Have the prediction envelope opened for your very visual applause cue. An unusual psychokinetic demonstration: the performer shows & smell bar magnet, four or five inches long. He uses it to pick up some paper clips, sticks it on a metal surface (whatever is handy, such ss a refrigerator door, or the edge of a metal desk). He now places the magnet in the center of the table. Knitting his brow, the performer directs his mental energies towards the magnet...to psychically drain the magnet. After much grimacing, sure enough, the magnet. is no longer function- al: At won't pick up the paper clips, or anything else, for it has truly lost all of its magnetism, There is no switch, and the hands are empty at all times. > A gimuick 4s used, but it's in full view. It is a dealer item produced by Emerson & West, known as the "Kling Ring". This is available from most dealers. It 4s 4 ring with « black stons. The stone is actually a magnet, and this is the key to the ef- fect. The "bar magnet" is in fact just a piece of steel. when 8 you hold it to pick up the paper elips, you curl your ring finger down so that the magnet in the ring comes into contact vith the steel - and the latter acts as a conduit for the magnetism from the ring, picking up the clips. The steel bar adheres to the door thanks to a dab of wax you conveniently placed there beforehand. When the bar is removed from the door, you use your fingernail to scrape off whatever small traces of wax have transferred to the ber. The rest is theater. Pscrabble "I am often asked, ‘How did you learn to do what you dol How do you practice?! Frankly, the only way to develop abilities such as mine te through experience. One thing I do in order to keep in shape, however, is to exercis: “Mow when an athlete wants to exercise, he or she jogs, or does calisthenics. In my line of work, I exercise by stimulating my cognitive processes with intellectual games. One of my favorste such games is probably familiar to most of you: the game of Serabble." The performer empties bag full of Scrabble letter pieces into a bowl, "If you've ever played the game, you know that each player gots & random selection of seven pieces, Each wooden square has a letter, and a mumerical value. The object of the game is to use letters you receive to make the word vith the highest point~velue possible. Sir, would you kindly mix the in the bowl. Now I want you to remove any seven of then. To keep it a secret, don't show the pieces to me; don't look at them yourself, either - just drop them back into the bag. Good, "Medam, you will be our player. Have you ever played Scrabble before? Excellent. Remove the pieces from the bag - let me turn uy head avay first. Place the pieces on the table in front of you, Study them carefully. Now I'd like you to form the best possible word you can with those letters. Go for the highe: point score you can. Take your tine. "You'll excuse me for talking to you with ay back turned, but I want to keep this a fair game. Have you formed « word? Fine. Just concentrate on the point total. No, a little harder. Ah, it's coming in...a two-digit number...twelve - no! Thirteen! The total is thirteen - is that precisely correct? Thank you. Ig"Wait - before I turn around, let me try for the word. If I'm lucky, 4t's not too long a word. How many letters - no, don't say it out loud, just think...thank you. The word is indeed not very long - three letters, in fact. True? Thank you, would the first letter be an F? Now think of the last letter. No, no not the center letter - I already picked that up, it's an 0. It's the last letter I'm interested in. Just think of the lest letter... just keep thinking of the letter X. It is an X, den't it - your word 4s FOX. I am 100% accurate? Thank you. And thank you for playing the gene with now I've had my exercise for the day, The method is disarmingly easy. The bag in which the pieces are first introduced 4s « Grant Drawstring Change-Bag. This is one time where such a prop is completely above suspicion, for many Scrabble players keep their pieces in just such a carrying bag. In addition to locking right, the bag is constructed out of « thick material, which will deaden the sound of the pieces when the dirty work is done. At the start of the routine, all of the letter pieces sre in one side of the bag, except for sevent O-1; L-1j G-2; M-3, Fs) X-8; Q-10, All of the pieces except for these seven are dumped into the bowl. The spectator mixes the pieces, chooses seven (without looking at then...) and puts then back into the bag. The second spectator reaches into th to take out the pieces, Obvious: ly, you open up the other side of the beg for her, and it 4s the previously determined pieces that she receive ‘The specific selection of letters and values is such that the spectator does not suspect anything - the word she must make is ‘fox", but because a number of other words can be made from the letters, she will feel like she's making a decision with a fair assortment of letters, The