Curt-'Lin C-'1ll

BARRIE RICHARDSON
Curt-rUn
Cnll
BARRIE
RICHARDSON

Illustrated by
Earle Oakes

HERMETIC PRESS , INC.

Seat tit', Washington
 ACKNOWLEDGMENTS
We would like to thank Walt Lees
for his persistently prompt and unstinting help in
the preparation of this book-
and also Richard Hatch, Mike Henkel,
Newell Unfried and Jason England,
who caught many flaws in the weave
of this curtain before
it was hung.

Some items in this collection have been revised and updated

from appearances in the journals Club 71 and The Magician.
The original places and dates of publication are noted afier
each of these pieces.

Copyright © 2011 by Barrie Richardson

and Stephen Minch.

All rights reserved under International and Pan-American

Copyright conventions. Published in the United States by
Hermetic Press, Inc., Seattle.

Printed in the United States of America.

ISBN 978-0-945296-68-3

First Edition

654321
 Contents
INTRODUCTION-David Berg/as ix
PREFACE xi

CHAPTER I: A BANQUET PROGRAM

Choices Have Consequences s

Mesmer's Pencil 13
My Second Spot 21
The Propensity to Be Influenced 26
~artet 34
Concluding Thoughts so
An Unforgettable Night 51
CHAPTER II: MIND TO MIND 55
Zebra2 59
All Gone 67
The Eye of the Target 71
Giuoco Piano 81
Eric Mason 85
CHAPTER III: [NTIM.ATE MIND GAMES 89
Symbologic Revisited 93
A Glimpse of Milton 100
The Devil's Dictionary 106
Spoo-Key 111
'Ihe Bhutan Key 119
CHAPTER IV: CtRDAT ANY NUMBER 123
Impromptu Card at Any Number (Close-up Version) 127
Card at Any Number (for Platform Performance) 135
David B~rg/as 139
CHAPTER V: MoDEST MIRACLES WITH BusiNEss Caws 143
Zingg's One-Handed Billet Switch 147
A Color, a Number and a Letter 151
Spooky Writing 153
A Dessert and a First Love 155
The Happy Peek 161
The Triangle Peek 166
Double Deception Billet Routine 170
Anthony Blake 174
CHAPTER VI: OsMOSIS 177
The Osmosis Envelope 181
The Happy Story 184
Memories of the Sun and Moon 189
Fourth Dimensional Osmosis 194
Gi/Eagl~s 200
CHAPTER VII: HIDDEN DEVICES 205
Devious Deck Switch 209
The: Click Switch 213
Forcing Flip-Pad 217
Slippery Jack's Side Steal 219
The Stranger's Trick 224
The Bluff Riffle: Force 227
Derr~n Brown 233
CHAPTER VIII: ~TER & FROST 237
Birches 241
Pa/mn-o Ranch 247
 Declicnllim
To ED and TAEKO MARKOVICH
for their many years of encouragement and love,
and whose friendship has brought joy and
meaning to everyone
in our family.
Intrr>ducti0n
ROFESSOR BARRIE RICHARDSON and I have
been good friends for nearly forty years. I have
always admired his unique ability to take a complex
routine and find a simple solution. Unlike mine
therefore, his version of "Any Card at Any Number"
is both practical and easily learnt.
Barrie and I have more in common than our
shared interest in psychological card effects. We are
both fascinated with obscure facts and figures, and
scientific curiosities. This field, outside the world
of magic, helps to make our lives more varied and
interesting, and we often find non-magical solu-
tions to magical problems.
No doubt Barrie's individual approach will be
apparent to readers of this book and we should
be grateful that he is willing to share his original
thoughts and ideas with us.
David Berglas
London, 20 II

IX
Walter Lees
IKE THOSE BEFORE, the production of this book
has been a team effort.
Many of these tricks were first published in
British magic journals that Walter Lees has edited.
Walter is a versatile performer of magic as well as
being a master Punch and Judy entertainer. He
probably knows more magic-barring stage illu-
sions-than any person I know. Best of all, he has
learned not only how to read my handwriting, but
also how to help me shape both the routines and the
methods in my tricks. Walter is one ofmy last living
connections with the Pabular period in my life, and
I treasure this connection and his friendship.
Janie, once again, has spent many hours typing
and editing these routines. She has little interest
in how the tricks are done, but she is serious about
the staging and patter used in the effects, and she
can identify irrelevant or suspicious actions as well
as anyone. Lucky for me to have such a profes-
sional for a wife.

XI
 BARRIE RlCHARDSON

The illustrations of Earle Oakes arc masterful, as usual. His drawings

add to the text not just clarity, but also grace and class. Thank you, Earle.
Stephen Minch is the one who sifted through the many tricks and
articles I submitted, and he selected the better ones for inclusion. Every
item in this book has been edited by Stephen. A few have been co-authored.
yet he has refused to take any credit. Stephen is an artist, an artisan and a
historian of magic. No publisher has higher standards, and I value his eth-
ics, competence and friendship.
Over the last five years, there have been a few persons who have been
particularly helpful. David Rowyn is a man of many talents, with ingenious
ideas on magic in particular and life in general. Brian O'Neill, a memory
expert, "Georgia Magnet" performer and close-up magician, has helped
me with some difficult projects. Richard Hatch is not only a delightful and
sophisticated magician, but also a historian with an astounding knowledge
of magic. I appreciate the insights and imagination of these three men.
Finally, a special thank you to Michael Weber. He has been an inter-
preter of many of my tricks, a coach and a wonderful friend.

xii
~---·--·-·------ ------ ----·-
I

! .
ANQ!!ET PROGRAMS are hard to do. I have
done many hundreds of them over the years.
What makes them difficult is that normally the
attendees have been sitting in seminars all day, or
playing golf in the sun and fresh air. They've often
had cocktails, a three-course hotel meal and some
fairly uninspiring remarks from the officers or top
management before you are even introduced. After
all this, you are expected to enthuse and entertain
these people.
I developed three banquet programs, and I can
interchange the tricks in them, depending on the
group's size, the seriousness of the event and the
logistics of the hotel dining room .
My main goal is always to have the audience
fed good about themselves and their profession.
I also want them to have an experience so unusual
that years later they will recall what happened-
but I never present myself as a psychic or as a
specially endowed person.
.1
 BARRIE lbc:JURD.'WN

I often give explanations of how these puzzling events happen-and

they arc nearly always the wrong explanation.
It took me a long time to learn that my relationship with the audience
is more important than the tricks.
I have also learned that less is more. A thirty-minute program can trump
a one-hour program. Also, audiences particularly like effects that don't we
obvious magic props and yet arc astonishing, and effects that seem to remain
in the realm of possibility. Effects such as the Instant Magic Square, the
Magazine Memory Feat and the heavy-pencil demonstration arc recalled
years Iacer with a sense of awe; more so than card manipulations, cut and
restored ropes, and dove productions.
A banquet show, I believe, must involve the audience and must have
periods of fun as well as magic. But there can also be serious moments, when
your words and actions connect on a different emotional level.
This chapter has five demonstrations. They are arranged in the order I
present them. The program takes between thirty and forty minutes, depend-
ing on what I calk about between tricks.

4
 Chuices lir'lve
Gmsequences
For the past ten years, this has remained one of my favorite tricks. It can be
performed in a parlor, on a platform or on stage:. I have done it in a hotel
bar and even in a maximum-security prison.
This is a Bank Night effect, but one that avoids making the: magician
the winner. No trick envelopes, thumb tips or other gimmicks are used.
This is not an earth-shaking miracle, but the routine is full of fun and has
a few surprises. It gives the performer an opportunity to interact with the
audience and to "humanize" his program.
There are several excellent approaches to this type of effect. Richard
Osterlind, Max Maven and Larry Becker have ingenious methods that you
should study.
Because I think so much of this piece, I want others to generate maxi-
mum impact from it if they do it. Therefore, I will take special pains to
clarify all that is involved.
EFFECT AND PR£SENTATION: "It is a grtat pltasure bdng with you at this
convmtion. I havt karned a lot, and I havt met somefascinating people.
"How many ptrsons in this room havt sun a movit called Sliding Doors?
1his is a story that is told twiu. A man is rushing to malu a subway train. Ht
 BARRIE RICHARDSON

Jmitatrs, and the sliding doors close btjore he can enter. His lift story continues
to tmjold in the movie. Then the event in the subway is repeated, but this timt
hr movrs quicltiy and malus the train. And his lift dramalicaiiy changes dut
to this one decision.
"Think aboutyour own lift. How didyou end up withyourjob, your spouse,
your home? Every one ofus has haJ 'sliding Joors'-choices we have made that
affiaed our lives. Sometimes for ill often for good.
"Let's have somefun."
The performer fans out three envelopes in his left hand.
Pointing to a young woman in the front, he says, "Hi, what isyour namt?
"Debbie, you have a choice. You can choose to help me or not. I think
it wi/1 be a positive experience, but you can say 'no.' Choices, as you know,
have consequences."
Debbie comes forward.
"Debbie, you have a specialjob. You will be my delivery person. You will
understand what this entails in aJew minutes.,.
Pointing to a man on his right, he says, "You-yes, the handsome man
with the blue shirt-willyou please stand?
"Now you haveyour choice. You can select any one ofthese three envelopes.
You need to know that one ofthem has a specialprize.
"Do you want Envelope One, Two or Three?"
The performer touches the top of each envelope as he calls the numbers.
"Three," the man says.
The envelope is handed to Debbie, and she is told to deliver it to the
man who requested it.
Turning to his left, the performer invites a second man to stand. He is
given his choice of Envelope One or Two. He selects Number One, and
Debbie ddivers it to him.
"Now," the performer says, looking at the man on his right, "Do you
want to change envelopes with the other gentleman?''
'No; he answers.
The man on the right says he is also happy with his choice of envelopes.
"Now you have another choice to make. Do you want the envelope I
am holding?"
The man on the right declines, but the one on the left wants it.
Debbie collects his envelope and brings it to the performer. She then
carries Envelope Number Two back to this person.
6
 CURTAIN CALL

"Afinal chance-do either ofyou want to switch again?"' They decide to

stand pat.
"Now hold up your sealed envelope," che performer says. "I made a small
cut at the top edge ofeach envelope. Do you see it? Using that as a starting
point, tear aCToss the top ofthe envelope like this."
The performer tears a small strip off his envelope and holds it up.
"Let's be good environmentalists and not litter," che performer says wich
a smile. "Please put the piece into your pocket." He does che same.
He now hands his envelope to Debbie and asks her to hold onto it.
"Now, please follow my instructions. Don't remove anything until I tell
you what to do."
Turning to che man on che right, che performer requests chat he pull
out a little white card chat is inside his envelope.
"Please read it to the audience."
"You are a kind and generous person, and you deserve this prize," he reads.
"Now show everyone what elseyoufound in your envelope."
The: man holds up a dollar bill.
"Congratulations. Choices do have consequences."
Tuming to the other man: "Remove your card and read it out loud." The:
message is the same as the first man's.
"Show everyone your prize."
He dumps a nickel out of the envelope and shrugs his shoulders as he
shows it to the audience.
With a wink, the performer says, "Some people in lift get what they
deserve." He then gives a kindly, we-are-in-this-together smile as the audi-
ence laughs at the situation.
"Debbie, nothing could get in and nothing could leave the envelope you
are guarding. Is that right?"
She smiles and confirms this.
"Please hand me the grten contents ofthe envelope."
Facing forward, the performer slowly opens the folded currency.
"Here is afive-dollar bil~ a twenty-dollar bill-my gosh, afifty-dollar bill
and a one-hundred-dollar bill."
Loud cheers.
The: performer has a smug look on his face and assumes a look-how-smart-
l-am sort of pose. He then says, "~#lit, Debbie. Let me ue the message card:
7
 BARRIE RICHARDSON

Debbie removes the card from the envelope and hands it to him. He
reads it out loud. "You ar~ a kind and generoUJ person, but you shouldgive
this to your wife, }ani~. Rememb"' Barrie, choices have consequences. •
Turning to the audience, the performer says, •l¥omen only-Should I
kup th~ money or give it to my wife?"
They yell out, ~Give it to your wife!•
The performer nods in agreement. All the smugness is gone:, and he:
starts to put the cash into his pocket. Then he: looks up and says to Debbie,
"You didn't hav~ to help me. You did a sterlingjob and you are a kind and
generous person. Choices do have consequences."
He hands her the five-dollar bill, and she returns to her seat with the
envelope. message card and her prize.

METHOD: The secret is quickly explained. The audience: sees three enve-
lopes. There is a fourth one, containing the big prize, hidden in your hand.
This is brought into view after all the selections are made. You chen usc
a ploy to dispose of the switched-out envelope:. so that everything seems
clean and fair.
Now let's discuss the all-important details.
I use coin envelopes made of a heavy brown craft paper. They measure
two-and-a-quarter inches by three-and-a-half. You can buy them at most
office supply stores.
The glue on the envelope flaps isn't strong, so I use a glue stick or a small
piece of scotch tape to seal them.
A normal-sized business card is too large to fit into these envelopes,
so I trim the cards so that they slip easily in and out. You might also find
suitably sized gift enclosure cards, or make your own cards from card stock.
Three of the cards have the same message: "You are a kind and generous
person, and you deserve this prize." This is followed by your name.
The fourth envelope has this message: "You are a kind and generous
person, but you should give chis money to your wife. Remember, choices
have consequences!" I place a large pencil dot on both sides ofthis envelope,
so that I can be certain I have the right one at all rimes.
0 f course you may choose to use different messages. Rather than giving
the money to your wife, the last card could suggest giving the money to a
charity or a worthy cause.
Now we load the prizes into the envelopes. Place a one-dollar bill into
one envelope, a quarter into another, a nickel into the third; and into the

8
marked envelope with the message for yourself place the folded packet of
bUls: a five, a twenty, a fifty and a hWldred. (Rather than money, you could
use something else: free drink tickets, photographs, subway tokens or-fol-
lowing Richard Osterlind's example-lottery tickets.)
Next, with a sharp scissors, make a
short cut, about a third of an inch long,
near the edge ofthe top end on each enve-
lope. I do this on both sides. This makes it
easier to tear the envdopes open. and it pre-
vents the contents inside from being torn.
When you first bring out the four
envelopes in performance, openly hold
them as a packet on your left palm. The
bottom envelope contains the big prize, the
top envelope holds the dollar bill, and the
two central envelopes each have a coin in
them. {When you have loaded and sealed
the three envelopes, you can tell by touch
what each one contains.)
As you arrange the envelopes in a fan for their selection, pivot the top
ends of the upper three envelopes outward while you leave the big prize
envelope palmed at right angles behind the others. Fan the three envelopes

9
 itfRRIE RICHARDSON

that arc visible to the audience, with the envelope containing the dollar on
your left. You will later identify this as Envelope Number Three. The hand
holding the envelopes looks completely natural while it conceals one of
them (a centuries-old principle that never grows outdated).
You now have two gentlemen each freely select an envelope. Should
either of them wish to switch his envelope with the one they've left you, it's
a good idea to have that person's envelope collected and brought to you, so
that you can place it in your hand before you send your envelope out. This
keeps the palming hand looking natural, which is difficult if it isn't openly
holding an envelope.
After the gentlemen have made their selections, you will know what
each of them holds. I prefer to have the envelope with the dollar bill
opened first. This isn't vital, but it allows for some humor and byplay that
suits my style.
Point to the man holding the envelope containing the dollar bill and
say. '1 made a small cut at the top edge ofeach envelope. Do you see it?"' Bring
your hands together and swivel your visible envelope clockwise and parallel
with your left fingers, leaving about an inch and a half of it visible beyond
the fingertips. Then point with your right forefinger to the upper cut on
the Rap. This puts everything in position for the switch.

You are about to complete the switch of the envelope left you for the
palmed one. This will be done openly, yet it will be virtually imperceptible
because of misdirection and natural handling.
As attention is split between you and the first gentlemen, you dem-
onstrate how you wish him to tear open his envelope-and during this
you imperceptibly exchange your two envelopes, using an action similar

10
 CURTAIN CALL

to a billet switch and closely related to a bill tear used by Johnny Paul
and Jim Ryan:
As you position your right fingers to tear the end off your envelope,
use them to push the visible envelope completely behind the left fingers.

Then immediately use your left fingertips to push the big-prize envelope
to the right and into view.

This reciprocal motion is small and completely obscured by the follow-

ing action of your right fingers tearing the end off the switched envelope.
As you say, "Let's begood environmentalists and not litter," smile at your
helpers and openly exchange the left hand's visible envelope and the right
hand's tom end, while keeping the second envelope concealed behind the
left hand. "Please put the piece into your pocket." You do as you recommend,
getting rid of the torn-offend as well as the palmed envelope. This can look
panicuJarly natural, since the envelope is quite Aexible, and you can curl
II
 BARRlli RICHARDSON

your second, third and fourth fingers in around it while holding the torn
end between the tips of the forefinger and thumb.

Everything is now clean. Hand your open envelope: to your "delivery"

person and let the fun begin!

12
 Mesmer's Pencil
IN THEATER OF THE MIND I presented an effect in which a woman could
not lifi: an ordinary wooden pencil ("Pencil Pusher," p. 71). This was a
demonstration not of hypnosis but of the power of suggestion. Over the
past decade, this effect has been presented by notable mentalists in North
America and in Europe. I have added rwo additional phases to this routine,
either ofwhich can be done alone or in combination. I have also changed the
script and, lastly, I have given more specific details on how to tie the threads.
This is one of those rare pieces that can be done for a single person or
on stage in a large theater. There is no preparation, and all that is required
is a sharp pencil, a small invisible gimmick, a cooperative helper and a sig-
nificant amount of stage management. It is imperative that the performer
establish a friendly yet authoritative relationship. There should be the feeling
that this is an experiment in which failure is a possibility and that success is
largely dependent on the special abilities of the volunteer. The volunteer's
reactions are what make the demonstration so believable, and this requires
guidance and frequent public affirmation of the helper's success.
EFFECT AND PRESENTATION:

Phase I
'"Have you ever heard ofAnton Mesmtr? Mesmtr was born and educated in
Switzerland, and he set up his medical practice in Paris in the latter part of
 HARR/Ii RICHARD/iON

the dghtrrnth crntury. He believed that a psychic ether pervades all space and
th.u this energyflows through all bodies.
~He forther asserted that sic/mess and body pain were caused by a bloc/c-
age ofthis natura/flow, and he developed several remedies using magnets and
hands-on ma.ssage to reduce pain and promote healing.
"His spectacular 'cures' became the talk ofsociety, and King Louis XVI
offered him a lift-time pension to keep him in France.
"Mesmer's patients were mostly wealthy, attractive women who had what
we might now call psychosomatic illnesses and repressed sexual anxieties.
"Like a modem stage hypnotist, Mesmer discovered the value ofnot accept·
ing allpatients. Only those who could supposedly control theflow ofenergy with
their own body were accepted as patients.
':Anton Mesmer would have the prospective patient undergo tests such as
the ones we will try.
'1 need a volunteer. Ideally I would like to have a woman who has had
natural childbirth training. Ifnot, I would like a woman who has a vivid
imagination. The experiment will be enjoyable, and the helper will receive a
spedalgift.n
An attractive woman, Carol, comes forward.
"Let's assume you are a prospective patient and I am Dr. Mesmer."lhe
performer freely shows a common yellow wooden pencil. He places it on
his open left hand, with the point resting on the middle finger and the
eraser on his palm.
"Please open your right hand-and relax." The performer takes the
woman's right wrist and holds her open hand five inches above the pencil.
"Now I wantyou tofeel thatyou have the power, due to the animal magne-
tism thatflows through your body, to adjust the dormant energy in this penciL"
He slowly moves her open hand three or four times over the pencil.
lhen ... the eraser-end of the pencil starts to rise.
"Strange. Stayfocused."
A few more strokes and the pencil pivots upward two or three inches.
There are obviously no threads or magnets.
"Now reverse theflow." The performer slowly moves Carol's open hand
backward over the raised pencil, reversing the Aow. Ever so slowly the pencil
lowers back onto the palm where it started.
"Willyou please lift the pencil offmy hand?"
Carol does so without the performer making any motions or adjusanents.

14
 CURTAIN CALL

Phase II
..Carol, you are doing a wonderfuljob. Would you like to try another experi-
ment?"
She nods affirmatively.
"Please ignore the audience. Forget the_y are here. Follow my instructions
and concentrate on the images I willgive you in a moment."'
The performer places the pencil on his open left hand, with the eraser
pointing to his right. Carol is standing at his right.
"With your left hand, grip the pencil between your thumb andfirstfinger.
Good! Now relax and shutyour eyes.
"Relax. Listen to my instructions. Carol, I want you to be successful. Use
your immense creativity to imagine the pencilyou are gripping is not a pencil.
Imagine it is a metal bar. The metal is from another planet. It is a hundred
times more dense than iron. The pencil you are holding must weigh thirty
pounds, not one ounce. Can you imagine that? Don't open your eyes. Keep the
image in your mind.
"Try now to lift the thirty pound object. [Dramatically] You can't lift it. It
is too dense. Your mind sees it, senses it. It is getting even heavier. Try a little
harder! You can't lift it. Keep your eyes closed. Say out loud to the audience,
1 can't lift the pencil."'
She says with emotion, "I can't lift the pencil."
"Relax. The others aren't sure what's happening. Sinceyour eyes are closed,
you may think I'm stopping the pencil in some way. Try! Remember, you believe
it is thirty pounds. Now open your eyes."
She does. Her hand may be shaking. The pencil is there, resting on the
performer's hand. There is nothing constraining it. Her face shows wonder.
"Please closeyour eyes again. Let's change the image. The pencil is now not
thirty pounds; instead, it's as light as a butterfly. Use your mind. Release the
weight. There is a butterfly weight in your hand. Lift." She does.
"Higher! Malee itfloat up like a buttujly." She does.
"Open your ryes and take a bow."
Phase III
"Let's try the most difficult test...
Saying this, the performer removes a small envelope from his breast
poc~t. He opens it and removes a three-inch feather. He blows on it.
He once more places the pencil on his open left hand.
IS
 BARRIE Rlc.:HARD!WN

ftCt~rol. forget the audienct. Concentrate on my instructions.

"1his feather willgain weight when I put it on my palm. It will weigh
thirty pounds. You must creatt this image. D

The feather is placed across the center of the pencil.

"Carol. this timeyou wil/ use both hands, but theftathtr will be dense and
so heavy it virtually lodes the pencil down. You wil/ not be able to lift the pencil.
"Now grasp the pencil with the thumb andfirst finger ofyour left hand,
near one end, and grasp the othtr end in the same way with your right hand.
"That 5per.foct. Now close your eyes.
"Use your immense imagination. Direct your mind to making the pencil
immovable. Try, gently, to lift the penciL Now try harder."
Her face shows a mixture of astonishment and self-congratulation.
"Open your eyes."
She shakes her head in wonderment.
"Relax your grip. Thefeather is now as light as a ... as a feather.
"Gently lift the ftathtr with your right hand and blow on it. Now, with
your left hand, lift the pencil into the air-and take a bow."
She does, and the audience applauds.
"Mesmer would wantyou as a patient, andjust as Dr. Mesmtr did, I invite
you to keep thefeather and the pencil as reminders ofthe invisibleforces in the
universe and-most important-in you."
METHOD:
Thrtad
Phase I -The Rise
loop ---t--M-..{
The solution to rhis perplexing dem-
onstration is a hidden loop ofinvisible
thread on the first joint of your left
middle finger.
I originally used the common
"invisible thread" sold in fabric shops.
It is made ofstrong nylon; and as you
will soon see, I still use this in the sec-
ond and third phases of this routine.
This works fine, and I wear one tight
loop on my left hand.
I have recently discovered an even
thinner nylon thread, which you may

16
 CURTAIN CALL

wish to try. Also a sewing thread, it is called Wonder Invisible Thread and is
made by the YLI Corporation in Rock Hill, SC. This dear thread is listed
as size .004 and comes on a spool holding 1, 500 yards. There are, no doubt,
other similar threads available. Any "invisible" nylon monofilament sewing
thread should work.
After trying many options, I
have found the simplest way to tie
the loop is the best. Cut off about
eighteen inches of thread, double
it and tie a single over-hand knot
in it, forming a one-inch loop in
the middle. Slip your left middle
finger into the loop and pull the
single knot fairly tight at the
crease of the outer joint. Because
the thread is nylon, even though
there is only a single knot, it will
hold. (If you doubt this, there is
little harm in rying a square knot
instead , although this knot is
slightly more visible.)

The loop should fit your finger

like a snug ring, without being
harmful. When you turn your
hand over, you may see a mark
where the loop circles the knuckle.
Finally, snip off the ends as close
to the knot as possible. The nylon
loop is •permanent." You wear it
day and night, so you are always
ready for this demonstration.
The pencil is ordinary but
must be sharp. The point will
squeeze just under the tight loop.
You want only the tip-the small-
est length you can dependably
use-engaged.
17
 BARRil:' RlCH.ARDSON

'](>cause the c:ra.~er-end of the pc:ncil to rise, very slightly straighten the:
middle finger. Properly done, this action is imperceptible.

After you lower the pencil back to its original rest position on your
palm, a slight movement of the middle finger toward the palm will release
the point and allow the pencil to be freely lifted away. This is a surprisingly
simple action, which is done openly.