possible words arei "go", "log", "fog", "lox" and "fox". It will be obvious to the spectator that word with the highest point. value is !ter bok Phil Glin: ‘To Be took of Mant ‘The Re Bock of bration ale Tackle Seatentor Ved Corto Cotes tote Introduction ‘One your as paso snc he dbo hi sre. ti, he ‘fr tatiana tering sway of ew routines which Tope fd fxr mith you Inmny lacture work, | have disused a theory which i te bas ‘or af of my endeavors in both medic and mantalier The most Important part of tis thoory begins with the following promine: '"ihe shortest distance betwen two points is 2 straight fine.” (1 «am informed that in higher physics, this dows not always ot ‘fue, .but for our purposes, let's astume it does.) (two accept the above premize, shon Ie stands vo roavon tat Ue shortest ise {ance betwoen tur sation & Faia line of action. “To take this one step Turthor, it follows ther thatthe moet log: cal path of action betwoen any two actions i Hat stright line ff action, Thus, any deviation from that siraight fine must be corsidred iogical..and this suspect. Your audience may not be cones ‘of such thing, but atthe very least» de vation from astraight line of action wil register subconsciously “and once the audience suspects your actions, che ballgame is ‘ona, tn te words of Harry Lorayn, "if the audience knows something wor done, it sm bad a if thay know what was done ‘As it happens, due to the nticacis of methodology, we are ‘lta required to break sway from vat straight path of ation. ‘The paint that cannot be forgotten is that sueh a departure {ram Yogieal action ts something that cat be igyored, t must be daa ‘ith oF eset wil sere to trigner the audience's suspicions, In ‘soma cases, ts posi to eliminate tha problem by altrations inthe methodology, Othor saws are not so wasly changed, and ‘must be desl with through eome sort of thematic justication — ‘either explicitly or implicity.{the routines in both this and my provious mantis books, nave tried so far peesontations which olay logically to the lay ‘spectator’ mind. tn so doing, l have hopefully created 3 nur ber af effects which wil, proporly presenta, play as iutimace Enwra Sencory Pareaption, ‘There hos been, for goin some tim, an on-going dabae as to shother 9 mentalict should ela guruine mindreaing powers, ‘Or present im hero as atheswical ertertainar ~ 2 magician ‘without a rabbit. Asa nrofessiceal performer in the field of ‘mantalism, have my Own sting personal opinions on this, ‘matter, Howover, ite not my desir to involve myself in is debate widiin these pages. | il venture the opinion, however, ‘at no marta wliat ona's own feetings on this issu may bo, ‘ti necersry for 8 mentation routine ding partormanes to play 981 wore tha veal thing. believe chet my published ‘routines fivo up to this. ‘ ‘Wo have the potential to ins 3 snse of wonder in our ‘Spectators, parhaps toa greater degree than in any other branch of aneoreainmens. 4, lterally, 8 wonderful gare, a jomber, 1977 “Do.you believe in Destiny? That two seemingly unrelated paths can be inevitably drawn Cogether towards a common contusion, Shrough the iflucnce of unseen foross..quided by the hand of Fan mig borrow hat ck of playing card, wal etme ro twoke auch an occurance. “tore ake the dock, would you st it. Mi the ort, to ‘nse thet their dntribaion i completly random, Perhaps some re mol a ie ee te ck. Ee, ah no ing nk of» carey, ‘pon one wil remove Shy car rom the pac, aloe He on te aa. “Maier, would you sso think of a card, Have you done that? Plasia remove your card from the pack, and alba place ft onto the table, Now would you Kindly cut the deck into three pies. Place \your ead ontop of that pile, Put the next ile on top ofthat. My {ord goes on top ofthat, tha last pile on top ofa. At tit mo rent my card ~ tha two of (ach ws plone toll mete toe of hoorts? All ig, the ace of ‘hearts and dhe two of spades rw separated by some fifteen or ‘neonty cards. ‘Lets altar the positions of the two sara and lt’ aava it up to chince, Madar, would you pick up the deck and shuffle it anew on of card is turned over ~ itis i two of spades. The Inthe shutfod pack, havo indeed heen drawn together by the Influence of Destiny. 9 ‘This routine gow out of Arthur Cartar’s “A Univartal Out” for ‘de Magigrar, August 1975. [tis a most powerful effect, and yet Ihaponty enought requires no sleight, no gimmicks, and no pre poration. Beceuse the performer almost never handios tha deck, She of ike lina ae av tia {tahould be noted that sis routing will also play exoaedlingy ‘voll with Tarot card, whieh ean ad to the quality of mysteism inerant in the plot.‘To begin with, you borrow a eck of cards. Have saver spectatrs shut the pack. It makes no difference hom wall dhe deck is mix ed. The rel resson for having a number of diferent people shuitia ‘we pack i that you're looking fora spectator who ser an ver hand style of shuffling. When you find dat parson, you ae a Set, and it is that person You will Use to participate inthe rating You claim you oe thinking ofa card. Pick up the deck, and remave ‘any card, placing it face down on the table, Let's say this card is the {ack of diamonds. When you run through the tack, you rots andre: ‘member the top card of the dack ~ for ample, sy. tho deuce of ‘The spectators instructed to think ofa card, hen to remove it from the pack. At this point, tes things are posible. f the spectator has ‘hough of the jaok of lamonds, whan sho looks for that ard i wll, bbe iting, Her inabiity to find th card will lve you in an this, and You alter the ending of the routine by explaining that, tough the Bowers of Destiny, vou both wore drawn to think ofthe exact sme (ard, ‘Moat af the time, tiowersr. the spectator will think of a car other ‘than the one on the table or the one on top of the pack. In this proceed a followa: have the spectator tnble tho deck, and cut io three ils. Wher she does, Keep track of which pila the eel park of a pak Tah amd oli io ‘ours, ta previously noted 18 of Spades in our ex Instruct the spectator to drop hor card (ac of hers in oa Ample) on top ofthis pile, then to rap another pile on top oF that. ‘Your ear [which fs the jack of diarnands, bt which the audience ‘has not been shown) is dropped on toa of the assemble! cards and ‘ha remaining piles dropped on fep of al. At this moment, the ce of hearts directly above the two of spades, “Tha next iiep is timple: you lie: You state thatthe card wich yous thought of and remavae was the two of spades. The spectators al belleve that your card and the spectators aca of hearts are in tWO ‘Seporatofosaiors in the peek. Now tll the parterpating spectator tw give the dock ashutfie. As you hove artanged by ahe pariculr SPER" vou son to work wth, iw be ovrhan “The ods ara shout 8% thet any two ‘other inthe deck prior to an overtund shutfia wil stll be next 89 lach other when the shuffle ls done, Thus, at the conctusion of the ‘ul be cit after it = carly the foreas of Destiny at work. By all means, thera isa element of risk involved in this routine, ‘There isno simple “oat” availabe should the ears become se ‘erated during the shutfie, However, the tisk of file is not all {hat large, and eortainly the impact of his effect when it auc- cesful merits taking that sk Hf you arw unable ta fece such 2 Fis, take up box magi Combo ‘Tho performer hands 2 pad ot papor and a marking pan to « spectator saatad in the audiones, A tacend spectator given pack ot playing cards. The frst perticipantf asked to draw a simple design, composed {of one or more geomenic shapes. The second spectator is siked to mix ‘he dock, loak @irough tend remove any card he likes. ‘The mentalist never toushes the deck oF pad of paper again — and in ‘act these may all be Borrowed, a no preparation ts involved. Thare is no convareation between the performer and the participants, aside from the delivery ef msvuctions — ths precluding any coding, Never ‘halos, te performer pioks up his own pod and pan, and writs down, his improssions. Aftor the performer's pod tas boon placed ase (30 3 {aule out the possbiiy of any system, or any ataration of what the parformer has drayn on his pad), the choices ae shown. ‘The first spectator Fs drawn, say, a square inside ofa circle. The se ‘duplication of the drawing, ond aso the name of the proper car‘code is indeed used, bet it sa silent system, and the coding scion is ‘completa hiiden by the setion of the routine its. Spectator two is ‘confederate, with wdiom you have prearranged ths card to be thought ‘Of this exam, the three of spades. This spectator arranges ta sft inthe second or third row of the cudiance. The fst spectator ray be ‘anyone, but you 86a tot that tho person you choowe asthe first par pant i sitting inthe frst row, diagonally in front of the confederat, ‘Thus, your stooge is able to see over the firt spectators shoulder, and rote the design drawn by te genuine participant. He then codes it to Vos, ina non-verbal way. “The oul is derived trom fob Wagnor's "Simbad Dek" i his book, “Magic Dungeon Mentaliem”. Win turn, was derived from a routine by Tot O'Regen which appearad in Ed Mellon's "Mental-tUie”. What ‘ins sa wr of fifty-two dasigns, mado from one oF more geometric Shapes. Each desig Ys mneumonicaly linked to playing card, and ‘he system i extremely easy ta learn), O'Regan used 2 peck of design ‘ards ned on his syater, and was thus ble to do various stacked ‘eck routines Wegner revsad tha daions, and in addition ro offering “Stocked deck ideas, proposed using the syster in conjunction with & ‘verbal code, to atom one member ofa two-person tear vo cus the ‘ther at fo what design had been drawn by a spectator. The “Simbal {Bek sytary can euplioate or eoma sfose to duplicating just about any design that 0 spactrtor might draw. {i my applietion of the system inthe “Combo” routine. che ren: {alist is spparenty working slone. Both he and his stooge have lornedt ‘he cate, The stobg® knows ~ by simply looking — what the frst spec: {tor has dren, When the stooge