Phase 11-lhe Heavy Pencil

This demonstration uses another loop of thread. This is a loop of the stan-
dard clear nylon sewing thread. Some magicians have told me they use
one-and-a-half-pound fishing line, which is also very light.
Tie the loop in the same manner taught above. Once again, the thread
must be snug on your finger, without constricting blood flow. This loop
goes at the crease of the inner joint of your left middle finger; and like the
first loop, you will wear it always.
When preparing for the heavy-pencil
test, you squeeze the pencil under
this hidden loop, and let it lie in a
perfectly normal position on your
hand, with the eraser end pointing
to your right.
The loop may rest a few inches
past the point of the pencil. This
works. However, you may also place
the pencil across your open palm,
with the loop engaged near the cen-
ter of the pencil. Turn the pencil so
that the printing on the pencil faces
upward. The print helps to hide the

18
 CURTAIN CALL

thread. Even a careful observer

cannot perceive it. But there is no
careful observer in this routine.
If the woman holds the eraser
end between her thumb and first
finger, the pencil will remain secure
and unliftable. It will take a little
practice to learn how to position
it. You may have to move the eraser
end forward an inch or so to get a
secure hold.
When you remove the pencil,
do not pull it rightward to free it
from the loop. Rather, use your
right fingers to grasp it, hold it
steady and, as you patter, move
your left hand sideways. This cleanly releases the pencil. It's a small thing,
but it adds to the appearance of total fairness.
Phase III-The Feather Test
A few years back, I got a phone call from Chuck Smith, a brilliant profes-
sional magician. He has a reputation for fooling everyone, even the most
knowledgeable magicians.
Chuck asked ifl would give him my permission to use the heavy pencil
test in his program.
"Of course," I said. "It is published and therefore available for use." I
thanked him for the courtesy of his call. He then asked for my address, as
he wished to send me some ofhis material. How gracious, I thought. Before
he hung up, he told me how he used a small feather to "add weight." This
did two things. First, it completely covered the loop; and it made everyone
focus on the feather. What a clever man Mr. Smith is.
The third phase is much like the second. However, I raise my left hand
to the height of the woman's shoulders. Her lifting motion is made more
visible to the audience, and it is diminished. This prevents her tugging
strongly upward, since she is forced to lift with the fingers of both hands,
rather than with her arms.
There you have it. It isn't a spectacular illusion, but it holds the atten-
tion of audiences and directs attention to the unexpected mesmeric talent
of your helper. Best of all, it doesn't seem like a trick.

19
 B..t.R.JUE R.JCIURDSON

P.S. The hidden loop ofthread used for the rising pencil can alJo be wed
to make an ordinary fork rise. This can be done in a restaurant without any
preparation. The thread, though. is more likely to break, due to the greater
weight of the fork and the thickness of its tines. On the positive side, the
fork rises higher than the pencil, thanks to its curvature, and it docs look
very spooky.
The Magician
Summer2007

20
 My Semnd Spm:
THIS HAS BEEN a favorite routine for a long time. It can be performed in
almost any envirorunent, for any type of audience and it always generates
lots of energy and positive feelings.
The genesis of this effect is the classic pseudo-psychometry premise.
My small contribution is learning how to get the whole audience involved,
first by the story I tell and then by having the audience participate in the
demonstration.
Maurice Fogel, one of the premier mentalists of the last century, liked
the pseudo-psychometry effect, and though he was a serious and dramatic
mind-reader, he kept his presentation of this piece light and good-natured.
Over thirty years ago-only months ago in my mind-1 was with one
of my best friends, Fred Robinson, in Ken Brooke's London magic shop.
Ken liked me because Fred liked me. He also thought I was too soft-spoken
to be an American. He believed I must be Canadian.
One day he handed me some blue doth bags. ~These are going to be
sold in the future as 'Second Spot; with Fogel's complete routine," he said.
"This is the firsr set. It has some flaws in rhe lining and a few marker spots
on one side of a bag. I can't sell them. Would you like to have them?" I still
use these bags, flaws and all.
I had no idt:a for many years what Fogel's routine was. The instructions
had not been written when Ken gave me the bags. It wasn't until 2007, on
21
 BARRIE RicHARDSON

reading Chris Woodward and Richard Mark's brilliant biography of Fogel,

Maurice Fogel: In Search ofthe Smsatiomzl, that I learned the reason the trick
wa.~ called "Second Spot~; it was the second effect he did in his theater show.
I have, over the years, used envelopes, paper bags and attractive shoe
bags with drawstrings for this routine. The handsome bags that cover Crown
Royal whiskey would work excdlendy, since they look quite ordinary. But as
you will see, the actual container used is of no consequence, and audiences
should never give them a second thought.

EFFECT AND PRESENTATION: "/was recently surprised to learn ofa new

edition of'Piers Paul Read's book, Alive. How many ofyou remember the story!
"What a story! On October 13, 1972,fortyjive people were on a Uru-
guayan Air Force aircraft. 1he company was made mainly ofmembers ofa
rugby team, their families andfriends. They were flying to Santiago, Chile,
when the plane crashed in the Andes. When the sixteen survivors werefinally
rescued seventy-two days later, they told an amazing story ofingenuity, team-
work, courage and ofthe devastating loss ofseveral ofthe early survivors ofthe
crash. And, as many ofyou know, they lived on melted snow and the remains
oftheir deceasedfriends.
"How were theyfound! One story has it that the mother ofone ofthe boys
went to see a notedpsychic. She took her son's leather belt and a detailed map
ofthe area. As the story goes, the psychic held the belt in her left hand, closed
her eyes, and then moved her rightfinger in circles on the map. She suddenly
stopped and said, 'Here.'
"1he surviving rugby players werefound within five miles ofthe spot.
"Now I, for one, Jq not believe in such psychic demonstrations, but others M.
"What I would like to do this evening is to give a demonstration ofwhat I
call 'pseudo-psychometry,'and I am going to invite everyone here to participate.
"I needfive handsome, intelligent, virile men. I have asked our host,
Dr. Webb, to make a list. Dr. Webb, willyou call ojfthe names!"
The men come forward as they hear their names. The performer shakes
their hands and lines them up, shoulder-to-shoulder, facing the audience.
"Now I need an alert woman to help me. Willyou be my helperr
When the woman comes up from the audience, the performer greets
her and hands her a small doth bag.
Standing in front of the five men, he then says, "Men, I want you to be
seriousfor afew minutes andfollow my instructions."
He hands each man a gray-colored shoe bag, which has a drawstring.

22
 CURTAIN CALL

'Wow turn andfoce the back wall. I would like each ofyou to reach into
one ofyourpockets and remove a personal object; something like a casefor your
glasses, a wallet, car keys. Please don't select anything that might embarrass
anyone in this sophisticatedgroup," the performer says with a smile.
"Now hold this object in your right hand andpress it againstyour chest. In
a minute, I'm going to ask you to say in your deepest voice, 'This is my object.
This is my object.' Let's do it in unison.''
There is a pause, and then they say, "This is my object. This is my object."
This usually amuses the audience.
"Now men, assume you are all sopranos in a church choir. In your oh-so-
pure voices, say, 'This is my object. This is my object.'"
There is a pause; then the high voices start reciting the phrase. The
audience laughs harder.
"Gentlemen, please be serious now. Placeyour object into your shoe bag and
pull the strings, but do not tie them. Now turn around andface the audience.
"Face forward," he continues, "and my associate, Patti, will come by and
inviteyou to drop your bag into her large bag."Thc woman is guided to stand
behind a table located to the right of the helpers.
"Now it is timefor some psychometry. Those that have this gift apparently
can sense the vibrations that emanate from someone's personal object. Let's
give it a try.
"'Patti, please reach into your bag and remove any ofthe five smaller
bags. Good. Hand me the object that is inside. Don't let anyone see the object
you retrieve."
She, in a furtive fashion, slips the object into the cupped hands of
the performer.
Standing in front ofthe five men and facing the audience, the performer
says in a serious and confident tone, "/can tell by the vibrations that cling to
this object that its owner..."There is a long pause as he looks seriously at the
audience. "The owner ofthis object..." Short pause. ': .. is a man."
People shake their heads and laugh a little.
"No, the owner ofthis object is a real man."
The performer nuns and, holding the object at head height, he pauses
in front of the men. Then he steps in front of one of them. "This is your
watch." The man nods in agreement, retrieves his watch and is quietly asked
to return to his scat.
The audience is surprised. The performer holds back the applause.
 liARRJii RICIUR.DSON

"No, therE! was nothing psychic about that. Did any ofyou notia that
wlun I held tht! objt!CI up and turned around, the own" m011t!dforward and
kept his tyt!S on it?
"Lets try it in a dijf,-ent way. Plt!ase hand me anoth,- object, Patti."
She gives him a money clip. and he holds it up.
"Now I'm going to ask t!ach ofyou men a qut!stion: Is this your object?
Each ofyou will answt!r with one word and only one word: No. Not No, sir.
just one word, No. Do you und,-standr
The performer holds the object up to each man's face. He asks each one
the question, and each responds, 'No.'
Facing the audience, the performer says, ·one ofthese men is lying.
r¥omen, you are good at this. Are you ready?"
The performer turns and looks at each man, pauses, and chen hands
the money clip to one of them. The man smiles, takes his money clip and
returns to his seat.
"How many ofyou got it right?" Many hands go up.
"Lets try another approach. Please hand me another object.
'1 will now ask each ofthe remaining three men to look at this object and
not say a word. I will move the object in .front ofyour eyes. Eyes reveal a lot.
YVomen, I know you are really good at this."
The performer turns and slowly passes his open hand, which now holds
a wallet from one of the bags. in front of the men.
Turning again to the audience, he says, "I have done this demonstration
hundreds oftimes, and I have never been in the company ojthree sneakierpeople!"
More laughter.
Turning around, he quickly moves the object again in front of their
eyes, then pauses and says, "This isyours." The man smiles, accepts his wallet
and returns to his seat.
"How many women got that one right?" A majority claim they found
the fibber.
"Please hand me the last two objects, Patti. You have been a fine helper.
Pleasegive Patti a vote ofappreciation." The performer motions her to rerum
to her seat.
Now, standing between the two remaining men, he holds an object in
each of his outstretched, closed hands. He asks each of the men to hold
up a hand.
"Now I will rely only on the sense oftouch. Close your eyes."
24
 CURTAIN CALL

The performer touches each object to their open palms two or three
times. After taking a deep breath, he says, "Open your eyes. This is your credit
card, and these are your car keys."
The men nod, astonished, and the performer lifts their hands shoulder
high and nods, graciously accepting the applause.

METHOD: The wonderful thing about Pseudo-Psychometry-all varia-

tions-is that it takes so little preparation, the impact is large and the
method is simple.
As the reader probably knows, the containers of the objects are marked.
In Annemann's method-which is still hard to beat-five envelopes are
secretly marked one, two, three, four and five. The marks are on the insides
of the envelopes. Since the envelopes are given out in numeric order, all
you need to do to learn the owner of each item is peek at the marks inside
the envelopes.
If you choose to use small bags, such as lunch bags, they can be marked
in several ways. You can make pencil marks at different spots on the outsides
along the top edges of the bags. Or you can prefold the bags: one in half,
one in thirds, one vertically, one at only one corner and one not at all. The
folds will be visible to you, but don't concern anyone else.
Ifyou choose to use shoe bags or Crown Royal bags, you can string five
different colored beads on each drawstring. Make the top bead vary on each
bag. That color signals whose object is in the bag.
I must give special thanks to Tony Griffiths, an extremely inventive per-
son and talented magician. Many years ago, when I was in Bristol, England,
he gave me a copy of his lecture notes. The business of having the men sing
out in soprano voices is his idea, and it always generates laughter.

2S
 The Pmpensity t:0
Be Iru~uence_d
IN THEATER OF THE MIND, I published a trick called "The Totally Isolated
Prediction" (p. 160). In this effect, a prediction billet can be seen inside an
inflated balloon. "The Propensity to Be Influenced," while incorporating
the same method, is not a prediction effect. Rather, this is an experiment
in which the performer attempts to determine whether it is easier to influ-
ence men or women.
I have not only changed the thrust of the effect, I have introduced what
I believe is a novel way to have a member of the audience unknowingly write
down the information later to be found in the balloon. This bold approach
does away with such ploys as double writing, impression devices and stooges.
Once the technique is understood, other applications should follow.

EFFECT AND PRESENTATION: The performer reaches into his pocket and
brings our a balloon. A strange thing for a grown person to carry. He blows
it up, knots it and gives it a shake. Something rattles around inside.
"Here is a question for you,» he says to the audience. «Is it easier to influ-
ence men or women? What do you think?"
He waits for an answer. Someone yells out, "Men." Another shouts,
"Women."There is a buzz of discussion.

26
 CURTAIN CALL

"Let's try to answer this provocative question with an experiment." To a

woman sitting in the front: "Will you help me?" After learning her name
and introducing her to the group, you ask Jackie to sit in a chair on the
platform. A scarf or large napkin is laid over her lap.
"In a ftw minutes, I'm going to ask you to guard this balloon. For now,
you can relax.
"Prior to coming out tonight, I wrote down ten different items on a piece of
paper. I then rolled the paper up and squeezed it into this balloon." He shakes
the balloon and rattles its contents.
"Nothing can enter and nothing can leave."
Setting the balloon on the table, the performer takes out a pen and spiral
notebook. He opens the notebook and invites Martha, in the front row, to
help him. He gives her the pen and asks that she carefully write the infor-
mation that five men will be giving. "Martha'sjob as a recorder is vital since
men ofa certain age are known to forget things quickly," he says with a smile.
He returns to the center of the platform and picks up the balloon.
"/will now try to influencejive men. I will throw the balloon to a man out
in the audience. When you catch the balloon, and ifyou are willing to partici-
pate, I want you to stand, shake the balloon afew times, and then look at me."
A man on the performer's far left catches the balloon, shakes it and
looks at the performer.
"I want you to think ofa single digit, but not a zero. I have a number in
mind. Listen to my voice." He counts out loud the numbers one to nine.
"Now, when I snap myfingers, tell us the numberyou have in mind."
"Seven," he says.
"Please record seven," the performer says to Martha.
The first man tosses the balloon to another man.
The process of selecting a number is repeated, and the second man
chooses nine.
The third man selects one of the twenty-six letters ofthe alphabet when
the performer snaps his fingers-R.
Each time a number or letter is called out, Martha writes it in the
notebook.
Another man selectsjive; and the last man selects Z. All this is recorded.
This is a serious experiment, and the audience senses that the performer
is trying-through his voice level, body language and so on-to influence
these men.

27
 BARRJE RlCHARDSON

aPI~as~ taltt your stats.

"L~t's all b~ d~ar about your choic~s."The performer retrieves the note-
book, calls off each selection, and gets confirmation from the men. He
then hands the pen and notebook. opened to a new page, to a gendeman in
front, asking that he record all the selections about to be made by women.
The balloon is retrieved and placed onto the scarf on Jackie's lap. The
scarf is then wrapped around the balloon.
"Now, Itt m~ try my influence with somt women. Willyou pltase stand?•
he says. looking at a woman in the second row. "I would filet you to think of
a geometric design, like a circle or a square. A simple one." There is a pause.
He snaps his fingers, and she says, "Triangle."
A second woman is asked to name a flower. She chooses an orchid.
A third woman selects the number seven.
A woman in the back of the room is asked to think of a male movie
star she would like to sit next to at a dinner party. She chooses Brad Pitt.
Finally. a woman in front is asked to let a playing card float up into her
consciousness. The performer snaps his fingers, and she says, "The Seven
of Hearts."
The recorder is asked to review with these woman the selections he has
written down.
The performer, now standing several feet away from Jackie, asks her to
pull a hat pin from the edge of the scarf (she was shown the pin earlier) and
stick it through the cloth and into the balloon.
The balloon pops. and the scarf contains the pieces.
"Now, ever so carefully, unfold the scaifand retrievt the piece ofpaper.
Hold it tightly."
The performer comes forward, helps fold the scarf into a bundle, and
then helps Jackie rise from her chair. Leaving the scarfon the chair, he guides
her to the microphone.
':As you recall I listed ten items; jivefor women andfive for men. These
were my persuasion items.

.
'Jackie, please open the paper and read the items I set as targets for the
women.
She reads the items one at a time: "Triangle, rose, nine, Tom Cruise-
and the Seven of Hearts."
"It looks like I got only two right," the performer says. "'The triangle and
the Seven ofHearts. Not bad, but not sterling.
28
 CURTAIN CALL

"How well did I do in influencing the men? Will the Jive men stand?
Jackie, my helper, will read myfive items slowly in a loud clear voice. When
you hear your number or letter, please take your seat. Ready?"
The men stand.
Jackie reads, "Seven, nine, R, two and Z."
The men sit down. Not one is left standing. There are gasps.
The performer holds Jackie's left hand up shoulder high as he nods his
appreciation for her, and notes that men seem to be easier to influence than
women. The applause follows.
METHOD: One of the central principles of this trick, "Air Tight Predic-
tion," was first marketed in 1958 by The Magic Exchange in Hollywood.
The billet seen and heard rattling around inside the balloon is actually a
folded piece oflatex from a duplicate balloon.
For years I used balloons imported from South America. However, the
balloons available from party-supply stores and supermarkets work fine.
You will need two balloons of the same color. I used to think the balloons
should be a dark color, but the color really doesn't matter.
Inftate one of the balloons, then pop it with a pin. With sharp scis-
sors, cut out a small rectangular piece of the balloon. Don't worry about
rough edges. Fold this piece in thirds and use any glue other than rubber
cement to glue the folds closed. (Rubber cement has a tendency to stick
to the inside of the in.8ated balloon, which creates a problem.) This makes
a little rubber package shaped like a small folded piece of paper. You may
want to trim the ends a little. The idea is
that, when the balloon is burst, this little
rubber parcel will look just like the other
remnants of the balloon, but before that
it appears to be a billet inside the balloon.
Roll up your prepared piece of balloon and push it into and through
the neck of the other balloon. A plastic straw or a thin rod can help you
push it all the way in.
Now inflate the loaded balloon. This is to test for unseen punctures. It
also stretches the balloon, making it easy to blow up during performance.
I place a scarf or large cloth napkin on the woman's lap. Why? First,
it protects her clothes. Second, it appears that the balloon is even more
isolated. Third, if the message paper, which you secretly place under the:
balloon, happens to peek out when the woman adjusts herself in the: chair,
it will be camouflaged. Finally, after the scarf is opened, it is easy for your
29
 BARRIE RICHARDSON

helper to retrieve the: message:, and you to gather the scarf with all the pieces
of the: balloon and casually drop it onto your table. The gimmick, mixed
with the: ocher pieces, can be used over and over.
We come now to the method of getting the list of choices made during
the performance. This may be a new idea. The person recording the infor-
mation in the spiral notebook is actually writing the list that will be found
when the balloon is burst!
The spiral-bound notebook measures three inches by five. You prepare
it as follows:
Tear off the top sheet. Cut about an inch from the top of this sheet.
This disposes of the holes and tears from the spiral binding wire and makes
the paper smaller and easier to palm when it is folded.

On one side of this sheet write the heading "Women,· and below it
the five targets you will try for. These can be almost anything; for example,
the name of a first boyfriend or a favorite city or some item particular to
the group for whom you are performing. You need not be unhappy with a
miss, bur a lucky hit will be memorable. In the presentation above, I used
well-known psychological forces for the geometric shape and the flower. I
missed the flower, but got lucky on the Seven of Hearts.
At the top of the other side of the paper write the heading "Men," and
beneath that draw a row of five boxes. You indicate to the recorder where: the

30
 CuRTAIN CALL

men's selections are to be

recorded, pointing at the
boxes as you say merely,
"Record their choices here."
Be sure, when preparing
the sheet, to use the same
type of pen you will give
to your helper, so that the
ink matches.
You will be using an
idea that resembles the
ancient Out-to-Lunch
principle, but is closer in
function to a flap slate.
Fold the prepared sheet of
paper across its width, just below center, with the women's entries folded
inside and the men's section lying fully exposed on top.

Fold it again in half width-

wise, this time folding the men's
section inside.

_.. _.. __ ...

...............,
''
''
..'
Then fold it once in half vertically. ---·· -··- ~ ·

Sharpen the creases, so that the paper can be easily and quietly refolded
along them. Next unfold the last two folds, leaving the sheet doubled in
half across its width.
 BARRJI-: IUCHARDSON

Open the pad somewhere in the ~ () II f1J fJJ fi eiJfl ~ fli/!IJ

middle. Then, with the men's section of
the prepared sheet turned uppermost, MEN
position it over the upper halfof the open
-
00000- -
pad, with the top fold of the sheet adja·
cent to the wire spiral. Slip a moderately
-
-
wide rubber band around the middle of
the:: pad and its back cover, positioned
over the bottom edge of the folded sheet,
r-
so chat it is held secure. It should now r-- -
look as if the pad is open to a single sheet r- - -
with only "Men" and the five squares writ·
1-
ten on irs upper half. While the pad will
function fine prepared in this way, I have
recently added a second rubber band, this
one quire thin and colorless, which I circle around the pad to engage the
top edge of the prepared page. This completes the preparation of the pad.
In performance, after the woman has recorded the numbers and letters
called out by the men, take the notebook casually from her and call out
the information she has written in the boxes, having it confirmed. While
doing this, it is easy to release the folded sheet either by pushing it up and
down, or by rolling the rubber bands slightly away from the page edges.
The paper will then easily fold upward and across, behind the pad, making
a small billet, which you finger palm.
Once you have palmed the folded sheet, flip a page or two from the
rear of the spiral notebook over the rubber-banded section and hand the

32
 CURTAIN CALL

pen and notebook to a man, asking him to record the choices you will ask
the five women to make.
Retrieve the balloon and place it on the scarf lying over the lap of your
on-stage assistant. In doing so, load the folded sheet under the balloon.
Immediately gather the corners of the scarf around the balloon and have
her hold them in place. If you have not already, point out to her the pres-
ence of a straight pin in the hem of the scarf. so that she knows where it is
and doesn't prick herself or the balloon with it.
Go on to have five women in the audience make choices, promoting
your psychological forces to the best ofyour ability, but being unconcerned
if they fail.
The rest of the procedure should be clear from the presentation and
what you now know. The record of the women's choices is confirmed. Your
on-stage helper then pops the balloon with the pin and locates the folded
sheet among the pieces of balloon. The folded piece of balloon blends in
with the burst balloon, and you gather it all in the scarf and put it away
while your helper is opening the paper.
Have her read out, one by one, the choices you have tried to influence
the women to have, and make the most of your hits. However, you will
likely miss more often than succeed, which the presentation covers and
from which you can get a lot of humor.
Conclude by having the men who made choices stand, and have your
helper read out the numbers and letters on your sheet of paper. Hearing
their choices, the men sit down again to indicate your complete success in
influencing them.
Hold up your helper's hand and accept the applause with her.
And did you noticc?-AJI the props fit into your jacket pocket.
:n
IN THEATER OF THE MIND, I published "The ~asi-Memorized Deck"
(p. 93 ). This was my version of a card memory test, versions of which have
astounded the audiences of such masters as AI Baker, George Sands and
Bob Cassidy. In "The ~asi-Memorized Deck," a shuffled pack of cards
is split in half between two helpers. The performer then retrieves a few
cards from each of the helpers and goes on to explain how he uses a simple
memory system to recall each card. He teaches chis concept using several
cards, which he holds up as examples. He chen invites the audience to par-
ticipate in the experiment.
After briefly looking at the cards held by his assistants, he asks them to
sort them by suit. He then quickly and dramatically finds the location of all
fifty-two cards by pointing to the person who he believes holds each one.
When he comes to a card chat the audience has seen, everyone is invited to
locate it. All in all, this is a dramatic and memorable feat.
"~tet" has the same theme: After a quick inspection offour shuffled
packets, during which the performer apparendy memorizes their contents, he
shows that he knows the locations ofevery card in the deck. 'This version seems
to me more dramatic and difficult, because the cards are distributed among
four persons rather than two. In addition, the presentation is very believable.
This is one of my favorite pieces. The only routine I've performed in
the last forty years that fills the room with more energy and enthusiastic

34
 CURTAIN CaL

applause than "~artet" is "The Memorized Time Magazine" test {see Act
Two, p. 299). With the Magazine Test, you do essentially what you claim,
and the audience is totally astonished by the minute bits of information you
can instantly recall. "~artet" has the same kind of impact. An audience,
even knowledgeable magicians, will be convinced that you have memorized
the location of fifty-two cards.
"~artet," though, unlike the "Memorized Magazine Test," is based on
deception. Once it is mastered, it can be done in a living room for a small
group or on stage for a large audience.
When you read the description, you have to use your imagination to
visualize the setting and the action that unfolds.

EFFECT AND PRESENTATION: The performer invites four people to help

him with a demonstration. After being introduced, they are situated so that
two persons stand at his right and two at his left.
He introduces a deck of cards and mixes it, doing several fair overhand
shuffles. He does this with some indifference as he describes the experiment
he will attempt.
Turning to a person on his right, he asks, "Will you please help me by
thoroughly randomizing these cards."
He hands about half the deck to this person and proceeds to demon-
strate with the portion of the deck remaining to him how the cards can be
mixed. He shuffles them, squares them up and hands them to a person on
his left for further mixing.
"I recently heard about a memory contest in London. The participants had
absolutely astounding short-term memories. They could read a twenty-line
poem once and recall it. They could memorize a page oftelephone numbers in
k.ss than a halfan hour. Yet, the most amazing thing they did in this contest was
the card memory ttst. Five decks ofcards-two hundred and sixty cards-were
mixed together. Then the contestants were shown each cardfor a second or so.
They were required to call all two hundred and sixty cards offin succession.
The person who won this event not only called them ojfforward, he also called
them backward-absolutely awesome."
He turns to the man on his right, who has helped with the mixing, and
reuicves the cards from him. He splits them in half and gives a pile to the
second man on his right, asking him to help with the mixing. He similarly
divides the other half of the deck between the two persons on his left. Now
all four persons are mixing a portion of the deck, while the performer con-
tinues with his explanation of what is to come.
 flAIUUE RJCHARDSON

~ 1(might I am going to bmJe the three cardinal rules ofmagic.

·Rule Number One: Never tell the audience what you are going to do
before you do it.
"What I'm going to do is to try to locate any card calledfor in this ran-
domized deck.
"Rule Number Two: Never repeat a trick.
"/will repeat thisfiat not once, butfifty-two limes.
"And Rule Number 1hree: Never tell the audience how you did it.
"Before we begin, I want to make perfectly dear what I am attempting
to do. I am not going to memorizefifty-two cards in succession. No, my dem-
onstration is quite modest compared to world-class memory experts. What I
will do is look through each ofyour piles and try to recall with accuracy where
each card is located."
The performer asks for the cards held by a person on his left. He motions
for silence. He thumbs through each card at a steady pace. Once or twice he
stops, and the audience can almost see his brain frantically working. These
cards are returned to the person, and the process is repeated with each of
the other three groups of cards.
"Will you please sort the cards you are holding into suits. 1hat is to say,
put a/1 the diamonds together, and then all the clubs together, andso on. Ifyou
have time, you may want to sort each suit into orderfrom lowest to highest."
Since they are each holding only about thirteen cards, this sorting is
managed fairly quickly. While it is going on, the performer explains what
he is doing.
"First ofa/~ when !looked at the cards, I did not call them by name, but
rather, I converted each card into a dramatic picture that is hard to forget. I
always use the same memory code."
Turning to one of his helpers, he says, "Give me afow cards, please, and
I will show you how it works."
The performer holds up a card. "Jhis is the Two ofSpades, but I see it as
a big stop sign with aflashing light. This card is thejack ofSpades, but I see it
as a man hanging by hisfingertips on a windowsilL Sounds silly but it works.
"Now, when I lookedat the cards held by my associates here on the platform,
it was the equivalent ofgoing to a houseparty at which there werefifty-two guests,
all ofwhom I know very welL 1here arefour rooms in the house. I enter each
room, look around and see who is there, and then go to the other three rooms. If
someone asks me, 'Where is Millie Flournoy?'I might say I saw her in the kitchen.
"Do you a/1 understand what I am going to do?
36
 CURTAIN CALL

"Let's start. Here are the instructions. When I point to you, that means
I believe you have the card I am calling out. Your job is to pull that card up,
hold it up briifly, and then drup it to thefloor.
"You may also want to anticipate my actions by concentrating on the next
highest cardyou have. This will all make sense as weget into the demonstration.
';1re you ready? You can put all the cards to one side exceptfor your dia-
monds. Good."
The four persons are now situated in two small arcs on either side of
the performer. He is standing like a choir director.
"It is not polite to point, but here goes. We willgo slowly atfirst, and then
speed up. I am lookingfor the Ace ofDiamonds." Pause.
"You have it."He points at a person on his left.
"The Two ofDiamonds is here."He points to the person on his near right.
"You've got the idea. Pull out the card, lift it, and then drop it to thefloor.
Here we go.
"'Three ofDiamonds, Four ofDiamonds." He points to the person closest
to him on the left. He continues to identify the holders of all the successive
cards of the diamond suit. This is done at an unhurried pace.
"'How have I done?" All of the diamonds arc now on the floor. The
assistants nod, showing their approval and surprise.
"Now let's do the clubs, but a littlefaster."
The performer increases his pace to a fairly rapid rhythm, pointing to the
appropriate person for each successive card in the clubs suit. He stumbles
a little, changes his mind, finds the Jack of Clubs and ends with the King.
The audience wants to applaud, but he holds it back with a raised hand.
"Now the hearts." This time he moves at an even more rapid pace, calling
the cards in quick succession-and the cards fly.
Now the audience really wants to applaud. The performer motions with
a shake of his hand to stop them again.
"And now the spades." He pauses, breathes deeply, looks at one person,
shakes his head and points to another. "Ace ofSpades. Two ofSpades. Three
over here, and Four here."
Faster and faster he calls out cards and points, ending with the persons
holding the Jack, ~een and King of Spades.
The audience bursts into applause.

METHOD: This applause-winning demonstration of a supposedly superior

memory is much easier co do than it might appear. When you first read the

~7
 BARRIE RlC.HARJJSON

instructions, they may seem daunting and complicated. The truth is that you
can learn the basic procedure:, like a dance step, in twenty minutes. However,
performing the full routine in a convincing fashion requires lots of thought
and practice. "~artct: when all is said and done:, is a piece of theater.
There arc two different aspects of the routine that must be: mastered.
First, the cards appear to be fairly shuffled and, to a large extent, they arc.
But, unknown to the audience, the cards are "unshuffied," using a technique
I call "rounders." This procedure enables you to separate the cards into four
predetermined groups.
The second factor: Each of the four helpers will be given a group of
cards, which you have knowledge of and thus can identify in a dramatic
fashion. To do this requires another technique.
I will walk you through both aspects of the demonstration, so that you
will move forward with the routine one step at a time and gain confidence
as you progress.
But first, you must prepare the cards. I explained "rounder cards" in Act
Two. I 'II recap briefly what they are and how you make them. Those inter-
ested in the history of these cards and further details on their use should
check the article on them in Act Two (p. 48).
Rounder cards are essentially comer-shorted cards, but the corner short-
ing is not the usual subtle trimming of a sliver from the corners. Instead, the
treated corners are trimmed to a much greater degree. Each rounder card
has two diagonally opposite corners trimmed. For "~artet," half the deck
has the index corners trimmed short, and the other half has the non-index
corners shortened. Trimmed
Trimmed ---------~
-.A ;-----~·
2
• •

•v .....__
Trimmed
•G
38
 CURTAIN CALL

If you wish to do a very neat job of the rounding of the corners, you
will have to check corner rounding instruments sold at prin ring and camera
supply shops. Office and craft stores also sell comer rounders, but most of
these are made to cut through paper and can't fully penetrate card stock.

You can also make a rounder template from heavy cardboard, and use it
with a sharp scissors to trim the comers of the cards. I've used both methods,
and they both work well. With either scissors or a corner rounder, it will
take you only about twenty minutes to prepare a deck.
Magicians will be concerned that the trimmed corners are easily noticed
and will cause suspicion. I initially worried about this, so when I brought
out a rounder deck I would hold up a few cards and explain that this deck
had come from a casino where the usual practice is to obviously "mutilate"
all decks that had been in use for twelve hours, and sell them as souvenirs.
Many people have seen hole-punched decks for sale in casinos and will nod.
Afi:er that, they think nothing more about the corners. Ifyou are concerned
about people questioning the corners, you may wish to buy genuine casino
decks to lend extra support to your story.
 BARRil!.' RICHARDSON

Over time I've discovered that explanations of the corners arc seldom
necessary. especially when doing routines such as M~anet; which arc
perceived as memory demonstrations. In these contexts the cards never
come under suspicion. I also usc decks with a borderlcss back dcsign,li.h
Bee backs, for my rounder decks. These designs make the shortened corners
less noticeable, especially then I'm performing on a platform, at a short
distance from the audience.
For ·~artct; you must construct your rounder deck in this way:
1. Round the index corners of these twenty-six cards-
A+-4+-7+-10+-Q+
4+-5+-6+-7+-Q+-K+
2¥-3¥-5¥-6¥-8¥-9¥-J¥-K¥
A+-2+-3+-8+-9+-IO+-J+
2. Round the non-index corners of these twenty-six cards-
2+-3+-5+-6+-8+-9+-J+-K+
A+-2+-3+-8+-9+-1 O+-]+
A¥-4¥-7¥-10¥-Q¥
4+-5+-6+-7+-Q+-K+
You must now arrange the cards in four banks, one of which will be
given to each of your four helpers on stage.
A+-10+
4+-7+-Q+
5¥-6¥-K¥
2+-3+-8+-9+-J+
} Helper A's thirteen cards-
index corners rounded

2+-3+-8+-9+-J+
A+-10+
4¥-7¥-Q¥
5+-6+-K+
} Helper B's thirteen cards-
non-index corners rounded

5+-6+-K+ }
2+-3+-8+-9+-J+ Helper C's thirteen cards-
A¥-10¥ non-index corners rounded
4+-7+-Q+

4+-7+-Q+ }
5+-6+-K+ Helper D's thirteen cards-
2¥-3¥-8¥-9¥-J¥ index corners rounded
A+-10+
40
 CURTAIN CALL

With these four piles of cards in front of you-

1. Shuffle Piles A and B together.
2. Shuffle Piles C and D together.
3. Place Pile A/Bon top of Pile C/D.
Though it isn't strictly necessary, you may wish to put a small pencil
mark on the backs of the twenty-six cards that Helpers A and B receive (the
top half of the deck). These marks can help you to separate the top stock
from the bottom stock when you are resetting.

Now that you have made up your "~artet" deck, let's learn how to
unshuffle the cards. The rounders make this possible.
Remove the top twenty-six cards and, if you haven't already, mix them
thoroughly. To begin our practice:, we will learn first how to unshuffle just
fifteen cards, a little more than half those you've mixed. For now, put the
rest aside.
Hold the packet of fifteen cards face down in your left hand. Place your
thumb on left edge of the packet and raise: it, tipping the packet up onto
its right edge, resting on your left fingers. Let the cards sit loosely in this
vertical position.

Ifyou look down at the: upper corners of the packet, you will sec: some of
them protrude slightly beyond the: others. These arc: the: unrounded corners.
Your task is to separate: the: cards with rounded index corners from those
with rounded non-index corners. Your first few tries may not be successful.
Be patient. Once you get the feel of the action that docs the separating, you
will be able to do it without looking at the cards.
41
 BARR/F. RICHARDSON

Place your right rhumb at the: top inner corner of the packet, and place
your middle finger on the top outer corner.

With your right thwnb, slightly and gently lift the edges of the uncut
corners, leaving behind the rounded corners. At the same time, use your
right middle fingertip to lift the unrounded cards gently at the outer end.
In addition-and this is important-straighten your left forefinger a
bit, so that it moves away from the edges of the packet and doesn't block
the movement of the cards. This allows your right thumb to push forward
the cards it has raised, making them tilt and pivot slightly around the left
second finger. Meanwhile, shift your left little finger onto the ncar edge of
the lower corner of the packet to help in controlling the cards.
Now gently squeeze your right thumb and middle finger toward each
other. The various pressures of your fingers will cause the cards engaged
by your right thumb to rotate upward half an inch or more, while the top
outer corners of these cards tilt slightly downward and protrude from the
front edge of the packet.
Continue pushing these cards forward, until your right thumb hits your
left thumb, which is still holding the packet upright.
You now relax the right hand's contact with the cards and smoothly
move that hand to the near end of the packet. There it grips the portion
of the packet that projects from this end, thumb on the top edge, fingers
on the bottom edge, and strips these cards {all those with rounded index
corners) out of the rest (those with rounded non-index comers).

42
 CURTAIN CALL

Squeeu right thumb and middle

finger toward each other.

Continue pushing right thumb's

cardsforward.

43
 lt11uu r R u :11. rR nsoN

:\n.l thl'l'l' you .Irl·-- you'vc ju't un,hufllt:d rhc c1rds!

If \ 'Oll have diflindty geHing the fi:d of the separation and stripping
adioll\, try them with a packet ofjust eight to tt:n cards. If you continue to
h.1vc problems, you may not have rounded the corners enough.
·1he description makes the procedure seem complicated, but it really
isn't. All you arc doing is using the rounded corners as a way w lifi: the one
group of cards away from the other.
When you can cleanly make the separation with a fifi:een-card packet,
practice it with twenty-six cards. Take your time. Gain confidence. You
wish to become so secure in your actions that all it looks like is that you
arc cutting the shuffled packet in half.

Unlike strippers, rounders can be curned end for end. There is no concern
with how helpers mix the cards or even if a few cards are dropped.
Having made a ~arret deck and learned to unshuffie it, we can move
on to the action of the routine.
You will recall that the four helpers are arranged on either side of you.
One stands at your direct lefi:, another at your direct right. A third person
stands a step or two in front of the person on your lefi:, and the fourth
helper stands the same distance in from of the person on your right. They
loosely form a human trapezoid, and you stand facing forward, rather like
a choir director.
You mentally assign each person a letter, in clockwise order. On your
lefi:. Helper A stands nearest you, and Helper B in front of him. On your
right side, Helper C stands farthest from you, and Helper D next to you.

44
 CURTAIN CaL

Remove the deck (stacked with packets A and B over C and D) from its
case and give the cards a casual overhand shuffle. This consists of shuffling
off no more than twenty-five cards and throwing the remainder back below
them. This looks like a fair mix (it is, as far as it goes), but it keeps the top
and bottom halves of the deck segregated. You can shuffie the cards face
up as well, which looks very open and fair-because it is.
You must now split the deck exactly at center, twenty-six and twenty-
six. I simply place the Ace of Diamonds twenty-sixth from the top when I
prearrange the deck. I can then spread the cards face up, showing they are
mixed, and split the deck at the Ace, making two equal portions. You can
also put a strong concave bridge in the top twenty-six cards and cut at it. I
do both, using the Ace as a visual check for the cut.
Hand the top half of the deck to Helper A, and the bottom half to
Helper D.lnvite them to mix the cards thoroughly.
Retrieve the cards from Helper A and ask him ifthey are well mixed. As
everyone focuses on him and his answer, unshuffie and strip apart the two
rounder groups in this half of the deck. Hand the section with the rounded
index corners to Helper A, and the section with the rounded non-index
corners to Helper B.
Repeat this procedure with the half deck Helper D has shuffied, giving
him the section with the rounded index corners, and Helper C the remain-
ing portion with the rounded non-index corners. Despite your shuffling
and theirs, Helper A now holds Group A, Helper B holds Group B, Helper
C holds Group C, and Helper D Group D.
You invite each ofthe four to mix their cards. This is of no consequence
to you, but the audience sees it differently.
Next ask Helper A to give his cards to you. You look at them, one by
one, as though memorizing them. You then return them to him and instruct
him to sort the cards by suit, putting all the diamonds together, all clubs
together, etc.
Repeat this ritual with each of your other three helpers.
You now tell everyone chat you are going to point to your four assistants
like the conductor of a choir, to indicate who is holding each card in the
deck. As the cards are called, they are to remove them and drop them to
the table or floor.
To begin the demonstration, ask your helpers to get their diamonds
ready, as you will call them out first.

* 4S
 BARRIE RIC:HARIJSON

RACING THROUGH THE SUITS

If you had ro memorize the location of all the cards in the four groups. it
would be a dauming task and one requiring constant practice. The system
used in M~rtet" requires only minimal memory work. You will make
usc: of an easily remembered road map and a few simple:, unchanging rules.
The sequence of suits you will call out in the routine is always the same:
diamonds-dubs-hearts-spades.
So ler's start with the diamonds.
The pattern for calling out the diamonds looks like a capital N. All you
have to do to locate the thirteen diamonds is to follow these two rules.
Rule 1: The sequence for the cards is always 1-2-1-2-1-2-1-J-Q-K.
Stared in another way: Ace/2-3/4/S-6/7 /8-9/ 10/Jack/~een/K.ing.
Rule 2: The helpers stand on a pathway that you imagine in a shape of
an N. Helper A is at the starr of the pathway. When you reach the end of
rhe pathway, you reverse your movement and retrace your route.

t!J .
Let's walk through the first suit. Look at the diagram for the diamonds.

2,3, DIAMONDS ~5.6.

8. 9.
Jack
B ,
'' • King

''
''
''
''
Aa, ~ '' 4,

Starthere-
10 A ''
' ~. <® 7.
~een

The first card you wish to find is the Ace. Where is it located? With
Helper A, who stands at the beginning of the imaginary N.
You are now on the highway. Rule 1 states that we start with a single
card, and then follow the path. That leads to Helper B. Our rule says we
call two cards at this stop: the Two and Three of Diamonds.
Where to go next? We follow the road diagonally to Helper D. Our
rule says we call one card: the Four of Diamonds.
Then we move along theN to Helper C, and once again we follow our
rule, finding the Five and Six of Diamonds.

46
 CURTAIN CALL

We are at the: c:nd of our N, so we must rc:vc:rse our direction. This is

Rule 2. We return to Helper D who has one card: the Seven of Diamonds.
Then back to Helper B for two cards: the Eight and Nine ofDiamonds.
And then to Helper A for one card: the Ten of Diamonds.
Now we: call all the court cards, one at each location along theN: the:
Jack with Helper B, ~een with Helper D, and King with Helper C.
Practice this several times and you will feel the easy rhythm of the pat-
tern. Once you learn how to do the diamonds, the: other suits will quickly
follow, with very small, regular differences.
The first difference is that, with each suit, you begin with the next
helper in line.
1. When you call the diamonds, you begin with Helper A,
who holds the Ace of Diamonds.
2. When you call the clubs, you begin with Helper B. who
holds the Ace of Clubs.
3. When you call the beans, you begin with Helper C. who
holds the Ace of Hearts.
4. And for spades you begin with Helper D, who holds the
Ace of Spades.
Now let's try the clubs. The two rules don't change, but we turn our
imaginary N ninety degrees to make it a Z. This is the second little difference.

Start h~r~-
CLUBS ~2.3,
89
~~
10
----------------~
,, c ~J
, ,,
,
,,
,,

~: ~ te:~:~-------· ~
~een ~ ~
~·.:~
You begin to call the: clubs by pointing at Helper B and saying, "1he
Auis here.n
Helper C is next on the path of the Z, and holds two cards. Pointing
at him, you say, "And the Two and 1hru..."
47
 BARRIE RICHARWWN

Nc:xt along the Z is Helper A, who has one card. "Th~ Four..."
Helper Dis next, with two cards, which brings you to the end of the Z;
so reverse: your course, going back to Helper A, and so on.
The: hearts, like the other red suit, usc the N roadmap. and stan with
Hdpc:r C.