looks through the desk, be foeatet {wo carde: the previously aged upon three of spades, and the card in ‘He pack whch correlaton tothe first spectators dawg. [0 OUt ex: ‘angle, dhe design was a square inside a circ. The card fn our system ‘ehh links to tis despite four of clubs. Thus, in this instance, {he stooge would cut the four of clubs to the face ofthe deck ashe trent about removing the thee of spades and placing that in is pocket. ‘When the performer hand the pack to the second spectator (the con: {aerate} he retain dh card eae. Thus, itis perfectly logical action {or the nooge to offer the deck hack to the portormer attr remaving ‘card The mantalist waves the offer aside, informing the spectator {stooge fe keep the pack untl ler This vil throw any observer off the track, should that person be expecting the performer to look. ‘rough the pack £0 find what eard is oisung.. Howaver, whan the ‘Hooge holds the dack out tothe performer, he noida it in such a way {flac the faco car tothe perfoumer. Thus, the mentalist i able {translate the Nleshed card into the fst spectators desi “Ther sone variation: the three of spades metzhes asimele tianale Inthe syst. Should dhe firs spectator drow that sama figure, the oage would iemediatey place she balance ofthe pack into his pocket, without offering Ye give tock tothe performs, and thes {re later would know ata lance that triangle was being coded. ZO Svmnues ]Surwnwp i c *#fogowrort-P> oO = GHaebBnA B E) w Oo COSBSSRSOOBPSOHORESY PPRPP RPP PRP RRR RES I“Ldies and gensiemen. one of the vary frst inealectus processes Wwe learn to undorstend it that of basic mathamatic. No matter ‘what yaur profession might be, no matter ow vou cecupy your thn, ft would be virtually impossible for you, or ma, ar anyone {ago through aay without making wse of some basic mathera- teal reasoning, Evary time we handle maney, Took at the clock. Consult the calendar, or simply walk down the street, our minds ‘must del with numbers, “1 call to your attention two anvalopes. Ad - you se? I've already person hereto reli, and simpy grab onto the thought of a num: ber.amy number from ane to ten.the est imbor you tink of Fine. Las open tho envelope. As yau ean se, the target nuinbar | was concentrating on was seven. How many people thought of that number? “The many? Wonderful, OF course, this wes vary simpletest, with certain basic and obvious psychological factors involved. At {ar all, soven Isa lucky number for many people, and perhaps th {fluenced some of you, But this was asta bogroring, Vou at, Inside of this sacond envalope thre is also a written number, bat el use amore mdvaneed hnking pees wo arrive wt Hat igure “Would you be s0 kind as to hold onto this envelope for me ‘Thonk you~ 1 shal call on you shortly. Now, would you aso help ont, madam? Fine, Hece is 0 pad 0f paper, and n pene Just respond panirally. want you {fn fifty on the peper Tall ms when you'te done. Now? Good “Sir, would you plea take the pat and the pencil and gat ready to alsa write down a figure — nol Not yet! want you t9 ‘so relax eke 2 deep breath now put down a suber bx ‘as wch tine as you feed, A “Let's ame. there someone hers who feels capable of adding ‘hese figures up accuretaly? Hew about you — thank you. Total the nurmherschonen fy these two peopl. ll sat? Would you tel us ll 3 nice loud vojen, just what the totel happera to be. Eghty-ight? Might {check your addition? Hmmm. looks cor eet to m8. Sir, you ve len holding that anvélope since before ‘we beganwould you now epen it and show us the paper inside, Winat tie number drawn on tat paper? Eighty ight? Thank you s0 much” oe “The bic “Adk-Aa”oac «gos one, There have been ounons yriaton, but mont have stared trom wo dro Sok, m my opin. Fis, they fee to establish sconext for thamedbet and tho ey sto te tok o playing vy Siting we recone icy promcing wecnoapte ree torre rng aeons Stor which rir inches ost of tw acne cary n {re omping process. ‘An even more serious drawback to ma has always baon the po- ‘ential confusion such aFouting can exeate ine minds of the ‘audience, Most af the time, large groups of figures are sed. Rete very least, three three-digit aumbors must be added by ‘espectatot This s taxing to 9 nervous sudienes mamber (and balieve me, spectators do get nervous in ich a situation of re- sponsibility ~ and are open to making mistakes in even sole tition. tn Eats eoutine we fit th srthmatic to spy wo {hwo-digit numbers ~ ane in so doing, make the effect even Stronger, since there sno posibility for contusion with such simple uribers, and thus the audience senses that no chicanery Can have taken place, Sometines lass mote {for as method is concarned, the simplest ungimmicked me ‘hod I to uso 2 sal pad without any cardboard backing — i, ‘one that looks the tame on Both sides. Prior t your show, you hhave filed in two two-digit numbers to fit the prediction, The firs is less Gian fifty, the sacond more, tn our example feighty- ‘ight, you might uss 25 ana 63.1 virtually