4.
7.
/fJ
6!:.)
HEARTS

~een

2,3,
8,9,
Jack

And the spades, like the clubs, use the Z pattern, and begin with
Helper D.

~~~ /fJ. _____s~~-n-~s______ <0-

6!:J ·
~:
~ ~een , 1(
,,
, ,,
, ,,
2,3,
s.9.
~ ~:__________
,,'' <®Ace,
D to
Jack +-- Start hm

THE RHYTHM OF THE ROAD

The last aspect of the routine to discuss is the pacing and audience manage-
ment. When you begin calling the cards, starting with the diamonds, do
so slowly. You may occasionally stumble, and then correct yourself. This
enhances the impression that you have really memorized the cards.
When you finish calling the diamonds, the audience will want to
applaud. Hold them back.

48
 CuRTAIN CALL

Now call the clubs at about the same pace, but with a slightly surer
attitude. The excitement buUds.
Call the hearts more quickly.
Finally, take a dramatic pause, concentrate-and then, at a very rapid
rate, call all the spades in order as you swifi:ly point to your helpers. Finish
with your hands up, cuing applause, as you call the last court cards.
I promise, it will come.
Special thanks to the following friends who in various ways helped me
develop and refine this routine:
DickBiow
Michael Weber
Bob Neale
Stephen Minch

49
 C0NCLUDW_G
THGU_GHTS
BEGINNING with the end in rnind-
1 have two main goals for my banquet show, and ifI achieve them, the
desired response should occur.
When the program is complete, I want the audience to believe they
have observed-and at times have participated in-demonstrations unlike
any they've ever seen. And I want them to feel the program was thoroughly
enjoyable, memorable and, for many, inspiring.
At its conclusion, I would like to have long enthusiastic applause fol-
lowed by people corning forward to tell me they want their colleagues or
grown children to see this program, or to ask if I'm available to do it for
their organization or company.
I want them to like me, and not just the surprising feats. I want them to
feel they would be happy to have me as a guest in their home.
I rarely end the program with a magic or memory demonstration.
Rather, I like to step as close as I can to the audience and recite a poem
that leaves them with a positive message to which they can relate. Several
of my favorites are "Birches" by Robert Frost (see Chapter VIII), "Man in
the Arena" by Theodore Roosevelt and "To Risk" by Hedda Gold.
People ask me for a copy ofmy concluding poem much more often than
they do for a source for learning memory training or mind reading. You
may have different objectives, but the central idea of"startingwith the end
in mind" is one that seems appropriate for any performance.

50
 An Unfurgettnble
Night I

"WHAT TRICK would you do for ~een Elizabeth if you could only do
one trick?•
This was a question I asked David Berglas one night in May, after he
drove me back from his home to my hotel in Bedford Square. We agreed that
we would not do a card trick. I don't think David ever answered the ques-
tion, but I said, "I would do the 'Solid Ghost: using the original approach
with a small flat stick hidden in the hem of a handkerchie£ I apparently
remembered what an impact this effect had on me. I vividly remember that
I touched the strange object under the handkerchief, and when the cloth
was whipped away, it-whatever it was-was gone!
Now this question, twenty years later, was being asked in a different way.
In August of2007. Janie and I visited a friend in Kennebunkport, Maine,
who happens to be rector of St. Ann's Episcopal Church, the church that
former President George Bush and his wife Barbara attend. I had been
invited to do an evening program for some of the rector's friends. This group
included the Bushes. Hearing about the program a few weeks ahead, the
Bushes asked if we would mind moving the venue to their home, so that
they could invite some of their other friends.
I called my friend Stephen Minch to seek his advice about what effects
I should do. Stephen surprised me when he suggested that I do my "Spoo-
Key" routine (seep. III). It looks like real magic and always astonishes
the vi~er. Janie was enthusiastic about the "Airplane Cards," my version

Sl
 8ARJlJE RJC.:HARJJSON

of Cards Across, in which I relate the impact this trick had on me when I
saw Harry Blackstone perform it on my tenth binhday.
After some thought, I decided co do a variety of tricks. All which would
involve members of the audience. My professional programs are typically
done for management groups at conferences and workshops. They involve
dramatic demonstrations that serve as metaphors for leadership or the
human-relations concepts I present.
On chat Friday night in Maine, we passed through a security gate, and
when we approached Walker's Point we were greeted at the door by a tall,
handsome, smiling George Bush in a blue blazer and an open-necked shirt.
Mrs. Bush welcomed us with great warmth and insisted we call them by their
first names. They offered home-made cookies and a glass ofchampagne. This
charming couple made everyone fed comfortable and relaxed.
At eight o'clock, the thirty-five to forty guests were invited to find
seats. The living room couches and chairs were arranged perfectly for my
stand-up parlor show. I stood in front of the fireplace, using the mantle as
my table-and I thought, "What a nice group ofwide-eyed, cheerful, eager
individuals I have in this audience."
I proceeded to produce a large glass of water from my jacket sleeve as I
recited the alphabet backward. I did an instant magic square for the number
forty-one, appropriately called by the person I worked with, referencing our
hose's presidency. I told stories that related to a key foWld in the Death Door
Room of an asylum for the insane, and also how a blind Russian woman
could read with her fingertips.
Probably the most memorable trick was "The Airplane Cards." President
Bush played the role of a little boy, and Mrs. Bush the little girl. The rest of
the audience followed along, pretending they were ten-year-old children and
their parents. They cheered and jeered on cue throughout the presentation.
I '11 never forget the absolutely stunned looks on the Bushes' faces when
the cards were counted. What great assistants.
The mood changed when I gave a serious demonstration of memory. I
did "~artet," calling the location ofevery card in a thoroughly mixed deck
divided among four people. I asked that they hold their applause while I
stepped forward and recited a poem.
In the end, the audience was warm and generous in their applause. It
was a wonderful evening for me.
Afierward, President Bush asked if I would do one more trick, just for
him. I said, "You have seen what I can do, but you should see Janie. She

52
 CURTAIN CALL

does only one thing, and she will not do it very ofi:en; bur maybe she will
do it for you."
"Janie," I called across the room. "Will you do your mind-reading dem-
onstration for President Bush?"
She came forward and the room became totally quier.
Janie invi ted President Bush to take any card from a deck scattered face
down on a coffee table. He was to look at it and place it into his pocket.
Her back was turned throughout the procedure, and I was at the back of
the room.
Janie, at first, seemed nervous and quite hesitant. "Please help me," she
asked in her Southern voice. "Think of the color."
A long pause. "It's black."
He nodded.
"It could be a spade." Pause. "But it is a club."
Mr. Bush looked at the card again and nodded with a smile.
"The card is a number card, but not a high one. The card is a Four-
no-a Three of Clubs."
President Bush reached into his pocket and produced the Three ofC luhs.
The audience was stunned. -lhen they burst into vigorous applause
What is the lesson in Janie's demonstration?
What routine would you do for a former President of the United St;lln?
~----· · -------·--·····--- ·-·-·- - - ·- · -------~~~----- ..
··------ -,
!
I
I
'
!
i
I
!
HIS CHAPTER CONTAINS four pieces
meant ro be performed before a group. The size
of the group might be a dozen or more at a house
party, around thirty in a professional seminar, or
even more than a hundred in an auditorium.
I lead off with a presentation for the instant
magic square. This routine generates a lot of
energy in the room and, as you will soon see, I use
it as a metaphor suitable to many types of groups.
The other effects give the impression of mind
control or mind reading.

'i7
I LEARNED HOW to do the: instant magic square in 1975, from one: of
my favorite: books, Harry Lorayne's Reputation Makers ( 1971, p. 206).
I've performed variations of it many hundreds of times in all sorts of
environments. I've done: it as a close-up effect at dinner parties as well as
the opening effect at large banquets. And I've used the magic square as
a way to talk about creative thinking and leadership, in virtually every
workshop and seminar I have given. As I mentioned in the preceding
chapter, I even did a magic square: routine: for former President George
H. W. Bush during our visit at his summer home.
My favorite presentation for the magic square is the one I'm about to
explain. It is the: one I've used in talks and seminars on creative thinking
and management. In it, the magic square: becomes a metaphor for all we
perceive: in the world. A good magic-square: demonstration generates lots
of excitement and applause, but the lessons suggested from the demonstra·
tion of rapid calculation are probably more lasting and meaningful than
the demonstration itself.
I often play the mental game of asking myself if I were limited to doing
only ten tricks, what would they be? The magic square is always at the top
of my list. Why? The demonstration is the epitome of elegance, as I define
the term. Elegance, as I have noted at other times, refers to clarity of effect
and simplicity of method. This marvelous demonstration requires nothing
 BARRIE RICHARDSON

but a piece of paper and a pen or pencil. No preparation, no gimmicks, no

sleights are needed.
I won't repeat the method for constructing a magic square, as most
readers will know one or will have other books, like Lorayne's Reputation
Makers, that teach the method. Over the past few decades, the trick has
appeared in most magic books for beginners. Yet professional magicians
still use the magic square to "bring down the house~ -with their own
unique presentations. As we all know, it is not just what we do, but also
how we do it.

EFFECT AND PRESENTATION: "How many persons in this room have ever
heard oftsetseflies?"
Hands are raised.
"Tsetseflies are blood-sucking Africanflies that carry a disease commonly
known as sleeping sickness.
"Here is afact that is peculiar to these insects. They have the ability to draw
blood.from giraffis, leopards, hyenas, wildebeests, even elephants. As you may
know, they delight in biting African babies. But these vampire insects would
starve to death iftheirfeeding were limited to zebras. Tsetse flies never, ever,
bite zebras.
"Why is this? Turn right now and ask your neighbor, 'Why don't tsetse
flies bite zebras?' Don't be bashfol. Go ahead."
There is lots of chatter and some laughter in the room.
"Let's see ifwe canfind the answer," the performer says in a loud voice to
bring the room back to order.
"What is your explanation?"
Someone yells out, "Smell." Another suggests the taste of the zebra's
blood. And someone else says, "Color."
"The answer-strange as it seems-is that the eyes ofthe tsetsefly do not
register the black-and-white striped pattern ofzebras. Zebras are actually
invisible to these insects. Zebras, for the tsetsefly, do not exist.
"There is an old Buddhist saying: 'No man can see the back ofhis own
head.'Not only is the back our own head invisible to each ofus, but also invis-
ible is a significant part ofthe world around us. What we do not see can affect
us-often in a significant manner.
"Let's do somethingto demonstrate how, in some ways, we are like tsetsejlies:
The performer picks up a black marker and draws a four-by-four grid
on a large pad resting on an easel.

60
 CURTAIN Cu.£

"'How many ofyou have children ten years or older?"

Many hands go up.
"It seems to me that, around the world, children learn to do something
known as magic squares. They are often excited by the surprising results and
want to show their parents. Asyou may know, the ancientEgyptians put these
squares on the pyramids.
"What I would like to do is something called the Instant magic square.'
Afterward we wiU see how this relAtes to our lives.
"'You sir, the handsome man in the blue suit-willyou help me? Please
stand up."
The performer asks the audience, "Didyou notice when I said 'handsome
man,' he nodded and indicated he was the one?"This is said in good-natured
jest, and everyone laughs.
·What is your name?john, I wantyou to think ofany two-digit number,
and make it aboveforty. One-hundred-six wiU not work, john-that is three
digits. Do you have a number in mind? Such as forty-three or sixty-eight or
ninety-one? Don't say ityet. Keep it in mind. I wiU come back toyou in a minute.
"Now, everyone in the audience-/ would like you to look at your wrist
watch. Ifyou don't have one, you can look at yourfriend's watch.
"Now when I say go, I want you to start timing me on your second hand.
When I say stop, I would like you to determine how much time I have used.
"This experiment normally takes about forty seconds, which ftels like a
long time when you are watching the clock.
"During that time, I would appreciate total silence. Please, no moving
around or talking, andplease be sureyour cellphones are off. ~iters and staff,
I invite you to watch, but please, no movements or sounds.
"In aftw seconds, I willaskjohn to caU out his two-digit number in a loud,
manly voice. I wiU say go when I am readyfor you to call out the number. At
the same time, everyone in the room will start to time me.
';-Ire we clear?John, are you ready? When I say go, john willyell out his
number, the rest ofyou will start watching your wrist watches and I will
start writing."
The performer turns the easel around so that the pad faces him. He shuts
his eyes for a few seconds, breathes deeply, and then yells, "Go!"
John calls out, "Eighty-four; and with no hesitation, the performer
quickly starts writing. After about twenty seconds, he yells, "Stop!
"How many seconds?"

61
 IfA RR IF RWn'l R /ISON

V.trious voices rdl him that twc.:nry rhrc.:c.:, rwemy rwo or twenty \econd\
have elapsed. 1-k write\ 2.1 at the: rop of the.: pad.
"Ooyoul.:now why thiJ iJ t"ailed '1he Mu!(if Square'? Look at this."
He.: adds rhc.: kit column our loud, pointing at each number with rhc
marker as he.: progresses. "7en and three are thirteen. 1hirteen pius Jixty-three
is .\t't't'n~y-six, and eight makeJ eighty-jour."
He quickly adds rhc: other three columns, calling out all the numbers,
and each column adds up to eighty-four.
"Look a/ this." He adds rhe horizontal rows. "Eight pius eleven is nineteen
plus sixty-jour is eighty-three, and one is eighty-four."
He quickly points to the numbers in the second row, calling them out,
followed by their total: eighty-four. This is repeated with the last two rows
of numbers.
He stands back, and the audience scares to applaud.
"Utait. This is why it is called a magic square. See this? There are Jour
two-by-two squares." With a red marker, he draws the lines, then quickly adds
the jour numbers in a square: "Eight plus eleven plus sixty-three plus two is
eighty-Jour."
______ ,
He repeats this result with the ocher two-by-two squares.

------ ·------ ------· I

8 11 !64 1
I
I I
I I
I I
I I
I I I
I I I
I I

63 2 7 12l
I I
I I
.. ______ I I

------· .---- -·- ------·

·------ ------ ·------ ------
I

..
I

..
I I
I
I
I
I
I
I
3 66ll 9 6 i
I
I
I
I
I
I
I
I
I
I I

__ ___ _ 5
l10 4 ------·65l
I I
I I
I I
..
------· ·------ I I

62
 CURTAIN CALL

"But wait. Here is another square," which he finds in the middle of

the grid.
r------------• r------------ ..

l8 11 ll64 l l
II
I r - - -
II
.&. 1- - - 'I
I
I

l6 3l2 ll 7 l 12l
!- 3--'l6-61!-gr-6-1
• - - - - - - - - - - - - " a. - - - - - . - - - - - - - ..

~ .. - - - '1'1---. I
I I I I

llO 5 ll·-----
·------------" 4 65l ______ ..
Gesturing to hold back the applause, he says, "Now that isfinefor medical
doctors, butyou are creative engineers. Look! We also havefour three-by-three
squares." Lines are drawn showing this.

4 65
6\
 HAHJllf.' RIC.'HAJl/)S()N

"I he tour corner numbers arc called for each of these, and each sc:r of
corners totals eighty-four! 1he performer's speed in calling our the numbers
;Kcderates and his excitement grows as he says, "Look at this!"
He rapidly adds rwo opposite short diagonals: three and five and sixty-four
and twelve make eighty-four-then four and six and sixty-three and eleven.

1
2
66 9
He next calls out the four corner numbers: eight, one, sixty-five, and
ten make eighty-four.

8 11 64 1
63 2 7 12
3 66 9 6
10 5 4 65
64
 CURTAIN CALL

The pace quickens still more. Wherever you look the numbers seem to
total eighty-four.
"My gosh, look at this!" He draws a diagonal line from the top left to
the bottom right and quickly calls off, "Eight, two, nine and sixty-five equal
eighty-four." And the other diagonal: "Ten, sixty-six, seven and one equal
dghtyjour." .-----~------~------T-----~

11 64

5
The board is filled with squares and lines as the performer looks up and
nods for applause-which always comes.
:1s I promised earlier, this magic square presentation includes some lessons.
"First, how many ways are there to make eighty-four? Notjust one. There
are lots ofways, and we keep on finding new ones. True.
lhe Wall StreetJournal recently reported that a Chinesefirm that makes
batteriesfor laptops has now developed a batteryfor an electric car. Rather than
requiring 2,240 components that a standardgasoline powered car requires, this
electric car has, believe it or not, 502 components. This Chinese firm aspires
to be the world's largest car producer within ten years. There are clearly lots of
ways to educate the young, generate power and do any job-including yours
and mine.
"But here is the vita/lesson. Askyour neighbor in the audience how many
squares we have on this sheet ofpaper."
Someone calls out, uSixteen."
"This is a problem," the performer says. "Everyone sus sixtun squares; espe-
cially ifthe boss sees sixteen squares. What we nud i.s someone to see it di.ffirrnt(y."
6)
 BARRIE RICHARDSON

Others now call out twenty; anomer says twenty-five.

·1hat's right. Remember, wefound lots oftwo-by-two squares.
"But wait!~ forgot the three-by-thrtt squares. Stt, we have twtnty-
nine squares.•
A pause.
"No,· the performer says in a loud voice. ·1hat's wrong. too. Lilte the tsetse
fly, we missed seeing the zebra.
"Hue is the big square-the thirtieth square-which was right in front
ofus the whole time."'
The presentation can end here or, depending on the group or theme,
this metaphor may be used to talk about threats and opportunities; the
"zebras" we miss and what we can do to improve this common problem.

66
 All fJm1e
THIS LIVING AND DEAD TEST can look like a demonstration of mind
control or of clairvoyance. Its presentation reverses the usual one, by con-
centrating on finding the name of a living person, rather than that of a dead
one. This lessens the morbid aspect of the effect, left over from the days of
tipping tables and lwninous cheesecloth.
Over the years I have developed a number of ways to do this test. I
feel the one I'm about to explain is particularly strong, as the performer's
handling of the cards and envelopes is minimal and happens at times when
suspicion is lowest.
EFFECT AND PRESENTATION: "Martha, let's try an experiment in which we
will useyour intuition,"' the performer says while he places five pay envelopes
on the table. He next takes out five business cards and shows that four have
the word GONE written on their unprinted sides. The fifth has been left blank.
He pushes the end ofthis last card a few inches into one of the envelopes,
then hands a pencil to Martha.
"Imagine these otherJour cards with GONE on thmt representfomous men,
such as Einstein, Socrates, Freud and Churchill. They are all dead, so we can
SAY they are gone.• He points to the four cards on the table.
"Please help me. I wantyou to think ofa livingperson. Jfpossib/e, a woman
who has haJ a significant influence on your life. It could be a teacher, a coach,
a relative, a doctor, anyone. You get the idea?
67
 BARRlli RJC:HARIJSON

H Whm you have someone in mind, print that persons name on the card
stidring out the mflelope; thm slide the card back in and sea/thefotp down.
Please turn away while you do this so that nobody can su what you write. •
She does so while the performer places the GONE cards into the remain-
ing envelopes and seals them. Ifcircumstances permit, others may help with
this task. Not only does it speed things up. it also gives them a chance to
handle the items and be satisfied that they arc normal.
Without touching Martha's envelope after she has sealed it, the per-
former invites her ro add it to those on the table. She then thoroughly mixes
them. He stands several feet away while she does so.
"Now arrange them in a row. Good! Let's try an experiment. Will you
open your hand like this and slowly move it back andforth-swwly-until
you feel it is above an envelope that does not contain your significant person.
In other words, try to eliminate those who are gone." He demonstrates by
holding his fully opened hand palm down and moving it back and forth
a couple of inches above the row. Martha docs likewise until she decides
to stop over an envelope. The performer picks it up. neatly rips off the
top and removes the card inside. It says GONE and is placed aside, writing
upward on the table.
The procedure is repeated twice, with the same result. The drama builds.
Only rwo envelopes now remain. After some hesitation Martha rejects
one of them. It is opened and the word GONE shown. So Martha has found
her significant person by a process of intuitive elimination. However, the
final envelope is not yet opened-there is more to come.
"Now Martha, let's try a form ofcontact mind reading. This is not a
paranormal or psychic phenomenon, but a way ofcommunicating by touch
andfacial expression."
Holding her hand by the fingertips only. he looks at her and hesitantly
reveals, "This woman was in her early years. She was an elementary teacher.
No? But she did instruct you, teach you? Help mefind her name.
"Let's try it this way as an experiment! Just in your mind, think ofher
name, over and over." Now holding both of Martha's hands at the fingertips,
he concentrates, then blurts out, "It's Helen! Am I cwse? Don't tell me the
name." He tears open the envelope, pulls out the card and looks at it. "]was
almost right; it's, Helenar
METHOD: While the GONE cards are normal business cards with that word
written on their backs, the similar card Martha writes on is unprinted on
both sides, and on one side of it you have written GONE.

68
 CURTAIN CALL

On the other side of this card you

write "PRINT NAME" at one end, and
below this draw a box into which the PRINT NAME
name is to be placed.
~
Bring all the cards out together,
letting the audience assume they all are
printed with your contact information
on one side. The fact that one is not
goes unnoticed-provided you don't
try any fancy moves to prove they are
all genuine.
Martha only sees the "Print Name"
side of the special card, since you give
it to her partially inserted into its enve-
lope. Left exposed is the end ofthe card
with your instruction "PRINT NAME"
and the box. Martha therefore has no
need or reason to turn the card around.
Presenting the card already in the envelope also enables you ro know which
side will be uppermost when you later remove the card from the envelope.
The side with the: stuck-down flap is on the same side as the living name.
It doesn't matter which way the: other cards are inserted into rheir
envelopes, bur you must open every envc:lope while: holding the flap side
down, in case it contains Martha's card. Thus, GONE will be seen and the
living name: will be out of sight on the underside.
When your helper eliminates the cards one by one, you tear off the end
of each rejected envelope and draw out the card inside. If the: living name
is among these, the audience will see only GONE. However, you can see the
back of the card, and you remember the name written there.
You build the routine to a strong finish by revealing the name ; bur
make a small deliberate error when you do, to give the test a more believ-
able appearance. Then remove whatever card is in the envelope. assuring
that it comes out GONE side down. (You determine: which side is up while
you open the envelope.)
Pretend to read the: name off the back of the: card and correct your pre-
vious impression. Ifyou act as if you arc: seeing the name for the first time,
no one will question that you are reading what is on the card.
As the audience reacts to Martha's success and yours, toss the card casu-
ally down with the rest and gather them.
 BARRIE RICHAIUJSON

Should it happen that yow hdpcr really eliminates all the GONE cards,
conclude the routine without divining the name. It is a perplexing enough
mystery, given that the selection was made while the envelopes were out
of your hands. Just remove the card with the living name showing and cue
the applause.
The Magician
Spring2007

70
 The Eye ill
the 'LTiget
A FEW YEARS BACK I contributed a routine called "Mental Target Practice"
to Walt Lee's fine magazine, The Magician (February 2005). Since then I
have revised the handling.
I took the core idea that makes this demonstration possible from Ted
Anncmann's "Dead Name Duplication" (published in 1932 as an install-
ment in Thayer's Trick ofthe Month Club). Orville Meyer took the idea
further in "Tervil; in the March 1939 issue of The jinx (No. 54, p. 383).
Annemann's bold and wonderful idea is that a message he has written
is secretly switched for another written by one of the participants. This
person's message is given to someone else to read. Thought to be the
performer's message, it apparently matches the first person's. No one ever
realizes that the participant has supplied the "match" for his own message!
Billet switches arc involved, and the switch I now use is one major
change I've made in the method. This switch is so deceptive and so versatile,
I think you will lib: it. Rather than manipulation, an innocent-looking form
of billet-switching rod docs all the work.
Billet-switching rods go back to the nineteenth century. Edwin Sachs's
lfl2Y have been the first written description of one, where it is used to switch

71
 BARRil:: RICIURD.WN

half of a playing card. (Sec his Sleight ofHand, 1877; "The Salamander
Card" or "The Salamandrine Card," p. 187 in the common fifth edition.) I
came up with the idea of adapting the concept to an unsuspicious common
article frequently used in mentalism-a pen. I contributed this switch to
the September 2005 issue of Walt Lee's magazine:, The Magician. Only later
did I find out that Karrcll Fox had had the same idea. (Sec Clev" Lilu a Fox,
1976, p. 91.) However, I've expanded the possibilities of the billet-switching
pen. This tool has many uses and should receive wider interest than it has.
This ten- to twelve-minute routine takes less than thirty seconds to
prepare. What I have done is to develop the basic concept into a platform
demonstration that involves the audience and makes the participants suc-
cessful while leaving them astounded. Best of all, it is easy to do. There are
no special props and the secret choreography is not difficult.
I angle my presentation so that one of the participants discerns my
thought, and another participant reads his counterpart's thought. You do not
have to do it that way. You might frame it as a straightforward prediction ofa
chosen word, followed by the divination of a number, both done byyoursd£
But I enjoy routines in which audience members arc given the chance to
demonstrate their own latent mental powers and arc amazed by the outcome.
EFFECT AND PRESENTATION: The performer explains to his audience that
he is going to write something on the back ofhis business card. This will be
the target for an experiment that is far from foolproof "But if we even get
close," he asserts, "it will still be remarkable. In any case, wt will have some
fun andyou can all try itfor yourselves on a rainy day at home!"
He proceeds to think for a few seconds. He then jots down a word on
the card, lets several in the group see it, then folds it in quarters with the
word inside and fixes it under the dip of his pen.

72
 CURTAIN CALL

Asking a woman seated in che front row, on his left side, to help him-
we'll call her Doris-he gives her che pen and isolated prediction to hold.
He moves to face che central section of che audience. "It is imperative
that no one thinks there is any collusion-and there absolutely is not-so I
would like you three women to elect one ofyou to be my helper."'
The women he has addressed choose Pam. The performer walks over
and greets her wich a smile. He chen hands her a second business card and
pen. "Pam, I don't want anyone to see whatyou write on this card. So please,
allyou other inquisitive and creative people-do not peek!
"Pam, imagine you are in a large bookstore. I wantyou, in your mind, to
walk around and selectjust one book. Maybe you should close your eyes.
"Pam, do you have a book. It doesn't happen to be a cookbook or a childrens
book, does it?"
·No!•
'51.nd the book is in English?"
"Yes!"
"What is the name ofthe book you are thinking of?"
Pam gives a tide.
"Do you know, I thoughtyou would select that book? Congratulations! Did
youfirst think of ?" Here he names a current best-seller.
"Yes!"
"Okay, we are readyfor the experiment. Close your eyes. Imagine you are
holdingyour chosen book. Open it. Pam, you can actually pretend to do this!
Imagine the book on your lap. You are opening the cover-Good!"
She may or may not choose to mime the actions.
"Now start turning the pages. You can turn several at a time ifyou like.
Stop wheneveryou wish-just there? Do you want to move ahead or backward
from that place?''
She is happy with where she has stopped.
'1n your mind's eye. imagineyourselflooking down at thepage number. There
is one number on each page ofthe open book. Take your time and change your
mindas often asyou like. When you are ready, useyour indexfinger; and in your
i~ circle the page number. Loole at that numberand repeat it toyourself
"Pam, now moveyour indexfinger in a large circle on your imaginary page.
Make the circle smaller and smaller until it enclosesjust one word. The word is
not one that will embarrass us; it is a common noun-you /mow-the name of
something lilu house, cow, sleyscraper, computer or whatever! Can you ue that

73
 BARRIE RICHARDSON

word c/~arly? Now opm your ~y~s and print your thoughts on the little card
c/ipp~d to th~ pm.
You can ~U th~ word, can't you?"
While she is doing this. the performer walks well away. He explains that
the writing helps to commit her even more firmly, and provides a good way
to audit the experiment.
When Pam has finished writing, she refolds the billet, "locking her
thoughts inside it," and slips it back under the clip of her pen. Explaining
that this will keep it secure, the performer has her point to someone she
judges to be "a man of integrity." She chooses John. The performer delivers
her pen, with her billet mounted in plain view, to John and asks him to join
him on the platform, where he stands at the performer's right.
Striding back to the center of the platform, the performer asks, "Pam,
did you g~t any s~me that I was trying to lead you, using verbal sugg~stion r
She shakes her head.
'1 hope I didn't make you nrrvous! Let's set how well we've done."
He turns to Doris, who is holding his pen with the billet on which he's
written the target word. He gives this pen and billet to John. At the same
time he relieves John of Pam's billet and pen.
Removing her billet from the pen dip, he holds it up. "Pam, you strolled
in your mind through a large book store, chose any book you liked and any page
in that book. I askedyou to think ofany word on that imaginary page-and
ofhundreds ofthousands ofwords, you chose..." He opens Pam's billet and
reads her word to himsel£
"Pam, now there are two persons who know the target wordyou selected.
I want to make this experiment more memorable, so I will whisperyour word
to two women in the audience." He steps from the platform and chooses a
woman seated on the left side of the audience, another on the right side,
and whispers Pam's word to each of them.
Returning to the platform, he says, "Now four ofus know Pam's word.
'John, willyou please open my target card? Study it. In afew seconds I am
going to ask you to broadcast to the entire audience the word on my target card.
"My whisperingpartners, please stand. Pam, willyou stand also?
"When john announces my target word, ifit is Pam's selection, I wantyou
to demonstrate this is right by doing one and only one thing. Remain perfectly
still until I clap my hands. Ifit is the correct word, take your seat. Oth~ise,
remain standing.
'John, are you ready?" The performer nods and John states the word:
"Photograph."

74
 CURTAIN CALL

There is a pause. The performer claps his hands ...

And the women all sit down! There is stunned silence; then applause.
The performer motions for everyone's attention.
"Pam, you are wonderful and I hope your husband appreciates you. Pam,
would you help with one more experiment? I want you to reverse the experi-
ment. I wantyou to select a target and send that to john and me. Everyone in
the audience can participate.
"Please stand again, Pam. Doyou recall thatyou thought ofa page number
in your imaginary book?"
She nods.
"Try to see it written in large numerals. How many numerals are there?"
"Three."
"Shut your eyes. See your target numbers in your mind.
"john, shut your eyes, too. I want you to be successfUl. In your mind's
eye-your imagination-see the three-digit page number; and now move
these numbers so that they are in the center ofthe target.
"Have you done that?
"Wait a second! I'm trying to do the same thing. Everyone in the audience,
try to visualize three distinct numbers on a target.
"Open your eyes. john, what page number do you see?"
"One hundred thirty-seven," he announces.
The performer repeats the number, then says, "I saw one hundred thirty-
eight. How many in the audience saw these numbers?
"Pam, only you know your target. What is it?"
"One hundred thirty-seven," she says.
The audience is speechless. The performer thanks his accomplished
assistants and asks for a resounding vote of appreciation for them. It
comes easily.
METHOD: When the idea for a billet-switching pen first struck me, I made
up a gimmicked pen by cutting two pens in half and joining together the
non-writing ends. Later, I saw this fakery was unnecessary, and the pen had
been rendered useless to write with as well. Now I simply use an unprepared
pen with two matching caps. Each cap should have a firm pocket dip and fit
snugly on either end of the pen without being difficult to remove. Some of
the cheap disposable pens have caps that grip too tightly to allow them to
be secredy stolen away. Experiment with different brands. There arc many
suitable types of ballpoint and roUerball pens.

7S
 BARRIE Rlc:HARnsoN

The idea is simple. You put a cap on each end of the pen. You then use
the clips of the caps to hold folded billets.
The idea presented to the audience is that, with the billet held by the
clip, it is locked closed in clear view, out of your hands, and can't be tam-
pered with. If the spectators don't know about the cap and billet on the
other end of the pen, which are easily concealed in your hand, they will
never suspect that the billets are switched with a simple turn of the pen,
done either one-handed in a gesture, or while passing the pen from hand
to hand. And if the cap isn't pressed down too firmly on the pen, it and its
billet may be easily stolen away.
In a simple application, the pen is extended toward a person who is
asked to place his folded billet under the clip for safekeeping. This done,
you immediately turn and hand the pen to another person to hold. In the
process, you pass it from hand to hand, bringing the dummy billet on the
opposite end into view. As the recipient takes the pen, you merely hold onto
the hidden cap and billet, keeping them concealed in a loose finger palm.
All seems fair, and no one ever notices that the cap is on the opposite end
when the second person receives the pen. This is due mainly to its being a.
small object, and few people saw how it was assembled. Ifthe two assistants
are some distance apart, the one who replaced the cap, after writing on her
billet, will not be able to see which end it is on.

76
 CURTAIN CALL

The stolen billet can now be quietly removed from the dip, palmed and
peeked, or it can be opened and read behind a writing pad. But let's look at
the routine involving Doris, Pam and John to see how this billet-switching
pen can contribute to a more deviously designed routine with several layers
of deception built into it.
You need three busi-
ness cards, two identical
pens with dipped caps and
a third duplicate pen cap.
On the lefi:-hand side ofthe
blank surface of one of the
business cards dearly print
I I~
"woRD" and "PAGE NUM-
BER," with arrows from
them pointing to two boxes. Fill the right-hand side of the card with a target.
Fold this card in quarters, with your questions inside. The creases need to
be well defined to assure the assistant uses the same ones when refolding
the card. I suggest you unfold and refold it several times. The nature of the
folds depends on the type of billet peek you choose to use. This aspect of
the routine will become dear as we proceed.
Fold the second business card in an identical fashion and fix it under
the clip of the extra pen cap. Place this cap and billet into your right pocket,
where you can easily get them.
At the start of the presentation, bring out the unprepared third business
card and one of the pens. After some thought, write a word in barely read-
able block capitals on the back. (I always put TOASTER, because the word
is of average length, has no conspicuous letters and in the circumstances
is such an improbable choice, nobody will likely recognize it at a glance.
Also, my writing is never easy to read-while a problem most of the time,
here that feature is useful.)
You casually flash what you've written to several people near the front,
but hold it too far away for them to read clearly. What you are doing is
establishing that you've written only a single word. They will then be led
to suppose, and afterward confirm to their associates, that nothing else was
on the card.
Fold this card in quarters, to match your other billets, and fix it under
your pen cap. Give the pen and billet to someone on your left in the front
row. We know her as Doris. She is coached to hold the pen by its lower end.
so that your target-word card is isolated and in full view.
77
 BARRIE IUCHARDSON

Walk to the right side: of the: audience and designate a committee: of

three to choose one: among them to help you. They choose Pam. Hand Pam
the second pen, along with the prefolded card bearing the requests for a
number and word. Have Pam close her eyes and lead her into hc:r mental
bookstore: to find a book, turn to a page. remember its page number and
finally to use her finger to circle a single word on her imagined page.
I like co ask her if she first thought of a particular title, naming a cur-
rent best-seller. She often will have, in which case you have a minor success.
If your title misses, you say something like '"No, that book doesn't suit your
taste, does it." This little diversion is the sort of calculated risk I enjoy.
These things can often fortify the general impact of a presentation. The
entire business of finding the book is done in a light-hearted manner. But
you must get her to commit firmly to a page number as well as to a word.
When she has done this, say, "Now open your eyes and printyour thoughts
on the little card clipped to the pen."No mention is made of the page num-
ber, which the message on the card also instructs her to fill in. She is the
only other person in the room who knows about this, and it doesn't seem
significant to her.
While Pam is writing, casually place your right hand into your pocket
and finger palm the pen cap with the dummy billet under its clip, with the
opening of the cap turned upward nearest your forefinger. Have her fold up
her card and hand it to you. You take it at your right fingertips and hold it
up to show that her message is "locked away inside, and the card is opaque."
Ask her if she still remembers her word clearly, and to replace the cap on
her pen. While she answers you and caps the pen, you peek her word and
number. You can use any efficient peeking method here. I use the Happy
Peek, described in Chapter V (p. 161 ). The billet will have to be appropri-
ately pre-creased for the peek.
Hand the folded billet back to Pam and request that she fix it under
the pen clip.
You then extend your left hand to retrieve the pen from her as you ask
her to point to some gencleman who appears to her as a "'m an ofintegrity,
to help with the experiment." During the ensuing byplay, transfer the pen to
your right hand, secretly inserting its free end into the concealed cap there.
When Pam points to John, you return to center stage and invite him up to
join you. During all this, you find a reason to gesture and transfer the pen
again from hand to hand, doing an end-for-end switch. (You may also make
the turn with just one hand, twirling it secrecly between your fingers as you
make a broader gesture or drop your hand while you walk.)

78
 CURTAIN CALL

Hand John the pen and attached visible dummy billet, stealing away
the concealed cap with Pam's billet still under the clip.
Go now to Doris and retrieve the first pen with your target billet clipped
to it. In taking the pen, load the concealed cap with Pam's attached message
onto its uncapped end.
Look over to John and say, john, hold your pen up higher, please, so
everyone can see it." This request and John's compliance momentarily focuses
everyone's attention on him. During this misdirection, you do another
end-for-end switch with your pen, passing it from hand to hand, and then
holding it up in the way you wish John to respond.
Walk over to him and openly exchange your pen and his, giving him
what everyone believes to be your target billet. In reality. it is Pam's message.
You steal away the second cap and target billet in the process.
You are now holding the dummy target billet in view, dipped to the pen
you've just taken from John. Everyone thinks it is Pam's message. Remove
it from the clip, unfold it and pretend to read it. You then go into the audi-
ence and whisper the word you peeked on Pam's billet to two women, one
on the lefi: side of the group, the other on the right side. Have them and
Pam stand and instruct them to sit down when you clap your hands, ifyour
target word matches Pam's word.
Have John open and study your "target." Then ask him to announce it to
the group. He reads out Pam's word, believing it is yours. So does everyone
else. But in reality, Pam has written your target word for you!
You clap your hands, and the three women sit down, indicating success!
The audience believes that John is seeing only your target word on the
card, but he sees two pieces of data. While you go through the business of
having the women sit down when you clap your hands, John has a lot of
time to notice the page number on the card.
Having Pam reveal the number of digits in her page number, and ask-
ing everyone to imagine that number ofdigits also confirms in John's mind
that he is looking at the right number and must move it in his imagination
to the visualized target.
The final demonstration, in which both you and John, onstage, appear
to receive the page number from Pam, seems incredible to the audience,
since no one but Pam knows it was written down.
In divining the page number, I believe it enhances the illusion if you
miss it by one. Then when your helper, John, gets it perfectly, he looks even
more psychic than you! This does create a discrepancy for him, as he believes
79
 BARRIE RICHARDSON

he is reading your prediction of the number, and it is not the near miss you
announce to the audience. This may cause him a bit of silent confusion. He
may think you have simply miscalled your prediction. Then again, under the
pressure of following your instructions in front of an audience, and being
in the middle of a baffling set of occurrences, John may likely not be calm
enough to analyze the situation this deeply. In any case, his thoughu on
the matter arc unknown to the rest of the audience. Ifyou feel uncomfort-
able with this private discrepancy, you can simply say that you received the
same number that he did.
What do you do if your onstage assistant doesn't understand what
is required of him and names a wrong number? It's regrettable, but your
own divination is still very strong, while his failure makes everything seem
genuine. However, this shouldn't happen often, if you are clear, guiding
and take time in giving your instructions.

80
THIS IS A LOW-KEY ICE BREAKER. I use it for talks at corporate functions
and service clubs. It isn't dramatic, but it generates a great deal of audience
involvement and provides lots of latitude for me to fashion a message to
fit each situation. Hence the tide, which chess players among you will rec-
ognize as the ~et Opening.
EFFECT AND PRESENTATION: "Whatyou and I have in common is that we
aregifted with extraordinary minds. Yet-but yet-something happens in our
homes and our schools, or churches, or at work, that diminishes or represses our
intellectual and creative capacities. I* end up using what should be a high·
peiformancejaguar engine like an untuned 1988 Fiesta.
"Ofcourse, I am not talking to you-but to the person next to you!" The
performer says this with a knowing wink.
"Everyone, do this! Put your hands together like this." The performer
interlaces his fingers. "That is the size ofyour brain. Look atjohn in the second
row. He is trying to make his hands bigger!
•Your brain is about two and a halfpounds ofmushy material with the
consistency ofoatmeal. Ifyou stick a pencil into a brain, unlike the heart or
lungs, there are no compartments. The pencil will pass through and push out
lots ofgrey cells. Am I malting you hungry?
HI
 BARRJE Rlc:HARJJSON

·Now relax; closeyour eyes andfollow my instructions. Multiply two times

two; now eight times eight. Talee a breath. Now thinlc ofthefirst vegetable that
comes into your mind.
~Raise your hand ifyou thought ofa carrotr
Possibly half the audience will do so.
~Let's try this; I will try to send you a two-digit number overfifty. Both
digits are different and both are even." The performer opens a spiral notebook
and uses a marker to write something on it. He asks a woman to hold the
pad writing-side down on her hand.
"Everyone close your eyes. Can you see a two-digit number; both are even,
different and abovefifty.
"How many got sixty-eight?" He holds up the pad to show that this is
what is written on it. A lot of hands go up.
"How many got both carrot and sixty-eight?
"I don't believe anything paranormal is going on. But I thinlc you picked
up subtle dues from me that led you to your mental images.
"Let's try this!" The performer rips off the page with sixty-eight written
on it. He pauses, and then writes again on the pad; and again he hands the
pad to the woman, writing-side down.
"This time I want everyone to think ofa three-digit number-all odd
numbers-like 791! Close your eyes!
"Open your eyes. How many thought of537?" Only a few, if any, hands
will be raised this time.
"Will you come forward and help me!" lhe woman with the pad steps
onto the platform. "Please read what I have written. Butfirst...• He points
to a man. "What three-digit number did you think oft•
"793!" may be the answer.
"Please stand!"
The woman now reads what is written on the pad: ~ man in a blue
jacket and white shirt, sitting in the third row, will not think ofa carrot, or
the number 68, or the number 537. He will think ofthe number 793. He will
also think, 'How did I do this?'"
Everyone is amazed.
The performer thanks the woman and retrieves the notebook. •Would
you like to keep this prediction t• he asks the gentleman. He signs the page,
carefully tears it off and neatly folds it in half. Writing ·aest wishes· on
the outside, he walks over, gives the paper to the man and shakes his hand.
82
 CURTAIN CALL

METHOD: This plays much faster than it may read. The prediction could
be shorter, but it needs to be fairly wordy for reasons that will soon
become apparent.
During the carrot and number tests, which are well-known psycho-
logical gambits, look for a man who doesn't raise his hand for either of the
results. One or two will always be found.
Take the pad and
scribble something barely
legible. Adapt such details
as the coat and shirt colors,
row position, etc. to fit the
circumstances, and leave a
space for the three-digit
number. You will enter
that later, using a thumb
writer. This gimmick has
a piece of black crayon
rather than pencil lead, so
that its writing will pass
for marker ink in the heat
of the moment.
You secretly insert
the number during the
moment you help the
woman by steadying the
pad for her as she struggles
to decipher your hand-
writing. In ocher words, it's
not there when she begins
to read the message. Just
stand beside her, with your hand on the pad, and boldly fill in the figures.
This is the reason for a fairly wordy prediction. The quantity ofwords makes
the space left for the number inconspicuous, and it takes the woman some
time to reach that place. This gives you the time you need for the writing.
Now for the touch I believe lifts this piece to another level ; namely
giving the prediction to the person afterward. While the black crayon will
pass as ink during the brief time the woman is reading the message, when
examining it at leisure, people would soon spot the difference. But they will
not be given the chance, because the paper handed over is a copy of the one
l(\
 BARRil-: Ru:uARJISON

read our by the: woman. You leave blank spaces in it for all the variables.
"Ihis sheet lies directly beneath the one on which you openly write the pre-
diction. You have already
signed and dated it; so as
you feign doing so, you
arc: really entering the dis-
tinguishing details into
the gaps.
To get the pad open
to the correct page,take it
back from the woman and
casually close it; then as
an afterthought offer the
prediction to the man as a
souvenir. Reopen the pad
at the proper place. There
is absolutely no heat on
you because everyone
thinks the trick is over.
You are a courteous per-
son and are apparently
signing a souvenir.
Later the recipi-
ent will show the page
around and will often
give an exaggerated
account of what happened. The story will be told and retold, each time
becoming more and more exaggerated, and the paper shown as proof.
The Magician
November 2006

84
 A MAN FOR ALL SEASONS

MOST MEN HAVE few real friends. They may have scores of persons they
know-some for years-but the actual sharing of inner thoughts and feel-
ings with these acquaintances is generally superficial.
One of the immense benefits of my life in magic has been the oppor-
tunity I've had to meet and correspond with many wonderful people who
share common interests; and best of all, to have developed deep and lasting
friendships with a handful of them.
Eric Mason was a special friend.
Eric was a talented painter, specializing in landscapes and portraits.
One of his paintings hangs in the National Gallery in London; however,
magicians know his name for two reasons: .first, for the delightfully clever
and often lusty or funny illustrations he published in Pabular. The: second
reason he: is remembered-or should be- is for the creation of the boon
writer. This is a small device that adheres to the performer's thumb and
secretly enables him to write information.
In 1982, we co-authored a small book on his boon writer, called A Boon
for All Stasom. In 2004, I decided to republish this beautifully printed and
wonderfully illustrated litdc: work, as a way to remind the: magic world ofhis
contributions, and to keep his name associated with the boon writer. To this
second edition I added an introduction. I'm reproducing it below. When
HS
 R , tHH/Ji R.U.'//AH/J.HJ/\1

you rc1J it, pcrhap' you should question my ;1.~\c.:rtion char an inc.:xplicablc
me.: mal demonstration will always trump devc.:r magic cricks. l may be wrong.
Wh.n I hope you have no reason to question is my belief that having a
mu.: friend of rhc.: spirit is an invaluabh: experience chat can give immense:
joy and great grid-but both experiences help make us more fully evolved
human beings. This, at least, is what I believe:.
Hm: is the introduction I wrote for A Boon for All Seasons-

How time seems to melt away.

I can close my eyes and recall the long week that Eric Mason, Shiv Dug-
gal and I spent in the Cotswolds nearly twenty-five years ago.
We spent the afternoons at a picnic table in the garden of the White
Horse Pub calking about different magic stunts, gambling ruses and
mental routines that could be accomplished with Eric's wonderful little
writing device.
A few months earlier-back in the States-I had prepared a tentative
book outline, and we used this basic format as a guide for our discussion
and as a way to keep us on task. We made notes of the various ideas we
generated, and then we agreed to what our individual assignments would
be on this team project.

86
 CURTAIN CALL

We spent the evenings in local pubs, where Eric, with his large frame. big
smile and enthusiasm for sharing his magic, would attract constant groups
of puzzled but delighted patrons around him as he entertained them, with
only a rare break. Eric did tricks with cards, cigarettes, coins, drinking glasses
and small props he pulled from his jacket pockets.
I will never forget the last trick he did, just after the barman rang a bell
and yelled, "Last Call!"
He picked up a pencil and a beer mat, dramatically looked around him
and focused his eyes on a dartboard on the wall across the room. Then he
wrote something on the blank side of the beer mat, placed it writing-side
down on the bar and put an ashtray on top of it.
Nen he invited a young woman to throw three darts at the dartboard.
The room got quiet as everyone watched her do this. The values of the three
darts were added and the total announced. Then Eric pushed the ashtray
aside, picked up the beer mat and immediately handed it to the young
woman who had thrown the darts.
She turned over the beer mat and let out a little scream and a large gasp. In
total disbelief, she held up the beer mat and said, "Impossible! This is my total."
The noise level rose in the pub as news of the miracle spread around the
room, and totally stunned people wanted to examine the dart board and
the beer mat, and to question the woman. Never, ever, had they witnessed
such a thing.
There was no doubt that Eric Mason's magic demonstrations were delight-
ful, varied and amazing. For example, coins passed through the table, a pound
note changed to a five pound note, a signed card disappeared .&om the deck
and appeared in a zippered wallet, a beer glass placed on the floor and covered
with a bar doth vanished. Yet. as astonishing as were his tricks, the patrons must
have thought that is exactly what they were-tricks done by a clever magician.
But the dart-throwing prediction was totally inexplicable.
Such is the power of this simple device in the hands of a good showman.
When I first met Eric in the early 1970s, I had never seen a boon writer.
I admired his ability to do impromptu bar stunts with the boon, but I saw
no real advantage of his gimmick over my home-made thumb writer: a
pencil stub inserted and glued to a metal thumb tip. Furthermore, I was a
stand-up performer, and I thought the boon writer was for dose-up tricks.
Eric surprised me by making me what he called a "super boon." Rather
than using a piece of lead, he inserted a piece of black crayon into the gimmick.
Then he taught me how to position the boon in the center of my thumb and
H7
 BARRIE RICHARDSON

how to usc it. He gave me a wonderful writing instrument, one I still have, that
allows me to write sccredy a few numbers or letters on a piece of cardboard.
and these letters almost pcrfccdy match the color of a black felt-tip marker.
Several of the platform tricks in this book were developed by me after
I learned how to usc this instrument.
In planning this new printing of A Boon for All Seasons, I thought it
might be a good idea to invite my mentalist friends who arc c:xtrcmdy compe·
tent in using the boon (Bruce Bernstein, Marc Salem, Michael Weber, Tony
Binarelli and others) to contribute some of their effects and techniques in
a new chapter or epilogue. After some consideration, I decided against this.
We never meant this booklet to be the final word, but rather a pathway
for others to discover uses for what Eric Mason called "The Greatest Little
Gimmick in the World."

A FINAL NOTE
Eric Mason was, for many years, not only my best friend in magic, but also
my best friend in life. Unlike most British men-maybe men in general-
he was willing to share, as was I, family concerns, aspirations and fears. We
exchanged letters every few months for many years, and we delighted in
trying to fool each other each spring when we met in London, where we
always spent hours talking about mentalism and developing new effects.
The last time I saw Eric was on a balmy night early in June, 1986. I was
scheduled to fly home the next morning. We enjoyed a nice meal at a lovely
west-end restaurant, and then I walked with him to his car. I extended my
right hand and I intended to shake his hand, wish him well and remind
him to answer my letters more promptly. He pushed my hand aside and
wrapped his big arms around me and hugged me-and then, as we pulled
apart, he kissed my cheek. He lifted his right hand palm-up,looked me in
the eyes and said, "Cheers, Barrie." And then he got in his car and drove off.
Eric died a few months later. An irony was that he shared almost every·
thing with me, but not a thing about his terminal cancer.
Every rime you create a small miracle for appreciative persons with his
boon writer, I hope a small voice in you gives a thank you to Eric Mason-a
man for all seasons.

Eric's dedication of the book to his wife Eileen, is something for all of us
to think about.
"For Eileen, before it is too late."
88
 . .,.___.-.•. _••__._•.•-·..
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HIS CHAPTER deals with interactive demon-
strations and effects that you might do afi:er dinner
or in other intimate settings, where everyone can
see the items being used in the "experiments."
Unlike my platform or stage routines, these
presentations are not tightly scripted. Instead, they
allow room for the commwtication of instructions
in a fashion that suits the environment as well as
the age, gender and background of the group. Pat-
ter, as is always the case, should be adjusted to suit
the situation and the personality of the performer.
Take, for example. the first routine, "Symbol-
ogic Revisited." I present this as a straightforward
demonstration in which a helper's intuition is
surprisingly on target. Another performer might
choose to emphasize psychic powers (which
I never do), or to revi.~e the effec t to ap pear
as if he is influencing the action s of the par-
ticipant, or to give a surprising example of group
decision-making.

') I
 iJAJUUE RlC:HARDSON

This type of entertainment requires different skills and a different type

of sc:lf-confidc:ncc: than those: of a stage performance. I am much more:
comfortable: on the platform in front of hundreds than I am in intimate
settings. Part of this, I bc:lic:vc:, is that I was a teacher for forty years and I
love: being in front of the: group-especially when I know where: we arc
going. Off stage:, I tend to be quiet, introverted, certainly not a trickster;
and I do not like: being the: center of attention.
But, even at my age, I am learning.
Afier all that, the: good news is that these four effects almost speak for
themsc:lvc:s. I hope: you can fashion them to fit your style: and personality.

92
 SymbghJgic
Revisited
THIS ROUTINE is one in which the participant is successful in intuiting the
colors of unseen objects. The experiment is done first with three choices and
then repeated with five. The second matching is the more dramatic and, if
desired, can be performed without doing the first phase.
EFFECT AND PRESENTATION: The performer opens a small purse and
dumps ten quarters from it onto the table. There are round stickers on the
tails sides of all ten coins. These stickers are colored to make two corre-
sponding sets of coins, each set consisting of a red, a white, a blue, a green
and a yellow coin.
·Marked coins like th~se ar~ us~d in statistics courses to d~monstrate how
most ofus incorr~ctly estimate the probability ofevents. Let me show you an
exp~riment."The performer pushes three of the coins to a woman sitting
opposite. Assume they are red, white and blue. He picks up the three match-
ing coins and hides them from view in his left hand. He next removes one
and places it colored-side down on the table, so that no one can discern
the color.
"Your job is to use your intuition and try to guess the color on this coin.
Simply push oM ofyoursforward to declar~ your choice.•
 BARRIE RICHARDSON

The woman pushes one across the table; say, the white one. The per-
former sets it, colored-side down, on top of his quarter.
This procedure is repeated twice, accompanied by some urging that
the woman follow her intuition as she tries to match the unknown color
of each of his coins with one of hers.
The three pairs ofcoins are neatly stacked, each on the last, into a single pile.
"What is the probability that allyour selections have been correct! Well
this is how it works. Thefirst choice-the white coin-was one chance in three,
right!" Holding the stack in his hand, the performer removes the two bot-
tom coins and sets them on the table, with their colored sides still down.
"For the secondguess, you only had two choices, remember!" The next pair
of coins is removed from the stack and similarly tabled.
"Now here is the point most people miss." He sets down the remaining two
coins. "The probability ofgetting all three right is what-one out oftwenty?