imposible foro Spectator to riod these figures — even in nightlul sia ‘ton whore there has been alzohole intake involved. Don’t for {ot 10 write the mumbors ir wo different handwriting styles, thoy are suppoved wo have been put down by two differant people, “The pad i ven tothe fist spectator, blank sce up, ai that ‘tao i 41d to writs down » rumba less than fifty. second Epectator Is given te pad, and told write.» mumber fram {itty 2 a hundred underneat® the first figuce. Now you tke ‘tha pat and pancl, nd welk (0 the other side of the audience. You do ou sy yt pad nr, it he fro-riteigutes up for the third spectator to total ‘A modicum of eave wil kenp the two-sided nature af the pods preparation from being noticed. If yeu are uneaay about this, ‘here are 2 umber of gmmicked pods available from the dealers which are worth yout consieration. ”of mental for nightclub circurmstancrs rcont- as cata sand uate Hobtns merit esaechapt ren shorter theri norma, to accomodate the rexiiced attention {span ofa arinking aude. This routine, a with tw previously detailed "Old Math”, wes devsloped with this ned ym mind. hot only plays with folative brevity —it specifically plays into the ‘nature of the audience's primary activity drinking. ‘Tha performer addresses his audience. I ofton wondor what 1 ‘would be doing, had | not developed th abilities | have boon Semenstrating for you. Mine is an unusual profesion, and an ‘exciting One. | oft think that {had to choose another line ‘of wark, | would stil gravitate tothe workd of igittobs. Par hhape Ibe invaved in one of the more eretive nightclub oe- ‘cupatione — mixing drinks. “1 tay es bart nt non, ty ee sa math il Hing reba fe ht proportions My pugs ean apy fy work Simin pprsumnpeemeramnetsrceet, panacea aren {name Sat favorite dine This weten onthe bow A Seaee aearete entrar see Eakaummer ames Bar Toening to yet another spectator, the mentalist asks that pr 100 to consider the choices on tha ls, and to mentally acide ‘on one. After a moment's pase the performer turns Se list Towards hmsalf, and marks an X next to one ofthe names on the board. Kaoping the board turned away from the audience, dhe pae= former aks the participeting spactator to name her section. 1s sy, Apc Sour, The mentalist eae cut oa wal ‘ess, "Wald you please deliver an Apricot Sour to thie young Tedy, and putt oo ay tab” Bs thi sald, he tums the bowel sxe ho a een ered ight ett hee, “Apr ‘sot Sou ‘The working ofthis fect i quite ld, What is being fered here ‘anew presentational concept for Sis routine, pla sore kee “The boar sd panei acy ungimmicked In ation to these, yo sal pond Untatle at- tics il hat the ma ‘the pre penell Aton oppertine armen, ys matsp tibet tp yet Gaon hoo oh smart ace {on Vour righ coat pocket wil ufc. "2 \Whon you mark the lit of named drinks onto the board, write ‘hem ss large es possible. However, Koop the writing mar to the comer of te board. Laave afew inches of white space atthe top, Sng bottom of tha it. Whon the ist has boon wren a de ‘layed, tum the bosrd around to fae youre, and pretond to fnark an X to the Jett of one of the arinks. As you da this, Koop ‘Your elbow ticked in Bit to tha body, eo Sha the audlence can- ‘hat see exactly where you are apparentiy writing. ‘You ate holding onto the board by its eft edge with your lt ‘hand The pencil sin your right hand, Put the pencil away, ino) "Your fight pocket, and some out with the nailer im postion ‘om your right hur. The left hand turns so thatthe edge its facia you, but It now upside down. Is thus a simple matter ‘w@ mark an X withthe nallwriter next so the proper drink on the list, (efor to the Mustration below) a come ie tomate te TOOTD forward 6 tr felt tofae, sawos tw merce, right -side-ut 8 oad at scr, _ Day iestopporentes NHS Rawson, Bill Severn, and Syd Bergson, among others. Nucleus ‘The performer borrows pack of playing cards. A spectator mixes the cards, and then takes one [itis gersinely fro selection). After signing Hisiber name across the face of thi card, the spaetatar returns tha card {0 the pack. The performer mixes th cards, some face up and some face down, 30 thatthe deck Is now 2 jumble Of backs nd Foca “tn the rliions of Inde, thee jt 8 concent known as ths “Chaka. ‘Chakra’ fs an anergy cenior ~ and there are several of shor loceed along the hurman spine. In Western trminology. we might uso tha word ‘Nuiclaut’ to desriba this foeal point. whore enrcy (sconcenatad. | firy balova i the existance Of ls “Chkra but | tke tt One S300 {urther| believe that such 9 nuclous oF energy contor exists In every {hing evo in ranma ajc. -sach ae deck o lyin eaes. ‘AL the moment, this deck i ft 9 sea of chant — random disorder ‘out halowe there is» nucleus to tis deck. and that tis musieus, 13‘this energy canter exists at this moment centered around a singe card ‘which is special. Special bocauso You have focussed your attention of FRsignad your nome across ts fce. {believe that it fel through this ‘chaotic mixture, and ean locate the nucleus