one out offifteen? No, it is one out ofsix. Let's see how you did on yourfirst try."
The first two coins are turned over. Their colors match. "Good guess!
Look, the secondpair also matches. That means the last two have to-match!"
When this has sunk in, and the situation has been appreciated, the
performer continues. "Let's try to raise the bar. We'll use allfive pairs of
coins." He picks up one set of five and places them colored-side down in
his hand. He then lays the remaining set colored-side up in a row in front
of his intuitive helper.
After some hesitation, the performer places one of his quarters,
colored-side down, on the table. The woman pushes a colored coin of
her choice forward as her guess. As in the first test, the performer turns
this coin colored-side down and stacks it with its target coin. This is
repeated twice.
The performer sets a fourth coin colored-side down on the table. "Please
placeyourguess colored-side down on this one." As she is making her decision,
the performer neatly and fairly assembles the previous three pairs of coins
into a stack.
By this point, the woman has elected her fourth choice. "You did that
one with more certainty. Now put your coin on top ofmine-and place those
two onto these." In concert with his instructions, he points to indicate she
should place the fourth pair onto the stack of six previous coins.
':And now put your last coin on mine." The performer places his final
coin colored-side down on top of the pile, and the woman does the same.
"How well did you do? Two out offive is average."
94
 CURTAIN CALL

The performer picks off the top two coins and sets them to his right.
He places the next pair beside these, then the next and the next, forming
a row of five pairs. These, and all actions are scrupulously fair and open.
"Now help me. I don't want to disturb any ofthese pairs. Please turn over
the top coin ofeach."
She does so, showing her five colors. These are in the order she dispersed
them, as they should be, though this isn't mentioned.
·Turn this one over," the performer says, indicating the first ofhis coins.
It matches.
"And this one." Another match.
"And this one... Again, a match.
This is repeated, and all five pairs are seen to match. The result is aston-
ishing, and there can be no trickery. All the coins are lefi: on the table, as
all are innocent.

METHOD: Hen Fetsch's wonderful trick, "Symbologic," was released in

1954. It is still an amazing trick. But there are some things that, in my
opinion, make the treatment of"Symbologic" I've just described even more
amazing. First, using coins seems somehow inherently less tricky than using
playing or ESP cards. The coins also make a tall stack, which appears to
prevent sleight-of-hand. And there is the sound made as the quarters are
slid and turned over, which somehow adds an extra dimension of honesty
and conviction.
Initially I marked the faces of the coins, so that all of them could be
placed colored-sides down during the pairing phases. This, though, often
created difficulties, caused by my poor vision and circumstances of light-
ing. I've found that leaving the helper's coins colored-sides up does not
weaken the effect. In fact, it has the advantage ofstimulating the onlookers'
interest. In addition, the correct sequence of the selected colors is noted
by close observers. And as the coins are unmarked, there is nothing suspi-
cious to find.
The basis of the method is an expanded quarter shell, head side intact,
and the ancienr one-behind strategy.
Phase 1-lhree Matches
The first phase doesn't use the shell, so you keep it safely hidden for the
time being. An easy and practical way of concealing it is simply to nest it
over one of the quarters that is not used in this phase. Alternatively, you
can keep it on your lap.
9S
 IURRJ.f: RJcJURDSON

lhc particulars of the handling arc based on those taught in Douglas

Dyment's "Bob's Your Uncle~ (sec his Mindsights, p. 28), which in tum is
a variation of a Charles Pecor idea ("Bob's ESP Demonstration'" in Pecor's
Sinister Variations, p. 5).
In your hand, you hold three coins with colors marching those given
your assistant. To start things off, you place one of your coins down with
rhe color hidden on the underside. Assume it is the white coin, although
it could be any one you like. Take care that no one sees the color as you
remove the coin from your dosed hand. Ifyour helper pushes her white coin
forward to join yours, think to yourself, "Match.~ Ifnot, think, "No match.'"
For now, I will proceed on the assumption that the colors of this first
pair ofcoins do match. We'll discuss later what happens when they do not.
Cleanly turn your helper's coin colored-side down and set it onto your
coin. Next put down a second coin; let's assume it is the blue one. If you
are very lucky, and the participant pushes forward her matching blue one,
the effect is an automatic success, since the third pair of coins must match.
Suppose that either the first pair of coins or the second do not match.
Think, "No match" to yourself. As soon as you get a "No match," follow
the one-behind rule, choosing for your next coin that which matches the
previous color your helper has pushed forward.
When your helper pushes out her next coin, it cannot match yours, so
you continue the one-behind strategy to the end.
While your helper makes each new decision, you turn the coin she
previously picked colored-side down onto its target coin, the one your
helper hopes to match. This eventually creates three piles of two quarters,
all colored-sides down.
Gather them into a single stack, placing the center pair onto the first,
then the coins last paired onto the four just stacked.
As mentioned earlier, sometimes the matching happens honestly. The
rest of the time you will have to resort to a little simple sleight-of-hand. The
key move is a version of the glide, adapted to coins.
Grip the stack at the fingertips of your palm-down left hand. Suppose
you know that the bottom two coins match. In that case, you simply slide
them one-by-one off the bottom of the stack and place them on the table. If,
however, they do not match, your right fingers secretly push back the bot-
tom one about a quarter of an inch. Pull out the two coins above it, one at
a time, and place them together, colored-sides still downward, on the table.
You will have to do this twice if none of the three pairs match. The third

96
 CURTAIN CALL

pair always matches, once any necessary adjustments have been carried out
with the first and second pairs, so these last two coins are simply set down.
Ifthis explanation seems complicated, please go through the procedure
two or three times and you will discover how easy it is. All that is required
of you is that you do the glide whenever you think, "No Match."
Phase II-Five Matches
The second phase translates Hen Fetsch's method for ESP cards to an
equivalent one for coins. Instead of a hidden extra card, we use a shell to
perform the same secret function. Pick up one set of five differently colored
coins, including the one wearing the shelL
First place one of the coins colored-side down on the table-then
apparendy change your mind. Pick it up, allowing it to be seen on both
sides without mentioning the color. Replace it in your hand and set the
shell on the table instead. The innocence of the first coin is transferred
psychologically to the shelL
You will again rely on the one-behind principle. For example, if your
helper pushes her blue coin forward for her first selection, you set your
blue coin out, colored-side down, as your second target. If your helper
then pushes forward her red coin, you lay out your red coin for the third
target. Let's a.~sumc she pairs this with her green coin. As she considers and

9i
 BARRIE RlCHARDSON

makes each ofher choices, you turn her

previously chosen coin colored-side
down and stack it with your target coin.
While this procedure seems identical to
that used in the first test, there is a small
modification that seems inconsequen-
tial ifit is noticed at all. As you stack the
first pair, you set your coin (the shell)
over hers, rather than the reverse. In
addition, when you set the shell onto
her coin, don't let it nest; rather, let it
rest on the coin, overlapping it while
one edge stays in contact with the table.
Stack the other two sets of coins as you have before, hers on top ofyours.
You may leave these pairs arranged similarly to the first. The imponant thing
is that your actions look entirely fair and casual.
Set out your green coin (as her last choice was green) for the fourth
target. While your helper is making her fourth decision, casually assemble
the previous three pairs ofcoins, as you did in the first test. As you stack the
second pair onto the first, squaring the coins, the shell automatically slides
over the bottom one, covering it. No one ever notices there is one coin less
in the pile than there should be. Then set the third pair onto the others.
By this time your helper will have set down her fourth coin. Ask her to
turn it colored-side down, put it onto your fourth coin and place the pair
on top of the stack.
Everyone believes you have only one coin lefi in your hand. In fact, you
have two. As you focus your attention, and everyone else's, on your helper's
stacking ofthe coins, slip one ofyour remaining two into right-hand thumb
palm. You can then casually flash the silver side of the remaining coin in
your lefi hand.
The woman's actions provide exceptionally strong misdirection, during
which you place the coin in your lefi hand either under or over the thumb-
palmed one. The order of these last two coins is determined by the color
of your helper's last coin. The top coin of the two you are holding out of
sight must match this color. Immediately but casually set both coins onto
the stack, as if they were one. When you do this, slide the top coin slightly
out of register with the rest, making it look as if you've set just it on top.
This furthers the impression that you've deposited only one coin, although
there should be no suspicion of anything else.
98
 CURTAIN CALL

Ask your helper to place her final coin on top of the others.
Now remove the top two coins as a unit and place them well to the right
on the table. Take off the next pair and set them slightly to the lefi of the
first pair. Continue to remove the coins in pairs from the stack, forming a
row. The final pair, the bottom coin ofwhich wears the shell, is not moved.
Arrange matters so that the others form a straight line with this pair. Now
ask your helper to turn over the top coin of each set and place it in front
of its mate. When the coin over the shell has been taken off, casually place
your lefi fingers on top of the shell for a moment. Simultaneously, place your
right fingers similarly on the corresponding coin at the right end of the row.
Slide both coins forward an inch or so, while pressing your lefi fingertips
down firmly on the shell. It should look as ifyou are tidying up the display.

eo

When you raise your lefi: hand, the shell will stick momentarily to your
fingers and is secretly stolen away. This works perfectly ifyour fingertips are
slightly moist. Move the shell into classic palm before it can fall, or simply
curl the fingers loosely, letting the shell rest on their tips.
You are now ready for a dramatic revelation, afi:er which everything
can be examined.
7he Magician
August/September 2006

99
 A _Glim_pse
illMilmn
THIS IS MY FAVORITE mind-reading effect using a deck ofcards. The effect
is classic: A person thinks of a card, and the performer discovers its iden-
tity in a dramatic fashion. What separates this demonstration from other
card divinations is that it can be done with a borrowed deck-which the
performer is never perceived to handle.
The revelation of the "thought-of" card is presented in such a fashion
that everyone present believes an actual demonstration of thought transfer-
ence has been witnessed.
The method used for this modest miracle, like many memorable effects
in magic, is simple. Yet it is not an easy trick to do well. The performer must
be able to control the situation without an appearance of doing so, and he
must be able to drama~ his apparent ability to receive someone's thoughts.
This might be one of the most enigmatic demonstrations of thought
transference you will ever do. I hope it works as well for you as it has for
me over the past thirty years.

EFFECT AND PRESENTATION: The performer isat a private party in a home.

uMay I borrow a deck ofcards?"he asks.
100
 CURTAIN CALL

The hostess produces a deck, but the performer holds up his hands,
stepping back. "No, I don't want to touch the cards. J# are going to try an
experiment in thought transference. The only reason we are using cards is that
I have found this is an excellent way to have a person focus her thoughts on
colors and patterns.
"Martha, wouldyou like to try this experiment? It may not work, or it may
work just partially. But we have an opportunity to produce some memorable
results. Let's give it a try.
"Will you remove the cards from the case and mix them up? Now, place
the cardsface down on the table in front ofyou.
"Pkase cut offabout a third ofthe cards-and place this portion to the
right ofthe deck. Now lift about halfthe remaining cards-andput this stack
on the lift.
"Let's call this stack on your left Number One, and the middle stack Num-
ber Two, and the stack by your right hand Number Three.
"Pick up Stack Number Two, mix the cards-andput them back on the table.
"Good. Now mix Stack Number One-and return it to its position on the
table. Andgive Stack Number Three a little shujfle in the same way.
"Remember, this is Stack Number One, this is Stack Number Two and
this is Stack Number Three:
The performer now stands several feet back.
"Martha, please select a number: one, two or three."
·Two; she says.
•pick up Stack Number Two and spread it with thefaces towardyou. Think
ofone ofthe cards you see infront ofyou. You can changeyour mind ifyou like.
"Now remove that card-and return the rest ofthe cards in your hand to
the table. Please don't let anyone see your card.
"Look at it. Please say the color toyourselfin your mind. Say it over and over.
"Now-just toyourself-say the suit. Now the value, such as Six or Queen."
Still standing away from the table, the performer instructs Martha to
place her card on top of Stack Number One. She is chen asked to pick up
Stack Number Three, mix it and place it on top of Stack Number One.
Then she is cold to pick up Stack Number Two, mix it and place it on top
of the rest. Finally she is asked to cut the cards in half. complete the cur
and square the deck.
The performer looks at her, and in a serious tone asks, "You definiu~y
have a distinct card in your mind? Good. Let's start the experiment."
101
 BARRIE RICHARDSON

He comes forward, picks up the deck and looks around for the card case.
He sees it and asks a member of the audience to return the cards to the case.
Standing in front of his assistant, he says, "/want you to relax. Forget
that there are other persons here.
"Please extend your right arm in font ofyou, palm down. Now shut
.your eyes."
The performer extends his arm and places his hand under hers.
"Please just think ofthe color: red, blade, red, black. Open your eyes. The
color, I believe, is red."
She nods.
''Now the suit."
The action is repeated: "Diamonds or hearts, diamond or hearts."This
time, the performer barely touches her hand with one of his fingers. Yet
somehow he seems to be receiving information.
"Open your eyes. Martha, you have a heart in mind. Right?"
She nods nervously.
The performer pays no attention to the audience. His total attention is
directed to Martha. Standing back, he asks her again to relax.
"You either have a picture card or a number card in mind. An Ace i.s a
number card. Watch my hand."
The performer extends his arm waist high with his open hand held palm
down. He slowly lifts it to shoulder height and says, "Picturecard."Then he
lowers his arm. "Number card.
''It's a number card," he says with trepidation. She nods in agreement.
He remains totally serious and focused. "Watch my hand." He moves
his hand slowly downward, saying ';1ce, Two, Three, Four, Five, Six, Seven,
Eight, Nine, Ten. "This action is repeated. He is intently watching Martha's
eyes and facial expression.
"It is either a Six or a Seven. Martha, I think the card in your mind i.s a
Seven-the Seven ofHearts."
Martha is stunned and relieved as she affirms that this is the card she
was thinking of. The mood in the room changes. The performer relaxes,
smiles warmly and shakes her hand as he congrarulates her on her success.
METHOD : Even though the demonstration appears totally fair, you learn
the identity of the selected card before the effect, as it is perceived, begins.
The card is glimpsed when you pick up the deck and innocently hand
the cards to someone to put back in the case or out ofsight. The secret that

102
 CURTAIN CALL

makes this glimpse possible is based on Herbert Milton's classic location

"Sleight of Foot," which employs grains of salt as its secret. We do not usc
salt, though. We substitute a modern product that produces a result related
to the centuries-old slick card of card cheats. The substance is a minute
amount of slippery powder. This powder is made up of tiny beads that act
like ball bearings, and surprisingly few of these, put on the right spot, will
do what we require.
Roughly forty years ago, substances ofthis sort were discovered by magi-
cians, who quickly saw how they might perform the job of salt in Milton's
trick, but were more invisible. Ken Brooke gave me a supply back in the
1970s, and so little is needed for each performance, that modest amount
has lasted me to the present day.
I no longer usc the slippery powder sold in magic shops. There is a
disadvantage to this powder. It tends to remain on the cards, and if you
don't wipe ir off there will be a "slippery spor" for some rime. This is not
desirable, especially with a borrowed deck.
The material I now use is an industrial product made of glass beads so
small they are like fine sand. They act like little ball-bearings and are per-
fect for our purpose. Their special virtue is that they roll off the card and
therefore don't affect the deck.
These glass microbeads are used for sand blastingconcrerc and painted
surfaces. They are also used in concrete when a surface is desired char reflects
headlights. Several companies manufacture them, including Zero, Flex-o-
lite, Potters and Cataphote. I use Zero's 801-208 grain size. You can find
a source for these products on rhe Internet. (I used to have to purchase
fifiy-pound bags of the stuff.)
For performance, carry a small amount of these beads in a little screw-
top container or a pill container with a snap-on lid. The powder will slip
out of an envelope or any container that isn't perfectly sealed.
Before you are ready to perform this effect, secretly open the con-
tainer and take a pinch of the material between your right forefinger
and thumb.
If you follow the action evident in the description of the presentation,
most everything should be self-evident. Here is the: main detail you need:
After the: cards are mixed, you point with your left index finger at the
three stacks, moving from your right to your left. "Remember, this is Stack
Number One, this iJ Stack Number Two and this is Stack Number 1hree. "As
you point to Stack Number Three, lean forward slightly and brace yourself
by lightly .~c:tting your right forefinger very briefly on the back of Stack
10~
 RARRlE RICHARDSON

Number One. In doing this you

secretly deposit some of the
microbcads there. Attention
is on your left hand, which is
pointing to another stack, and
nothing-as far as the audi-
ence can sense-has happened.
With practice, you will find
that it takes a very light swipe
to leave enough material on the
top card to do what you need.
The whole procedure seems
entirely fair, and it almost is. The
card is selected from either Stack
Number Two or Three. Stack
Number One is rarely chosen;
but if it should be named, just
say, "Fine, take a cardfrom Stack
Two or Three-and now place it
onto Stack Number One.,
There is a danger. Ifyou put too much powder on Stack Number One,
when the deck is assembled it will tend to slip around like a Haunted Pack.
With a litde practice, you will learn how to deposit just the right amount.
Have your helper put the card she chooses onto Stack Number One.
This puts the microbeads under the selection. She sets the packet from
which she has taken the card back into its place. You then have her pick up
the other stack, shuffie it and put it onto Stack Number One. She mixes
the remaining stack next, and puts it onto the rest of the deck. She then
cuts the pack in half and completes the cut.
Your instructions must be clear. Note that Stack Number One is not
shuffied after the selection is placed onto it. However, all the subsequent
mixing leaves everyone confused; and you are several feet away when the
cards are assembled. You can have the deck cut more than once, but a danger
arises that the selection will be cut to the bottom. I have the deck cut once
near center, which places the selection roughly a third down from the top.
We now come to the final bit of subterfuge: the glimpse.
The best way to understand how the "slick glimpse" works is to tty it.
Use your palm-down lefi: hand to pick up the deck, and turn the hand palm
up, which brings the deck face up.

104
 CURTAIN CALL

Do not look at the deck. Instead, put your right hand into your pocket
to retrieve the card case, or reach over to pick it up, or just hand the deck
to someone.
In the process, if you tilt your left hand slightly downward and relax
your grip slightly, the cards will slide apart, exposing the inner index of
the chosen card. You only want
the cards to slide a very short
distance; just enough to identify
the card with certainty in a pass-
ing glance. The left fingers then
tighten, squaring the cards and
eliminating the step. Ifthe cards
are old, you may have to encour-
age the sliding by giving the deck
a slight backward jerk.
To the audience, it should seem as if the cards are no longer relevant.
Don't rush to pick them up or to return them. Do not spread them, cut
them or in any way disturb them. It should seem as if you could care less
about them. You simply want them out of the way, so that you can get to
the experiment.
Do yourself a favor. Don't do this as a quick card trick. Invest in the
presentation and you will find you have acquired an extremely powerful
effect in your repertoire.

lOS
 The Devil's
Dicti_onnry
THERE ARE so MANY, many book tests, and the number grows every year.
A number of them are not terribly good, but with such an abundance,
after eliminating the poor ones, we still have lots of good and great ones to
choose: from. It then becomes a matter ofpicking the right book test for the
performing circumstances. One method may be a better fit for a particular
venue than others, and with a change: in venue or audiences another method
might be the best. I don't submit what follows as the best book test ever
conceived. But for certain circumstances it offers benefits that make it an
attractive choice. It has served me well.

EFFECT AND PRESENTATION: The performer holds a book out vertically

near shoulder height, with the front cover facing him. Gripping it in his
left hand by the spine, he riffies the pages from back to front off his right
forefinger and stops randomly, opening the book slightly. He explains
that in a moment he will turn his head away and invite his subject to riffie
through the pages and stop anywhere he chooses-and he: may change his
mind if he likes. The book will then be opened at the chosen page and the
person asked to memorize the first word, which the performer indicates
on the sample: page: with his right forefinger.

106
 CURTAIN CALL

Ifnecessary, a test run can be done to ensure that the person understands
what he is to do. This has the added benefit ofdemonstrating that the words
stopped at are all different.
Eventually a random page is selected and the first word noted while the
performer turns his head away. When the person has memorized the word,
the remaining pages are riffied through right to the top cover, to display
that the book is really closed.
The performer may then create a telepathic connection to reveal the
word, or he may use the information as part of a more complex test.
Several people can be invited to select different words in this manner.
All appears totally fair and above board, yet the chosen words are known
to the performer.

METHOD: This is an extension of Paul Curry's wonderful telephone-

directory divination, "Out of This Phone Book; which first appeared in the
Februacy4, 1944, issueof7he Phoenix (No. 53. p. 216), and later in Magic
as a Hobby by Bruce Elliott (1948, p. 182). My friend Larry Becker took
the basic principk then cleverly refined and enhanced it in his marketed
trick "Flashback." My approach differs from those of both these gendemen
in that you do not glance at the adjoining page to discover the chosen word
while the book is open. The "crib word" is written on the same page that
bears the chosen one, and when you sight it, the book is shut. This permits
you to turn your head honestly away while the participant freely selects a
page and notes a word.
A drawback to my method is that, unlike Larry's "Flashback," the book
cannot be examined or freely handled by a spectator. But my version has a
compensating advantage: It does not require a specially printed book, so it
may be adapted to any pocket-sized paperback or small-format magazine
you wish, and that publication may be chosen to connect with a particular
audience or event.
Hardcovers will not work properly, as a certain flexibility to the
book is necessary. The size of the book or magazine is important. It
should be sufficiently narrow so that it can be held in your hand in
the same way you hold a deck of cards for dealing. This is necessary. as
you will be catching and holding a little-finger break between pages,
just as you do when a card is peeked at. You will find the book can be
considerably larger than a normal pack, but its width will be limited
by the size of your hands. For most performances, I use a soft-cover
Wtbsttr's Pocket Dictionary.

107
 BARRIE RICHARDSON

Go through the book you have sc:lected and at the bottom lcfi: corner
of each lefi:-hand page boldly copy the first word on the page, using block
capitals. Your writing must be large and thick enough to be read easily at
arm's length.

----
..,-·-
-- ---... . . , ~-

;¥t;J~
;:?.!.-- -=::-:_ ~..~ ~

I I
I

I
H
------
-~ ~=:. ~ ~-- S.f£
_..,.,.
- ___
.::· - . ---
~ ~:-.--...::::=::-::: ~....-
-::..::-::-:.::-.:·.=..-.
~_,_ .... -
...........
~
.-....--:--~

~-- ~- ..
.....

-=:=:...:
·---=---..:-=-- ..• ,.~ ~ ~: ---- ~_: ::= :-:_-.=;,
.:...:.::... .....__.:-___ ::-..:..::.:-::.."" .. ---·
- --·--- ...... ..___._ -:::.::-:- ---
;::;::::J- -

Once you have prepared all the lefi:-hand pages, the book may be used for
countless performances and in almost any situation from close-up to stage.
Invite someone to participate in an experiment, asking for an avid
reader, as he will be asked to picture a word vividly in his mind. Don't forget
the excellent advice to choose someone who is wearing glasses, so that they
can easily read the chosen word.
To have a page and word selected, hold the book with its spine in the
fork of your lefi: thumb, and with your fingertips at the right edges of the
pages. Raise the book to chest or shoulder height, its front cover turned
toward you.
Place your right forefinger on the top right corner and pull back, riffling
off the pages from the back of the book to the front. Stop at a random spot,
pull the book slightly open and use your extended right forefinger to point
toward the first word on the page, explaining to your subject that he is to
remember that word when in a moment he chooses a page. Your other right
fingers, loosely curled, cover the crib word at the bottom corner.

108
 CURTAIN CALL

Let the pages close, then tell your hdper to call stop whenever he wishes,
as you riffle through the page corners again. Alternatively, you may let him
push open the corner of the book himself at any point he likes. In this case,
exert sufficient pressure with your left thumb to prevent the pages from
opening too widely, exposing the crib words. You may also hook your left
little fingertip around the bottom corner for further protection.
When a page has been selected, open the book a bit wider to allow the
person to read the word. While doing so, use your right hand, as you did
before, to cover the crib word at the bottom as you point to the area where
the first word lies.
, ,,,----- .............
After the person has read the word,
-~
ease the gap in the book gently closed,
at the same time catching a break with
your left little finger. Immediately riffle
the pages above the break off your right
fingertips in a casual gesture of letting
the book close. All this is done while you
keep your head turned away, eyes averted.
Now comes the fun part. Lower your
arms until you are holding the book hori-
zontally at waist height. As you remove
your right hand from the book, slip your
left thumb beneath its left side and ftip
the: book over, bringing the back cover
upward and the spine: to the right.

109
 Ji4RRJE RlCIURDSON

During this casual rotation of the book, yow litde finger maintairu the
break, its tip entering it; but since this occurs at the inner end, the audience
can't sec it. As a consequence, the bottom corner of the book is wedged
open, revealing the boldly written crib word. It takes only an instant to
glimpse the word and withdraw your finger.

My friend, the late Tim Conover, suggested a method of sighting the

word that I prefer. Rather than looking down to get the peek, extend your
palm-up right hand at chest height and arm's length. Place the apparendy
closed book onto it, getting the peek en route, and then say, '"Pleaseputyour
hand on top ofthe book like this!" Demonstrate by laying your left hand on
top. which naturally releases the break; then drop it away allowing your
helper to do as you've asked.
Now turn on the drama!...
The Magician
December 2004

110
 Sp_u_u-]{ey
IN 1945 I PURCHASED an old trick called "The Spooky Key." For my fifty
cents I received two "back-door" skeleton keys and instructions on how to
make the weighted key rotate in a spooky manner. Over the years I worked
on this trick, building its basic effect into a routine that raised the level of
mystery. I eventually published this in the March 1983 issue of Pabular.
Later it was included in Theater ofthe Mind (p. 64).
Shortly after this I discovered a tool that allowed me to increase the
mystery substantially. I've fooled almost every magician who has seen me do
it. This is not due to any great presentational skills, but rather to the method,
which makes the key's movement utterly perplexing. Many magicians have
examined the key and asked who made the mechanism, chinking is was a
high-priced mechanical prop. It is nothing of the sort.
This is an effect that can be done almost anywhere. I have performed
it as an after-dinner table stunt, standing in a living room with people all