ofthe pack..1 wil find ‘your ear.” ‘So saying, the partormor bogin to spread the cards on the table. Ho runs his hands over the scattered pastoboards. There is silence — about bal ot Uw playedout Tigers! Slowly ne aes hs hen, binging te sin ing cards higher ond tiger, ntl the hance och eyeeveh et wh bownt = ha sreamsl Ait ofthe card fol tothe tale — with om extap- {on the shed elections retina in Uo performers hands, (interest inthis routine: unlike any other demonstration of “Animal Magnetim’ this war has ever soen, there is 2 surprise element built {into this routing The oudionce toes not expnct the cards to cling to ‘he pertormer’s hands, ad if the mood is properly setup, the rasction | will borer on dioek. Also nots thatthe deck may be borrowed: the ‘lection is fir: the card is signed. During the cliaging action, the fie (2 oe spread apart There ore no body hook-ups, and no mle prob terms. The routine may be done a cose a the spaiatoce te You wis | mas originally going to market this as seperate item. The girnmick (raat gc Wieenencttat ste nae core pi i rhebelar i eee Faring rateh mre Sareea HE tere fora tes ies ecco megane Serine oe see aes Scarlets Sule tisee (etre Seon teste Reis Seu we Iya inept ett brn, yet ee re ti i Ihe actgts acess oe fie et Ee nae Ws ot fit eget vd untae tes Se atieeaer eo ee Sie pe ae ne seas Sint eeee Breanne omer Seeysteeti reenact a tet race eamans area neo toad SEtee 1% When the selection has ban signed, tur around ain, and hae ‘he card returned to the peck, so that it goes below the gaff, You cart simply eut the degk for the return, oF use a Hindu Shuffle, oF vadlous other endings. Wvany event, the gat goes onto tho Into, so tat webct card snow waxed by i bck 0 simmicked cord. ‘The waxed:-togethor ears now form a block that i tres ards thick ~ plus there 3 loop of plastic thread on top OF thom, 18 therefore extremely easy to loeata Som. Cut the black to within 4 few cards of the face of the pack. Now cut the pack in half, turn the top half foce up, and rifle shuffle te two halves together 10. {hat the cards ure mined (ace up and fees down, Take core during ‘bis that you do not accidentally separate the salection from the ‘fl, Follow this with a few overiand shuttles. If you know that "particular spectator sbutties overhand fashion, you can hav har ‘or him shutfla the deck at this point, without disaurbing the eataup. Pace the tik on th tab, anid dativer tho “Chakra” monologue. Build the mood. Now studiously sproad out ths car. As you G0 this loam the gt. This i easy fet bocbute atthe thickness, ‘nd also because you know the upper Ise of your etied ea, snd an look fr Hts You sprad throu the dc toon a you find the grmick, ap your rig fratingee mts the loop of read, up {o about the first Joint of the fngor. Now, nthe sous of further Sprsadina, shove ead rom tw blancs of the dk stove the Giles ofthe gat Its rota all ocemary to ty and atte aie ‘eek ~ Mt eotaly plays wettor only abet Nat th carding, 0 aot occersingl Wen you ray. penta do her Ire titrate lof The fore Se {ease made by the fv iro pa weet ds tint te abt fortinans The sored condition ofthe ngs ge you the tre Pou rie crs the tof Your Fan a oe Seti, man foot toe soul no way soa he Gar cere! Ths potion mae te pch p30 ofa na Sexy forvnios “Amina Magnet tact You noe that be ‘outa tn gf tll contna ya an do swith your deoves ‘eto bade ‘aise your hands, bringing up about half the deck. A tow cards wil sio loose and fall back tothe table. Don’t worry about this “it's 8 vial imperfection comparable to a montalit making 2 ‘merit ita ara expeiment. Gare aly a ec. ing spread of cards. Focus your gaze, asf it were your eyes \were holding up th cards. This will increase the drama of the mo> ‘ment. When the hands come up to eye-lovel, scream. Don’t hold‘beck on this ~ be loud.,./t will succeed in startling the hell cut of ? ‘Your steady thrown sudionce. As you sere, lax Your GO, “Thnty-sn ine ar ved: so 8 each ofthe zodioe sms, ps an {nd all ofthe cards will cater to the table. veneagt for the gat, ion selon aieaas of bu portarears an fous ame, Stich al say nour hana die tote top etc evr pode Seorplol atthe stort of the foutne, tw 24 egitnte ics in Tino. Sratanots with ho oropng of bcd rae your the ag The doce Sorplo ore dcr ren th performer lan hand inlay 2 Se selacton hal betwen hamb and in wivnce of tho porformance, you mur find ov be spocttor’s ad Seas Th cra dan dart corrng poe ve Pe ‘iow, ah tne ne of can ar or imprest cso Yr ty ete cr ing’, youre Simpy ting the pacts outro exam, Se spect {oes son is Fourus Notes: If you are indsposed towards playing cads, the gimmick pena Segoe = en thet sto setrolginlds m iaed th pecttor exper Sa ek of Trae catenin Senses cee mala Sig on deters fa ram : Serres: When you cavern bors tc teens peed ie gS dspsiertg epic nlpchtlnd ise is set Onta your knoe, the other discs are dropped into your ¢ You ar sing. T.A. Waters has made ths excllant sugar Op Fak up ot on tteang Sore tad hes borer nas See ae rae eae eae ante