around, and as a dramatic demonstration on television.
There are few tricks that can be done in almost any environment and
that are appreciated by persons regardless of culture or language. This is
one of them.
The patter idea I usc was inspired by Robert E. Neale's Mlhe Key in the
Door" (in his Triclu ofthe Imagination, p. 191 ).
Ill
 BARRJ£ RlcHARDSON

EFFECT AND PRESENTATION: The performer tells a story about a visit

he and his cousin made as boys to an abandoned asylum for the insane in
Lake Geneva, Wisconsin.
"According to /~gmd, on~ ofth~ rDoms was cailed "1h~ D~ath &om."Ibis
was an ar~a wh"~ ~xtrem~/y sick or difficult r~sidents w"~ p/ac~d and left to
di~. In th~ door th~r~ was a !try.
"[took th~ k~y," the performer displays it.
"You will notice th~r~ is no manufacturing stamp on th~ key. It is shiny
and looks new, yet its metallic m.tfuup is not ~asy to ana/yz~.
"1he !try has an unusualproperty. Som~how it can animat~ its~lf Mayb~
all th~ wails and scr~amsfor help that cam~from that room ar~ embodi~d in
it. Maybe not."
The performer places the key across his outstretched palm and closes
his fingers over it.
With no further movement of the fingers, the key slowly rotates, turn-
ing a hundred and eighty degrees in a very spooky fashion.
He opens his hand and shifts the key until the bit end protrudes on the
side near the thumb, and the oval grip lies on the palm. The fingers again
dose into a loose fist.
Slowly the key moves laterally from west to east. It not only moves
through the hand laterally, but it also ever so slightly moves inward as it
continues its spooky journey. The performer's hand remains totally immo-
bile throughout this.
He asks a woman nen to him to grasp the grip of the key, which now
extends from his hand. She does, and the performer opens his hand. All is
innocent. His hand is empty. and the woman is left holding the key, which
she may examine.
The key is retrieved and is placed again on the performer's open hand.
This time, while the hand remains open, the key slowly rotates.
Finally, it is dropped onto the table and left for anyone who wishes to
look at it.

METHOD: There is no ghost in the key.

There is instead a hidden motor.
The key, as mentioned, is of the old skeleton-key variety and is unpre-
pared. It does, though, have certain properties. The first is that the shaft
must be round and smooth. The second is that the grip of the key incon-
spicuously outweighs the bit, acting as a counterbalance so that the key

112
 CURTAIN CALL

will roll when the hand is given a slight and indiscernible tilt. Those who
have done the old Spooky or Haunted Key effect will know exactly what
is required. Suitable keys can be purchased from some locksmiths who
maintain a stock of antique keys; or from the many magic dealers who still
sell the "Spooky Ke( trick.

The hidden motor is a particular type of elastic band, which is worn on

the ring finger under a ring, and is hidden by it. You must wear a ring, but
it needn't be a wedding band.
The elastic band I'm currently wearing has been there for over two years.
I like the idea of always being prepared. You may choose to put the band on
only when you want to do this trick. In that case, you can keep the band in
a small envelope or wrapped around the key.
The band is not a common rubber band. It is made from an elastic
material that is extremely strong and durable. I use a material I purchased in
commercial-sized rolls from the Rhode Island Textile Company. Unfortu-
nately, I don't think they sell any longer to individuals. Many sewing scores,
though, sell a clear elastic banding by the yard. I believe this material is used
for making elastic waistbands in garments that require sturdy support. Try
to gee the elastic that comes in one-eighth inch widths.
You may have some trouble cutting this material properly. I have given
lengths ofit co several magicians, and they were unable to create a ring with
a knot that wouldn't pull out. (Glues will not work.) The primary reason
for the trouble is that they don't pull the knots eight enough. This material
is so strong you can pull on it much harder than you think.
You may have to make two or three rings before you get the knack. You
don't want too large a ring or it will be seen when you open your hand. Your
objective is co tie a small loop that fits snuggly on your ldi ring finger. It
must not cut offcirculation, but it should be tight. Here is how you fashion
these rings.
I. Take a length of the elastic material and double it over. Holding
both ends in one hand and the middle in the other, and tie a loose
overhand lrnot, forming it to cinch below a loop in the middle

IL\
 BARRIE~CHARDSON

approximating the circumference of

your left ring finger. As I've mentioned,
the loop must be a snug fit. If it looks
too large, you may be able to adjust it by
pulling on the ends. If not, begin again.
2. Now that you have tied a loop of the
proper size, hold the two strands in
one hand, and the loop end near the
knot in the other. You must now pull
the single knot hard-and when I say
hard, I mean hard.
3. Having fixed the knot tightly, cut off the
ends, leaving about two inches of each.
4. Tie the loose ends with a square knot
(left end over right end, and then right
end over left) over the previous knot.
5. Pull this square knot extremely hard.
6. Clip off the excess line, but not too close
to the knot. Leave a tiny bit extending.
Slip the band onto your left ring finger, and slide your ring over the
band. The band should be hidden. You are now ready to perform.

There are three parts to the presentation. The first two use the hidden elastic
within the loosely closed hand. The last spooky movement on the open
hand relies on the balanced weight of the key.
THE FIRST ROTATION

While you tell your audience the curious history of the key, you secretly
pinch the hidden band between your right thumb and fingers, and pull it
over your left thumb. This is the get-ready.
After displaying the key, you slip its bit end through the elastic loop,
up near the bit itself. Then withdraw your left thumb. When you engage
the end of the key in the loop, have the bit turned outward, away &om you.
To make the key rotate, you must pull it back toward your body an inch
or slightly farther. In the same action, rotate the bit of the key inward until
it lies flat on the left palm. This, in effect, "winds up" the key. Tension from
the elastic, when unimpeded, will pull it forward, making it turn.
114
 CURTAIN CALL

Get-ready: Set the band

over your left thumb

Inurt the end ofthe

key into the loop

115
 BAR.R/li RICHARDSON

Close your left fingers around the key and hold it stationary. Everything
looks innocent.
Controlling che speed of the turn takes a liede practice. You must gra.du-
ally and imperceptibly release the pressure of your fingers ever so slowly.
When done correcdy, the key will slowly turn a hundred and eighty degrees.
THE CRAWL

After the key completes its

rotation, open your hand
and casually place your left
thumb over the area ofthe
key to which the elastic
loop is attached. Because
the loop is transparent, it
is not overly noticeable,
and the thumb guaran-
tees it can't be seen. The
position is also perfectly
natural in appearance.
Without dallying, push che key to your left, across your open left palm,
until about an inch of it extends past your left forefinger. Then close the
left fingers around the key.

This action looks innocent and arouses no suspicion. The situation

is that the elastic loop is now stretched to the left, and is set to draw the
key back co the right. Once again, it requires some practice to learn how
to release pressure gradually, so that the key doesn't jump sideways. The
fascinating thing is that you can control the movement of the key, so that

116
 CURTAIN CALL

it moves across the width of your palm and also slightly changes the angle
of its path. This can appear quite eerie.
Ifyou now simply draw the key to your right, it will cleanly and quietly
disengage from the elastic loop. Or you can ask someone to do this, which
is my preference.
Once the key is removed, open your hand (the loop is now hidden under
your ring) and show both sides of both your hands.
THE GRAVITY ROTATION

Since most magicians are familiar with the centuries-old "Haunted Key,"
they tend to underestimate how effective this movement can be. Over the
years. many magicians have counseled me to do the turn on the open hand
first. Experience has convinced me otherwise.
The first two movements take place in a closed hand. The last movement
is done with the hand open. I have found this rotation on the open hand
is perceived as totally astonishing-especially after the movements of the
key in the closed hand.
Here is the procedure I've used since I was a boy. First, situate your
left elbow on your left hip bone. That is to say, press your upper arm to
your side and hold your forearm out, forward, at a right angle. Anchoring
your elbow in this way adds to the appearance of your arm and hand being
totally immobile.
The goal is to assume a natu-
rallooking position of the hand
as soon as you place the key on
it. There should be no adjusting
of the key. The spot you select ro
lay the key is right at the edge of
the turning point, the position
of which you will learn through
experimentation and practice.
The balance of the key is such
that a tiny, totally imperceptible,
downward movement will send
the key turning.
The real secret to performing
this final turn is to keep the key
from turning. Many magicians
visibly tilt their hands, which
11 7
 BAJUUB RlCHAJt.DSON

makes the turning force-gravity-obviow. If you place the key right on

the point of balance, you can even curl your left fingers upward slightly,
which gives the illusion of the key turning uphill.
When you wam the key to move, concentrate on it and say to yourself.
uTurn-turn." This not only leads to good theater, but it is sufficient to
cawc the smallest hand movements necessary to make the key tip over. Your
job is to hold it back and make the rotation as slow and eerie as possible.
After the key has turned, tip your open hand slighdy, letting the key
fall to the table. People wUl immediately examine it. There is nothing to
discover.
This effect can have immense impact. It does, though. take practice and
poise to make it truly memorable.

118
 The Bhutnn ]{ey
HAVE YOU EVER HEARD of a place called Shangri-La? Shangri-La is a
mythical country supposedly populated by a gentle and happy people. Ir is
said to be a hidden paradise in the Himalayas. Bhutan is, for many, Shangri-
La. The country lies between India and China, with magnificent mountains
and a beautiful, subtropical terrain. The "Hidden Kingdom" is the size of
Switzerland, with about 700,000 inhabitants, most living on small family

I I <J
 RARRJE RICHARDSON

farms. They are typically industrious, friendly and exhibit immense pride
in their small country, which has never been colonized. During the last few
years, the Bhutanese have moved toward changing their government to a
parliamentary democracy, though mosr of the people don't wish it, since
they admire and respect their king.
They have dc:liberately chosen to protect their own values, customs,
clothing and way of life by having a very restrictive policy concerning tour-
ism. Only a few thousand visitors are welcomed each year.
Janie and I saw this as an opportunity to visit a unique culture. In many
ways it is like a medieval society; before cell phones, the Internet and mod-
ern concepts of finance and trade made their impact. Best of all, our small
rour-group of twelve would see the country not only by traveling their paved
highway, but also by taking hikes on ancient yak-trails to isolated villages
high in the mountains, to glorious bird sanctuaries and to sacred spots and
small monasteries that required some serious hiking.
The Bhutanese practice Tibetan Buddhism. It is the state religion. The
word "practice" might be understood in the sense a serious pianist practices
the piano, or a dedicated magician practices his sleights. Yet, it is more than
that. Buddhism is in the air they breathe.
Every home has a small altar, and everyone prays and meditates each
day. There are, as far as I know, no sermons, Sunday schools, church elders
or common creeds. Prayer flags, chortens (small sanctuaries) and sacred
places are everywhere.
The Bhutanese value honesty, laughter, kindness and concern for all
sentient beings. They do not kill the fish in their beautiful streams or hunt
in their near pristine forests. They believe in reincarnation, a concept that,
at least in one sense, is true for all matter in our universe. They allow feral
dogs to roam as they wish, and these dogs generally howl at night.
This is all background for the experience I want to relate.
There are red-robed monks seen almost wherever you go. There are
nearly 10,000 ordained monks who live in monasteries. They are sent to
the monasteries when they reach five or six years of age. At the monaster-
ies they are all given a basic education and then, depending on individual
aptitudes, they are directed into various artistic pursuits or into advanced
academic srudies.
One morning, we visited the beautiful Punakha Dzong. This is a large
strucrure, a combination of fortress (not needed today), government offices,
temple and spacious monastery. When we arrived, there were young red-
robed students gathered about in the counyard.
120
 CURTAIN CALL

Whenever Janie and I visit exotic places, I try to have a few magic tricks
with me that I can do without preparation and that can be understood
without language. A vanish of a coin, having a pencil mysteriously lift on
my open hand and "Spoo-Key" are three of my favorites.
I approached a group of young monks in the courtyard and held up a
skeleton key. Other students, sensing something interesting was going on,
joined the circle. I placed the key on my open left palm, and then slowly
closed my fingers around it. After a pause, the key started to rotate slowly
while one end of the key was visible in my closed fist. There was no move-
ment of my body. I stared at the key.

I.) I
 BARRil-: RICHARDSON

Next I opened my fingers and showed the key. I pushed it a few inches
to one side of my hand and closed my fingers around it-and the key mys-
teriously moved through my loose fist. As it moved out the other side of
my closed hand, it rotated another quarter turn.
I invited one of the young monks ro pull the key out of my closed hand.
He did. My hand opened and was clearly empty and innocent.
I retrieved the key and placed it on my open palm. Now it slowly-ever
so slowly-rotated. The young monks looked puzzled and some were smiling.
I handed the key to a boy standing next to me and motioned that this
was a gift for him.
Our small tour-group assembled and we walked toward the temple,
where we removed our hiking boots and backpacks before entering this
sacred place. After touring this very famous shrine and hearing three short
lectures on its art, architecture and history, we left through the same mas-
sive doors and gathered our belongings.
There, on the last step, stood the young boy to whom I'd given the key.
He had waited for nearly an hour to return it co me. He bowed his head and,
holding the key in both hands-a beautiful custom of gift-giving-offered
the key to me. I smiled, closed his fingers over the key and indicated to him
that the key was for him.
An hour or rwo later, as we walked back along our hiking trail, some-
thing struck me. These lovely people live in a magic land. They not only
believe in the teachings of Buddha, they also believe in astrology and that
there are spirits in trees and streams. They believe one must always be con-
scious of the right and wrong way to walk around a prayer wheel or how
to show respect to a mountain.
It occurred to me that my demonstration of "Spoo-Key"-which is totally
inexplicable to most intelligent westerners-was not a puzzle or trick to these
students who believe unseen forces are at work in the world. To that boy I
must have appeared to be a person having real magical powers, and therefore
one to respect. Or perhaps he saw me as a person with evil powers, someone
to fear. In either case, this trick at this place and time was inappropriate.
Who am I to challenge or play with the deeply held values and world view
of these children? I am not a shaman, miracle worker or supernarural being.
I decided I would not do "real magic" again on this trip. I kept my word.
Bhutan is a magical and wondrous place to visit. And ifyou go, I would
suggest you go as an open-minded student of a very special culture, and
not as a sorcerer.

122
N THEATER OF THE MIND, I devoted a chapter
to the Card at Any Number problem.Three solutions
were given. Five years later, in Act Two, I described a
way to do this effect that required no memory work,
gimmicked cards or sleight-of-hand.
Over the last ten years, thirty or more magicians
have sent me or shown me their solutions. Many ofthem
made me smile. They were very clever. Of the numerous
methods I'm familiar with, John Born's and Alain Nu's
strike me as particularly noteworthy. One of the most
awe-inspiring approaches I have seen is Charlie Frye's.
On a scale ofone to ten, in terms of difficulty, this is <Ul
eleven. He does it flawlessly, with great ease and charm.
Yet, afi:er all this time, David Berglas's presenta-
tion still stands our in my mind. Over the past thirty
years, he has performed this four times for me: twice
in his home, once in his car and another time: in a
London restaurant. What makes this so maddenl y
inexplicable is that in all cases,! opened the card box,
removed the cards and did the counting.

12')
 BARRIE RlCHARDSON

In this chapter, I am giving full instructions for "The Impromptu Card

at Any Number; which I've marketed and which is being wed by a number
of professional and amateur magicians.
Since releasing this approach, I have developed the routine from a
close-up trick to one I do for large audiences. In fact, I have used it as a final
effect in my program. The methods for me impromptu and stage versions
are almost identical; but there arc considerable differences between the
two in their drama, tension and audience management. Therefore, I will
explain both.

126
 Impmmptu GTid
nt Any Number
(CLOSE-UP VERSION)

HERE ARE A FEW of the features that make this method my favorite.
The demonstration can be performed with anyone's cards and no
preparation whatsoever.
The trick can be done close up, sitting at a table with an intimate group,
or on a platform or stage in front of a large audience.
The effect can be described by a participant in one sentence: uThe card
I thought of was found at the position I selected in the deck."
The effect is stunning and memorable.
Finally, forgive my immodesty in mentioning that this presentation has
batHed some of the best cardmen around. But more significantly, the effect
has, over and over again, delighted my wife, Janie. When a trick passes the
"Janie Test; I know it's a winner.
Although the secret is simple, the actual performance takes skill, par-
ticularly in the areas of audience management and the use of both subtle
and bold misdirection.
I was a college professor for forty-two years, so I know how important
it is to present concepts slowly and thoroughly if you expect others to
127
 BARRIE RICHARDSON

replicate what you arc doing. Anyone who has ever made bread from scratch
knows how important it is to do each step corrccdy if you want to produce
a delicious result. I've also learned that small changes in a recipe can have
large consequences.
My goal here is to help you to be successful. I want you to learn, and
then master, a card trick that you can do at anytime and be confident you
will astonish your audience.
EFFECT AND PRESENTATION: "Wi/l you please take these cards and mix
them up? Thank you.
"Barbara, will you help me out with this experiment? Will you think of
any card-other than a joker-that you wouldfind in a deck ofcards. Most
people think ofa Queen ofHearts or an Ace ofSpades. You can do this or you
can think ofa less popular card, like the Four ofClubs.
"Do you have one in your mind? You can change your mind ifyou wish.
"This is very important. I wantyou to go through this deck andfind the card
you have in your mind. Carefully remove it-and hand the deck back to me."
The performer turns his head while she searches for, and then removes
her card.
"You are absolutely sureyou will remember the card? Jfyou wish, you can
let the person next to you peek at it, butyou don't have to do this."
Holding the deck face down, the performer riffies the corners of the
cards off his thumb.
"Let me know when you want to stop."
She says, "Now."
'51re you sure this is fine?"
"Go a litde further."
The performer does this, and she again says to stop. He has turned his
head away during this. He lifts off the cards above the break, she places her
card on top of the lower packet and he buries it with the cards he's lifted
away. He inuned.iately and casually sets the assembled deck on the table and
gives it a fair riffie shuffie. But he does not push the shuffied halves together.
He leaves them interlaced about an inch.
"Please help me by pushing the cards together."
When she has done this, he continues, "Barbara, I honestly have no
idea what cardyou have in your mind. You can tell by my eyes, the tone ofmy
voice and my body language that I am telling the truth. J#Jmen are so good
at catching men when theyfib."
128
 CURTAIN CALL

Now the experiment begins. The performer picks up the shuffied deck
in one hand, and then enends the forefinger of his other hand.
"'Pretend there is a ribbon hanging in front ofus, and there are numbers
on it, from one at the top to fifty-two at the bottom." He lowers his enended
forefinger along the imaginary ribbon and sets the deck back on the table.
"Please moveyour indexfinger down this invisible ribbon, starting at one,
and stop at any number."
Barbara does this. She selects number eighteen.
"Do you want to move up a little-or down a littler»
"No."
"Your number is eighteen, correct!"
She nods. The performer picks up the deck.
"Please help me count. I will do this slowly and deliberately." Slowly, the
performer counts the cards. He deliberately and openly removes the cards
and lets them fall face down into a pile.
When he drops the thirteenth card onto the table, he says, "I think I
know whatyou're thinking. You wonder ifyour thought-ofcard has been dealt
already. Ifit has, we are wasting our time."
Barbara nods, indicating that such a thought has entered her mind.
The performer turns the pile of cards on the table face up, and at the
same time sets down the deck. Both hands are now used to spread the dealt
cards, so that they may all be seen.
Barbara looks them over. "Only you know your card. Do you see it on the
table?" She does not.
"Let's slow down. This is getting me a little tense.
"J# have dealt thirteen cards, correct?"
He slowly slides the top card off the deck and turns it face up. "Fourteen."
Similarly, he slowly and openly removes the fifteenth, sixteenth and sev-
enteenth cards. There is obviously no deception in the way he handles them.
The eighteenth card is carefully slid off the deck and left face down on
the table. The drama builds.
"I have no idea what cardyou are thinking of What is it, Barbara?"
"The Eight of Clubs," she answers.
"'This is the eighteenth card." He points to it.
The tension builds.
He invites Barbara to tum the card over. She does.
lt is the Eight of Clubs!
129
 BARRIE RiCHARDSON

M ETH oo: The whole process of thinking of acard, finding it and shuffiing
it back into the deck seems totally fair. Yet, by the time the person selects
a number, the covert work is almost over.
The secret is quite simple, and has as its foundation one of the oldest
recorded stratagems for Card At Any Number. The selection is maneu-
vered to a position fifth from the top. Then a small packet from the top
is reversed as it is carried secretly to the bottom with a half pass; and this
reversed group is brought into play for the last portion of the count. Ifthis
sounds complicated or daunting, please continue reading anyway, and you
will find it is not so. As I go through each step, you will see how srrong the
misdirection is at every point when a secret maneuver is done.
You have probably already noticed that throughout the routine, you
refer to "your mentally selected card" or "the card you have in your mind."
Note that when you put the cards in someone's hands and ask him to think
of a card and remove it, the procedure puts everyone psychologically at case.
It seems fair because it is fair.
The replacement and control of the card is an easy and totally decep-
tive affair: a bluff pass. After you retrieve the deck, taking it face down into
left-hand dealing position, you casually spread over four cards from the top
and catch a left little-finger break under them as you resquare the deck.
You now openly riffie the outer left corner of the pack off your left
thumb, asking your helper to call stop along the way. When she does, you
hold the corner of the deck open at that spot for a second, and then you
apparently lift away the cards
above the thumb's gap. When
doing this action honestly, your
right hand comes over the pack,
your right thumb lodges at the
back end, and the right fingers
contact the front end. With this
grip, you then lift off the cards
above the left thumb's gap. Prac-
tice this procedure in front of a
mirror and learn how it looks.
Once you are familiar with the honest action, do this: Put your hand on the
top of the deck in the same manner-thumb at the inner end, fingers on the
outer-but this time, just as you begin to lift the packet, rdease your left thumb's
pressure, letting the gap close. A slight imperceptible raising of the thumb is
all that is needed. At the same time, bring your right thumb into contact

130
 CURTAIN CALL

with the four cards above the

left little finger's break. At the
same time, the right fingers are
naturally on the front edges of
these four cards. Just lift the
four-card packet as you would
half the pack.
Twist your right hand
slightly counterclockwise and
move it near your chest as you
enend your left hand with the
deck for your helper to replace
her card. Also tip the front end
of the deck down slightly, to
obscure its thickness.
When the selection has
been replaced, return the right
hand's packet on top, just as
you would a larger section of
the deck. The instant the four-
card packet touches the top of the deck-and this is a subtlety you should
include-slightly adjust your right fingers to grip about half the deck, raise
this portion an inch or two and sofi:ly dribble it back onto the deck. This
touch enhances the illusion of the upper half of the deck being returned
on top of the selection.
Casually set down the deck.
You now give the deck a cabled riffle shuffle, holding back your top
stock of five (or more) cards and releasing it last. Don't push the interlaced
halves square. Instead, have your helper do this. When she has done so, the
selection is still fifth from the top.
The entire procedure should seem totally fair, and all the procedures
without guile. Yet, while you don't know what the card is, you do know
where it is.
Take the deck face down into left-hand dealing position. You must now
secretly move around seven or eight cards from the top of the deck to the
bottom, turning them face up in the process. This is accomplished with
a variety of the half pass. The mechanics are not difficult and, as you will
soon see, the accompanying misdirection is so strong there is no need for
speed or exceptional skill.
Ul
 RARR!Ii RlcHARIJSON

Holding the deck in your ldi hand, secure a left little-finger break under
the top seven or eight cards. Your right thumb may aid in this by supporting
the small group while the tip of your left little finger slips under the packet.
Your left fingers now gently pull this top group around the right side
of the deck and under it.

What makes this so easy to do deceptively is the strong misdirection.

Having obtained the little finger's break, you must remain relaxed and
focused on the instructions you are now giving your helper. Lift your right
hand above your head and lower it vertically as you explain the imaginary
ribbon standing in the air, which has the numbers from one to fifty-two on
it. Believe me, everyone's eyes will follow your right hand.
Ask your helper to raise her hand, forefinger extended, and to move
her finger down the invisible ribbon, stopping wherever she wishes. Your
full attention is on her actions. You never look at the cards in your hands.

132
 CURTAIN CALL

As she is following your instructions, return your right hand to the deck
and execute the half pass as described. Then set the deck on the table. There
is no need for quick movement or furtive behavior. If you stay completely
focused on your helper's actions, the sleight will go totally undetected. Do
not riffle cards afi:er the half pass or in any way bring attention to the cards.
For those who think you cannot do a half pass, you have an excellent
option. Give your helper her instructions, then turn away, saying, "Don't
let me influenceyou choice,n as she begins moving her hand down the imagi-
nary ribbon. In the action ofyour body turn, you can move the top packet
to the bottom and turn them over in the process. You can even turn your
back completely on the audience, and then turn over the cards. When she
tells you she has done as requested, turn back to her and set the deck onto
the table. The deck must be on the table before the number is openly set,
to eliminate all thoughts of sleight-of-hand.
The number she selects must be more than four but less than forty-five.
The business with the invisible tape assures you that you will almost always
fall within this range. Ifyour helper happens to name a number you cannot
reach, tell her it isn't an interesting number and to choose another. This has
only happened once to me, and it did not present a problem.
Once the number is named, make quite a production of having your
helper consider changing it. "Do you want to move up one? Or down one?"
The deck is out of your hands, and the stunt-from the audience's view-
point-has hardly started.
We'll again assume the number selected is eighteen. Pick up the cards
and stress how important it is that everyone is certain the cards are counted
fairly. You count them slowly, deliberately, openly and face down in an
unsquared pile. Since everything is completely fair, you should feel relaxed
and in total control as you do the counting.
When you are within five cards of the chosen number-in this example,
18 - S = 13-stop. You will now do a move that, while done by magicians
over a hundred years ago, is still extremely deceptive. What will happen is
that your leti: hand turns over the deck as it sets it on the table. Since the
bottom few cards are reversed, the deck appears still to be face down.
If I stopped describing the move at this point, many, perhaps most,
readers would have trepidations about doing it. It seems so blatant. Yet,
I've been using this move successfully for more than thirty years. The
misdirection for it was taught to me by Fred Robinson, and this approach