ovens i conju ‘change dacs with the spectator, that ix what helsha i given. SESE irs ae se ae Obviously, the spectator will mow have to choose a disc bearing \Whecmvr oot, pest this routine on he lor — tv Pen ccna te emma eeaemarie Songun ond stor tomer ot caret he cna: SOAS matics minvewrine te pores aoe Sutera dee nto te boy od ru acer oh Esa oe Discretion ‘Seles cts prtng nd Sal ons bots eo ern ‘The performer is seatd atthe table, along with a spectator who sits seross tm hrm. drawstring bag i son, adie Sonim ratio ut rt th i Tan doa ds Ea bene Predixion SS astrological sgn. The chips are sorta out. an tame hat “al 19 your stanton this eck of slaving ead, You will oxen that ‘ere ore two compete ruts of Ui gro thm rd. The spect tw a rested tard ean by sear rubra and Sat» 1 takes One set of discs, the performer takes the oth Feld pes of panera tee stad ote ox. Si, wotid you be ‘The performer and the spectator oth takes thoir ste below the 0 kind so hold on to tis ‘few momen {abi They mis dahon xcs oi te ale, Ea “Heri sacand pac of car, which dal ve foro proce of {tines fo ix the charms they held, The prformes instructs de tom ronorn al gee Semmens Madan pear ke ve dock. Ses elt tein alr Row ih Twat you otal earceonto th ta, fen down, won op ot Be {ip hand, the peter fo verre o single Wary Be mnt fterbuc you dot havo del rote top a hw pach y ey ad the partes does the sme Sea rn ns Ysa, herr You ith, arin da Another spectator holds the big so that the performer and the first Rae Yo SOT = Sera ees ‘ctor ny cad th cya Bt Wt ats Th bog of os “You have cose sop at is plo? Foe, Put the rt pack iS enoy, tm ptotnr mad te Spctner now hot com ce sa Pip hdl ut la nd deal hem nt wo lo solace elm th tae See tr foo at tt top card of each ie ~ eas ou nore ard Siboogh your random scone Lath ste four of chan e “aire ook 9 ics, m9 tl you my et san om 8 tv of test You ties narrowed a Gricn Sow 1 wo cr. Te Scop. Wat your stage! in?” hye ve peor The Sortstap ofthe procs mote your on dou mding cape ‘spectator replies, say, Taurus. ‘bilities, Hold your hand in mig-vie, Lorene " prcneeet vil aida on one of sh bt care te fo fain oe Te BL eunther fer wireldaastiaharindetwe boing [thaarts, Theres no doublesak hare-hichaer f he wo ext you spol meres ete see Sone Reema eee en vaca viootees ~ epee eonsndny ‘hing ha yet ranspired.he spectator i ostoniy holding the keye in the same stat a they ware in when borrowed @ moment tefore i, unbent ‘Turning tothe sacond spectator, you display 2 metal pendulum. (mada usa of silver amulet on » thin chain, which [often wear ‘round roy neck.) The spactater is told to hold the nd ofthe 9en, ing te me ang dow, Now you ‘rca for yng to happen eed ary Sing ‘eit haan true am gong © toad the help of every De har oom: sannot make hap by mya My oe isha ot condo your eery. | woul ik you 0 fest Your gtnon on th le cao te ou era nna aris on re ait ando¢ you dos, fw Dot ng te and forth back and Yorn. ‘rough unconscious motor response manifested in minut» move: 1 This physical activity wil ave {ery strong Impact on the asaionce - particularly nthe spectator the fs halding the pendulum, Continue exhorting the audience to Concentrate an making the pendulirn swing..higher. nore... Daring this, your energy level must rise. Your voice shoold become Jouder. Your excitement should be apparent. Jn this way, You will {uel the spectator respanse — pertizularly that of the pendulum holder The amulet wil swing in wider arc, presenting a vinual fo: ‘al point for every amber of the audience ‘Wen th penlum is wingiog nw strong oe direct the speettor thoi nog he hays Yo Hold hisfae hanes directly undomeet {he pencil Expiat that te eden’ tak snow to pu "dow irr the amulet nto the Keys "hs the collective ser mses te way cw int te Key, the pedo wil art {S'nehgin sei. Sangng rom magna Sack ae Toth to ‘singing in crear pater. civcling around a he cegy 9s ‘Sonera to etal of teh. Under your verbal guidance, the podium wil indeed begin to! ‘wing ie circular motion, Your excitement should build wven higher, Direct your attantion to thn spectator wives holding the keoys, Explan Get, "a the energy enters the kay, you eay fea! something. tingling fling. ‘some haat perhape even Sere motion ‘moving "your ond ¥O8 i the pendulum’s movements s potent motvation. ‘When you feel the piteh has ached a peak (and this entre pro- ett takes uta fow minutes at most) sk the spectator to open Fisher hands and examine the Keys. Voor tone shoud be one of ‘enthusiastic euicaty. is it work? OF course, two or thee ot te Kays ar found bent.and the setivity heppened completly in the ‘spectator own hand. Its dtficuit to comony just how devastatingly strang this prsenta abn io it hd aad era 0 Yr a ideamatie abilities, with the necessary confidence to turn « purely ‘heated blu into a rirace Ranch Dowser ‘Yoars2go, | dvized a way to exploit the “Sax Detector” wich hs eorved me wall for a ong tim. Basically. | took the popuiar "Ranch Bird” eflec, made famous by Don Alan, and turned tt into a convincing peyehic damonstration, In so doing, altered ‘the method somewhat, making it extremely practical, “The original routine made vse ofa one-way forcing dack. This is ‘not nechsary forthe following routine, You wil aed a aula Seek of playing cards, plus five dupliate cards —say, the tn ot ‘lube. These along with the TOC from the deck, pie you a bank ‘of sn mate cards to work With. ‘At the sopropriate time, ell the YOC ta thie top of the dock, an fad the extra duplicates onto the pack. Cut the bank of ex 100s ‘othe contr, Kooping treck of where they lle, ond use a Classe Fores to make spectator pick ono of to mato cards. This san yi you Reve ilo x cand nd ths far mrin When the card hes been taken, cut the other five duplieats to the top of the dock. Instruct the spectator to look atthe chosen card, ‘Now expla chat you wall ose the chosen card among several Dither ews, Deel oft the top five card, and put the ret ofthe deck fide, The sx ends wre mined, foes dawn, ad then dealt into a row 1 the table. Introduce the ponulam, explaining that it wil serve we « caver {or the spoctaor'spayshie energy. The spectator is told to hold the ‘pendulum sil vor each of the face down cards, You state that fen though nerener of you kriows the location of the selected ear, ‘here Wil bea eatrvoy nt response on the part ofthe spectator ‘ation he/she is over the chosen card ~ something akin t0 the pro ‘eat of dowsing, When the pandalury fs held over the selection, 1 al start to swing beck ond forth, 1f your sumestion i¢ properly handled, the pendulum wil staré to swing aver one of the cards, Gathar up the caer five cards. As the poctatoe urna over the desianated card ~ revealing it to be the freviously chovan one — you have ample opportunity % get of ‘he five duplicates, a“The performer diplays'a dock of forty or to cards. They are blank on ‘tho backs (XD preclute the pasibilty tat they have boon rarke) (On the face of each car isa simple drawing, Each card ic diferent “The pack is shutfed. The ‘urns his back, and the spectator ‘is instruct to cut tho pack, ramave th eard cut to, and return the ‘cards tothe box from whence they came. “The spectator concantrates onthe drawing on his ead, dion places ‘ho card into his pocket, BEFORE Uo poforter turns around, ‘opin to accurately describe the drawing the spectator thinking of “Taking out @ pad of paper, the performer draws a sketch.which exactly correct ~ he hae matched the chowa eign. And by tre way, the spectator can immediately examine the deck, e “The pack IS cimmicked, but in a way that would be extremely aif cult for an unintormed parson vo find, unless thay spent eft of time Playing with it Its bated on the “Sveogal” principle tn was creat ‘ocador ago fy Burling Hull. Tha original us of tw Long'Short priner ‘le was to Fores specific laying cer (end indeed the original deck i sx « popula selling tom). Atsome point various people rected that ‘he L/S principle couk! be vsod to kaop pals of ears togathar — i. to create 8 stack dock thot could be nfl shuffed (besause en L/S ‘eck can be given such a shuffle and sil stay in pals of 40) Hore are the pairs of cards in the Mind's Eye Deck: ©. C) ereeuan © K secrncurgan BS haanlanors © 1G tinue @ B sntonts @ ff tarinitiee eR Spome carpeted Bot ampetnaii in 0) orange 2} uerion eecamaton 5K mora Shemommurand — suletin ZTE mua Zhan ruret 2 pow sion ck 2 vain csedevond vk TT eet walemery $8. 3s nce soni 1G F sinevommaieny anny ‘noe you have drown tures onto 3 mam ars em te second etd chases par urs roo in ‘neh, The deck asombled with she fst Cord ofeach pair. going stove the secon as the pk i put together face down, ‘Thnk sn now bef hut face up ior date ing the pairing. e ae 2 i i ut He i ? E gil i rH I 3 # Ht fH i f if i a D Hn Ht sn i Pe f a2 : i : i { uy pith 73h8 g ial i if i it i 2 a3: iH fH z iu : Ef: 4 es = i ah 4 H af #8 iH i i a i z i zi g ‘ems so fer dviting the Mind's Eye eet. | hit wan se‘ tr is instructed to cut off some of the pack, ‘deposit the cutoff section into the open bax. Ha it to card cut to, then put the Galanes of the pack nto, ‘replace the cover onto the box. When You ater you simply pick up the box and put It away ‘Gan easly glimpse the cue card on the bottom of Tight through the transparent battom of the bo, [A clover modification was later suggested by Roy Miller: using the principla featured in Larry Beckar’s "Peyeho”™ (0 dol item). te clear plastic box can be replaced with ‘exarinetion without the spac that its L/S set-up. The blank backs help fact, and if you usa carl stock with sight: _angad comers (instead of the rounded corners of playing ‘ard stock), the L/S qualities wil be very hard to detact. A.quick rife shutfie of the pack, face down, will destroy ‘he paring system. ‘That’ it, Once you've constructed the pack, you're always rad. nd wt Iva sai, there is no ned ta temorize any ‘thing; the car wil cue you easily becouse the pire ore oka nile, lait wy. Of cours, yu can make « of more than forty design, t your own ‘Secretion