is so strong I know that if you follow my instructions you will be success-
ful-every time. Here is what you do.
LB
 BARRIE RlC:HARDSON

The audience is watching you count the cards, and the suspense is grow-
ing. When you stop after dealing the thirteenth card, you say, "/think I
know what you're thinking. You wonder ifyour thought-ofcard has been dealt
already. !fit has, we are wasting our time." Look your helper in che eyes when
you say this. You arc relaxed, and you remain in the role of someone doing
an experiment-not a card sharp.
"Let's see ifthis is the case."With your right hand, pick up the pile of
dealt cards, turn it face up and widely ribbon spread it. At the same time,
relax your left arm, letting the left hand drop naturally with the deck until
che curled fingers rest on the table and the deck lies vertically on its right
side. After a short pause, you turn your left hand palm down and set the
deck down. These actions, done in two steps, subtly turn it over. The moves
are not done quickly. You wish them to attract no attention. It is a normal
and expected thing to do. You must free your left hand to help spread the
right hand's cards, so that your helper can confirm that her card isn't there.
Rivet your full attention on che cards being displayed, and use both hands
to spread them around.
Then lean back. "Only you know your card. Do you see it on the table?''
The procedure is entirely natural, and the large movement ofspreading the
cards completely overwhelms the quiet, small action of turning your wrist
and setting down the deck. When you have your first success with this, you
will quickly gain confidence.
Having shown that the selection must still be in the deck, you pick it up
and continue counting, as described in che presentation, until you reach the
chosen number and reveal the selected card there. I prefer not to pick up
the deck for this final counting. Rather, I place my left thumb on the right
side of the talon, my left forefinger on top and the rest of the fingers on the
left side. With chis tabled grip I can keep the deck fairly square, preventing
the face-up cards from being exposed as either my helper or I slowly slide
the cards off the top, turning them face up as I finish counting up to the
chosen number and the selection resting there. This procedure underscores
that you are not in any way manipulating the cards.
Of course, you want to make the final revelation as dramatic as you
can-and don't forget to congratulate your helper!
P.S. In Theater ofthe Mind, you'll find a trick called "Do You Want to
Continue?" (p. 199). Its basic hook is that the performer keeps giving his
helpers a chance to stop the experiment any time they wish, because the
outcome will be so perplexing it will cause sleepless nights. This is a good
bit of business to incorporate into "Impromptu Card at Any Number."

134
 CAJ--m AT AJ"JY
NUMB8i.
(FoR PLATFORM PERFORMANCE)

WHEN I WORK PROFESSIONALLY, I do so on a platform, rather than dose

up. Having just described how "Impromptu Card at Any Number" is done:
in an intimate setting, here is how I've adapted it for a large audience. Ifdone
slowly. it can generate a lot of dramatic tension and spontaneous applause.
Here is how I manage it.
A table is on the platform. As I describe the actions, I will assume you
are familiar with the procedures just taught in the impromptu version.
"When Einstein died, three things were found in the top drawer ofhis
night stand: a compass, a dreidel {a jewish top you spin with your thumb and
finger) and a t:kck ofcards made in Austria.
"Why the cards? Einstein was fascinated with the probability oftwo
n~ents occurring at the same time in a closed universe. The cards represented
the closed universe.
"His notes show he was working on this enigma. Foryour entertainment-
and not your edification-lets try this experiment.,.
Having introduced the: effect, invite a woman up to help you and have:
her stand just to che lefi of the table. You stand to its right, facing her. Ask
your helper to think of any card. Then have her remove this card from the:
U'i
 BARRIE Rlc:HARDSON

deck and place the remainder on the table. Seriously stress that she mwt
remember her card. Invest all your attention on your helper. You wish the
audience to fed like observers of an experiment.
After using the bluffpass to control her selection fifth from the top of
the deck, execute the tabled riffle shuffle and have your helper square the
cards, as described in the close-up presentation. Leave the deck on the table,
near your right hand.
What follows is a powerful form ofmisdirection. Tell your helper, "/want
you to point to a handsome man in the audience."The entire audience will be
interested in what she docs, and will look to sec who is selected-as do you.
While this selection is taking place, you casually pick up the deck and secretly
get a break under eight to ten cards; something a litde more than seven.
Ask the man who has been singled out to stand, and as he is doing this,
you, without looking at your hands, do the half pass, carrying the small
packet face up to the bottom. No one is watching you. Then set the cards
back on the table. The effect has still to start officially, and yet you are nearly
set for a dramatic conclusion.
Now tell the man that there is an imaginary ribbon hanging in the air,
like a tape measure, with numbers from one to fifty on it. Ask him to hold
his hand up, forefinger out, at the top of the imaginary ribbon, on number
one, and to move his finger slowly down.
Tell your helper to stop him when she feels the urge. He stops.
"What number is on the imaginary ribbon?"
"Nineteen," she answers.
You can make her decision more dramatic by acting as if the experiment
won't work with her number. "Nineteen? Are you sure you don't want to
move up a little? Or down a little? Maybe you really think it's twenty-nine?"
With this exchange you establish the freedom of her choice and also
that you are a litde nervous about it. Finally, you say, "When you say 'nine-
teen,' do you mean nineteen right on the mark? You don't mean nineteen and
then the card next to it?"
The audience and your helper now know what the outcome is supposed
to be, and tension is instilled in the forthcoming procedure.
You pick up the deck and, as you slowly count the cards, with a touch
of anxiety, you drop them, not into a pile, but scattered about face down on
the table. It is a good idea to interrupt the count several times. You might
ask, "Do you want togo on?" and use the "Do you want to continue?" byplay,
suggesting that some things are better left undone. "J% can stop now ifyou

136
 CURTAIN CALL

would like to." These breaks let the audience become used to your pausing
during the counting, which conditions them for the pause in which you
do the secret turnover of the deck.
Pause when you have counted five cards less than the chosen number,
lift the last card dealt and look at its face. In our example, your count here
would be fourteen.
"Maybe we have passed your card. Is this it?" Gently toss or place the
card face up near your helper's side of the table. As you complete the action
of depositing the card, let your left hand and the deck drop naturally, and
rest your knuckles on the table as you lean forward a bit. This action subtly
begins to turn over the talon.
As soon as your helper tells you the face-up card isn't hers, reach forward
with your right hand and turn up another face-down card.
"'Your card?"
"No."
Repeat the process with another card. Simultaneously relax your left
hand palm down and let the rurned talon settle onto the table. Note that,
as you reach outward with your right hand to turn the next card over, your
right forearm momentarily blocks the audience's view of your left hand as it
completes the reversing of the talon. The group is busy watching the turning
up of cards, and nothing seems unusual-because nothing is.
Having freed your left hand, you use both hands to turn up cards,
accelerating the pace as you repeatedly ask, '1s this your card?" and your
helper replies, "No." Don't stop until you've turned up all the face-down
cards. By breaking the turnover into two moves in this way, and using the
misdirection of looking at cards, the deck reversal will never be noticed.
You are now ready to deal off the last five cards of the count. Do this
by sliding each one off the deck. It is important to have the deck on the
table, not in your hands, during this final dramatic count. Look at the face
of each card yourself first, hold it to your chest, take a deep breath-and
drop it face up to the table. "Is this your card?"
The idea is to build suspense. Your body should show stress and anxiety.
Ignore the audience; stay focused on your helper.
Finally, you call the chosen number. ''Nineteen."Look at the audience.
Put your hand on your heart and indicate you are nervous. Step away from
the table as you do this, leaving the cards there.
Now approach the deck with caution. Slowly slide the last card off and
hold its face against your chest.
137
 BARRJE RlCJURDSON

Look at the audience and show them that you arc no longer scared.
but hopeful.
Look at the card, still facing your helper.
"What is the name ofthe cardyou mmtaJJy selected?•
She replies, "The Nine of Clubs:
·q1
Let a small frown cross your face. Turning to the audience, say, am
holding the Nine of Hearts, is that worthy ofyour applause?"
Pause; then dramatically turn the card face outward, showing it. •What
about the Nine of Clubs! "There will be a spontaneous reaction-all this
from a card trick-and it will be hard to top it.
I have found it a good idea to congratulate my helper and give her the
deck as a memento.

138
 D.avid Berg1-'lS
WHENEVER I AM THINKING about the: Card at Any Number effect, it is
impossible not to think of David Berglas, who has made this trick a legend
among magicians. But this is just one ofso many things he: does better than
anyone:. Several years ago I published a description of how David, after a
sumptuous supper in a London Chinese: restaurant, invited Janie to par-
ticipate in a demonstration.
He used no introductory patter. There was no talk about mind power,
ESP, fifth dimensions or spirits; just a request to take a dozen or more: items
from hc:r purse and place thc:m on the: table:.
He tore offa piece ofpaper from an c:nvc:lope, wrote: something secretly.
folded it and placed it down on the: table. He repeated this with a second
scrap of paper.
I described how Janie selected one item, and David placed a slip ofpaper
next to it. Then she: selected another, and again, a slip was placed beside it.
When the predictions proved to be correct, Janie-who ha.~ seen some
of the best magicians in the world-was absolutely, totally stunned. So
much so that she talked about this c:xpc:ric:ncc: when we: returned to the
States, and she saved the: pic:cc:s of paper in our scrapbook of the trip.
This essay, called "The: Janie Factor~ in Theater ojtht Mind, generated some
discussion in the magic fraternity, and a kwyears later, the c:ffi:ct was described
and explained in David Brit!and's Tht Mind & Magic ofDavid BtrgLaJ.

l.W
 BARRIE RICHARJJSON

A few years ago I was in Chicago having lunch with one of the most
respected magicians on this planet. Almost out of nowhere: he said, "I don't
believe that David Berglas can really have such an impact with equivoque.
I immediately replied, "Ask Janie. Let her tell you about the experience."
We moved on to another topic.
A secondhand report like the one I wrote can rarely capture the deep
psychological impact an inexplicable personal event can have on someone.
What follows is another such report. It records how David Berglas totally
mystified me, and how I loved the experience.

It was after a Magic Circle meeting that David Berglas offered to drive me
to my hotel. I remember that I was surprised and amused to discover he
was driving a big American car, a fully appointed Buick, I believe. David
is definitely an individualist outside magic and mentalism as well as in it.
We spent halfan hour or so talking about murual friends and remarkable
skills of young people who were coming along. Then David reached into
his glove box and took out a deck of cards. I was acrually surprised when
he did a perfect pressure fan. Why surprised? Because I did not ever recall
David showing any special skills with cards. I knew he could palm a dozen
lit cigarettes, and I was aware he was a consultant on magic for James Bond
films, but this perfect fan surprised me.
The fan was made with faces toward himself He adjusted the fan a little,
apparently separating some cards so that they could all be seen.
He next rotated the fan, displaying the faces ofthe cards at my eye level.
"Think of any card."
I selected one, then changed my mind and took another.
"You can change your mind if you wish," he said. "Do you have one?"
I nodded.
He dosed this wide fan, faces toward me. He then did another pressure
fan, like the first, with faces toward him.
There was a short pause, and then he removed one card and placed it
on my knee.
'What was your card?"
"The Eight of Clubs."
He motioned for me to rurn the card over. It was the Eight of Clubs.
Before I could say how startled I was, he said, "Let's try it again."
Everything was repeated. Once again he found my card.

140
 CURTAIN CALL

"Shall we try again?"

lhis time, I consciously tried to select one card. bu r conccntr.Hc·,l 011

another area of the fan .

"What card thi.~ time?"
"'Ihc (~em ofSpadc.:s." I replied.
"What if I got the.: King o fSpadc~?"
"( W<HJid be imprc~~cd," I 'aid.
I wrnc:d over rhc card . lr w ;l\ the (~ t'C il ofSpadn.

I I I
 fuRRJE RJCJURDSON

Stunned-amazed-dumbfounded!
Before I could say anything, David put out his hand and said, "I will
sec you at my home on Wednesday afternoon. Good night."
Talk about a sleepless night. A year later, I saw him do the same Think-
of-a-Card effect for a group of magicians in one of his rare visits to London's
Marlborough Pub, across from the old location of the Magic Circle, in
Chenies Mews.
When I relate the story to my magician friends, they want to show me
their approach-one that involves a limited fan, touching a card with a
finger to hold a position they can see, or keeping the fan open and guess-
ing at the card they see. All are clever and may work, but this is not what
David Berglas does.
I recently saw a recording ofone of David's TV programs. What a total
surprise it was to be able to see him do exactly the same effect for a woman
standing next to him on stage. Then he repeated it and nailed it once again.
This is the one trick-not just a card trick-I would love to be able to do.
Yet, I believe in secrets. Part of me hopes that this International Man
of Mystery-and my longtime friend-keeps this secret.
Even from me.

I42
r--------· ------------
--~---- - - ----~ ----- -
·- · -- -- - -- -- -~
:
;
I
I
i l
I
i I
I
I I
I
! !
!
N ACT TWO, I explained several ways ordinary
business cards could be used ro present "impromptu"
mind-reading routines. I described peeks, switches,
a novel center tear and a few routines. This chapter
demonstrates my continued fascination with the use
of business cards as billets.
The impact of a mind-reading or prediction effect
done with an ordinary business card can be much more
forceful and memorable than most card or coin tricks.
Done correctly, mind-reading effects should not seem
like tricks-they are either totally inexplicable or they
leave the audience in awe of your pretended gifi:s.
This chapter begins wirh a description of my
handling of one of the most elegant biller switches I
have ever seen, the Zingg one-handed biller switch.
It appears here with Allen Zingg's permission. This
switch is then used in three presentations, all of which
require little preparation.
Following these are three more novel approaches
for getting information from a folded business card,
along with information capable of producing other
modest miracle~.
(.:j'i
 Zingg's
0n-e-H,Lnded
Billet Switch
(A STANDING HANDLING)
Do YOU RECALL a time when you were completely fooled and delighted
by a demonstration of magic? It is a wonderful experience and, best of all,
it can be a long-lasting source of pleasure. Some years ago, Jeff McBride was
the celebrity performer at the Texas Association of Magicians Convention,
held that year in Tyler, Texas. I had never seen his act, but had read rave
reviews. His high level of energy and use of music, lights and costumes,
all amplified by his dramatic persona, seemed to me a new dimension of
magic as an art form. But it was his water-bowl routine that made my heart
pound. The water apparently falls, drop by drop, from the sky into ordinary.
empty brass bowls. And even after Jeff empties the bowls, drinking them
dry, the water again and again magically appears. Never had I seen a more
beautifully staged and acted small miracle on an open stage; and to this day,
I smile: with awe: and wonder at this performance of real magic.
A second mystifying experience I vividly recall took place twenty years
later at the Magic Castle:. I was sitting at the: bar on a Saturday evening when
147
 BARRIE Rlc.:HARDSON

Brad Henderson introduced himself. After some discussion about his close·
up act, Brad casually hc:ld a deck of cards face up in his left hand. His open
right hand seemed to float slowly across the face card-and it changed to
another card. No getting ready, no finger movement, just a heart-stopping
visual miracle. He repeated chis three times. Real magic!
Allen Zingg is a man of many talents. He gave a lecture at the Psychic
Entertainers Association a few years ago. During an effect involving old
movies, he wrote something on a business card, folded it and set it tent-
fashion on a table. I was in the front row, less than five feet away. To conclude
the effect, Allen picked up the folded billet in one hand, as I watched with
total concentration, and handed it directly to someone to open and read.
The prediction was spot on. What made me gasp was not the effect, as in
the two examples above, but the elegant and totally deceptive sleight he
used. There was no fumbling, no misdirection. He just picked up the "little
tent" and handed it to a helper.
I do not know how Jeff McBride or Brad Henderson did their perplex-
ing feats, but I have learned to do Allen Zingg's one-handed switch. This is
so elegant and versatile, when you master it, you will find many uses.
Allen teaches this switch in his 2005lecture notes, Billets-Naturally
and also on his DVD,Allen Zingg's Master Billet Course, Volume 2 (2006).
I have slightly altered his handling in a way that works a little smoother
for me, so that is the way I'll explain it. I also do the switch with what I
call a "half billet." This halfbillet has some major advantages over a twice-
folded business card.
A half billet is actually just half of a business card. To make half billets,
fold a business card in half widthwise, and then in half lengthwise. Open
the folded card and tear it in half along the widthwise crease, making two
small cards. These halfcards can be easily folded and positioned to stand up
like little pup tents. This is the position required for Allen's deceptive one-
handed switch, and the "standing" billet can (must) be casually retrieved
from the table without fumbling and is immediately given to a nearby
person or is dropped into a glass or other container.
There are at least three advantages to using the half billet. First, and
least important, the sliding action necessary in the switch is easier with half
billets. Second, this billet is like a pyramid and cannot topple over. And
third, because of its small size, it is an absolute snap to open, peek and close.
Accomplishing the same goals with a twice-folded billet requires more
finger movement and is harder to hide.

148
 CuRTAIN CALL

When opening a half billet, you take the risk of finding the participant's
writing upside down. Ifyou can read it in that position, there is no problem.
But if you cannot, there are several corrective measures you can take.
1. Since the billet is so small, it is easy to drop your hand to your side
while you close the billet, use your thumb to flip it over sidewise
and open it again.
2. You can rotate your hand outward at the wrist to bring the writing
to a vertical position, making it easier to read.
3. You can prevent the problem from occurring by bending up a tiny
portion of one comer ofthe half billet as you write your instructions
on it. This dog-eared corner tells you the orientation of the billet
and whether any adjustment is necessary, prior to your opening and
reading it.
Now let's do the switch.

I do this switch while

standing at the table. Set
one ofyour folded half bil-
lets tent-fashion on the
table, with its ends pointing
roughly left and right. With
your right middle finger,
finger palm another billet,
identical in appearance to
the first.

Reach down with your right

hand to pick up the visible billet
in a normal fashion, the fingers on
the far side, the thumb on the near
side.Just before the fingers tighten
to grasp the billet, use your right
thumb to pivot the outer end of
the finger-palmed billet slightly
away from the middle fingertip
(a Gene Grant maneuver from
Phantini's Lost Boolc ofMental
Srcrets, 1955, p. 18).
14')
 RARRJE RicHARDSON

Then, as the fingers move to

pick up the tabled billet, the thumb
presses the hidden billet against the
near side of it.

As the hand lifts the tabled

billet, the thumb moves inward
half an inch on the duplicate
billet. Note that the original
half billet is held perpendicular
to the fingers while the half bil-
let to be switched in is parallel
with them.

As you turn your right hand

upward at the wrist, the bil-
lets are exchanged. While your
thumb pushes the second bil-
let out toward the fingertips
and into view, your fingers curl
inward, drawing the original
billet in and making it pivot
parallel with the middle finger,
which ends up finger palming it.
It is mainly the third finger that pivots the billet into position for palm-
ing. Some practice will be required to get the knack and make the actions
smooth, but they aren't difficult. The outward actions appear utterly natural,
making the switch clean and deceptive. When done correctly, ifyou watch
it in a mirror it is so totally natural looking you will almost fool yourself
The switch can be done slowly in two steps. First, lift the billet offthe table
and pause or patter. Then make the exchange as you hand the billet to someone
or drop it into a glass. Practice until you do not need to look at your hand.
Do it blindfolded. A slow-motion camera would have a hard time catching
this switch when it is done correctly. There are few sleights this deceptive!

150
 A Co-k>r,
nNwnber
nnd n Letter
EFFECT AND PIU:SENTATION: The performer writes a few notes on one
halfof a business card, which he then folds and places tent-like on a nearby
table. He covers the card with an inverted wine glass or a clear water glass.
He invites three persons to use their intuition and imagine what is
written on the card. After a bit of patter and byplay, a women is asked co
name a color. Her hunch is blue.
A man thinks of a number: twenty-seven.
And a second woman thinks of the letter L, as in love.
The security of the card under the glass is stressed. «Nothing can mt~r
and nothing can l~av~." One of the women is asked to lift the wine glass
carefully with both hands and set it mouth up.
The performer casually picks up the folded card and drops it into the
glass, which he then hands to the second woman. She removes the card.
She reads aloud the color purple-a miss, but close. Then she announces
the number twenty-seven and the letter L!
Two out of three is astonishing.
1'51
 BARRIE RJC:.HARDSON

METHOD: You may jot down anything you wish on the half billet, as it will
never be read. Fold it, set it down, tent-fashion and cover it with a glass.
This adds a bit of drama to the effect and supplies a reason to pick up the
tabled billet and drop it into the glass.
You will be using a thumb writer, which you can be wearing when you
stare. Or you may secredy place one on during the presentation. There is
plenty of time. Before starting the presentation, you have also finger palmed
another half billet. This half billet is easily opened, and your hand provides
a firm surface for writing. The word "purple" has previously been written
on the dummy-with the thumb writer, for consistency. This only leaves a
nwnber and a letter to write.
I like to do the secret
writing while I still hold the
pencil I used for the dwnmy
billet. You can hold it in
normal writing grip and still
thumb write on the palmed
half billet. Holding the pen·
cil is like holding a wand. It
makes the hand look naru-
ral while it is palming and
thumb writing.
Your opposite hand can remove the thwnb writer as it takes the pencil
and then puts both implements away. You have plenty of time, especially
if you save the color sdection for last. The palmed halfbillet is then easily
folded and adjusted to the correct finger-palm position. The switch is done
while lifting the billet and placing it into the glass.
As is frequently the case in my presentations, the hdpers in this effect
are the successful ones. I like this presentational approach.

152
EFFECT AND PRESENTATION: The performer folds a business card in
quarters, opens it and tears it in hal£ He casually shows one of these pieces
blank, folds it over and stands it up like a little tent.
He lays a short pencil next to this upright card and covers both with
a coffee cup.
"Nothing can enter and nothing can leave-at least not things ofthis
world," he says with a smile. '1Jid you know the great writer Edgar Allan
Poe believed that spirits could write messages to the living? Let's give it a try."
He asks someone to name the winning horse in a race with twelve
horses. He chooses horse number eight.
Another is asked for the initials of a deceased relative. She gives the
initials T, A and R.
The cup is lifted and the folded billet dropped into it.
"Look at the pencil. The pointfeels warm; and it is worn down."
A woman opens the little tent. There is writing! The number 8- and
the initials T, A and R.
Spooky indeed!
METHOD: Having read the previous trick, the means for producing the
spirit's writing wi11 be clear. A thumb writer, a finger-palmed second half
billet, and the Zingg billet switch.
I'D
 BARRIE RicHARDSON

The writing is done with your hand lying outside the staging area where
attention is focused on the cup. There is no hurry in doing it. And the thwnb
writer may be removed by your opposite hand as you patter, or it may be
pwhed off the thumb into your side pocket, all while you focus attention
on the spirit cup.
There is really no change in the sharpness and temperature ofthe pencil.
This is jwt suggested by your patter.

154
 A Dessert nnd _a
First LDVe
RoBERT CASSIDY is one of my favorite mentalists, and The Artful
Mentalism of Bob Cassidy is one of my prized possessions. One of his
standard, and outstanding, pieces is "The Name/Place Routine" (p. 8
in the 1995 edition tided The Art ofMentalism 2; p. 14 in the expanded
2004 edition). Someone is asked to think of a famous person in history,
and someone else the name of some place anywhere in the world. In an
increasingly dramatic fashion, he reads their minds.
The originator ofthe structure for this routine is, as Cassidy notes, Bruce
Bernstein. (See "Telepathy and Clairvoyance" in Bernstein's Twenty Efficts
for Psychic Entertainers, 1981, p. 17.) In Bruce's original approach, one of
the billets is destroyed (a center tear), and then the one-ahead principle is
used. My approach differs in that the billet is not burnt, nor is a center rear
used. Furthermore, the main billet is returned to the participant.
In Cassidy's routine, the revelation of the second person's thought is
made the high point, fostered by writing the information on a large pad. As
you will soon sec, in my routine the most dramatic moment is the revelation
of the thought of the first person. The second participant's secret choice is
presented as an afterthought. Yet this second revelation is very strong and
generates quite a reaction in the audience.
ISS
 BARRIE RlcH.ARJJSON

This is one of those rare effects that can be done for two persons or for
five hundred. Best of all, there are no special props and ninety-five percent
of the dirty work is done before the effect starts.
EFFECT AND PRESENTATION: The performer removes two business cards
from his wallet and sets them down on the table. He neatly folds them in
half, unfolds them and tears them in two, making four half billets. Two
of these are folded in half and stood on the table like little pup tents. The
performer discards the other two pieces in his pocket.
He invites Susan and Marsha to participate in an experiment in thought
transference. When they express their willingness. he gives each ofthem a pen.
"Susan, do you have a favorite dessert? Don't say it. In a minute, I'm
going to turn away. I wantyou to pick up this card and print the name ofyour
favorite dessert. Afteryou have done that, I wantyou to return the card, folded
like a tent, to the table.
"Marsha, do you remember the name ofthe first boy you had a crush on
when you were a little girl?"
She nods.
"Willyou pick up this card, open it andprint the name ofthe boyyou liked;
and then fold the card over and stand it up like a little tent."
The performer turns away while they fulfill his requests.
"Have you both returned your secret message cards to the table? Good.
Now, Marsha, I wantyou to grasp each card carefully at the top, like this, and
switch their places." He demonstrates.
"Marsha, please switch them again, and once more. Now I wantyou to point
to either message card. Lets be clear. The oneyou point to will beyour selection."
The performer picks up a clear drinking glass, inverts it and asks Susan
to use it to cover the billet Marsha has selected.
Addressing another audience member, the performer says, "john, I need
your help. It is imperative that I never touch these cards. Please pick up this
unselected message card-please don't peek-and tear it into pieces.
"Good. Keep on tearing the card into bits.
'Wow drop the pieces into my hand." The performer holds out his hand,
shoulder high, and rums his head away, making it clear he can't see the pieces.
On receiving them, he nods his thanks and drops them into his pocket.
"I* had two distinct thoughts. Now we have one left. This is the one we
will usefor our experiment. Do you know whose thought is secure under that
glassr He points at the billet.

156
 CURTAIN CALL

"I do. It's Susan's. 1 know this because I kept my eye on it while Marsha
switched them."He smiles.
"Susan, please stand next to me. Extend both your hands palms upward.
Good. • He gently grasps her hands.
"Look at me. Susan, I wantyou to imagineyourfavorite dessert is infront
ofyou. Close your eyes. You are sitting at a table. A coffie cup is at your right.
You pick up an eating utensil. Can you visualize this?
•It is not afork-it is a spoon."
She nods her assent.
·You take a spoonful ofthe dessert. You put it into your mouth. Oh! it is
so good.
"Please open your eyes. Take a deep breath and return to your seat.
"Susan, you have a poweifUl imagination. I could almost see and even
tasteyourfavorite dessert. Don't say anything. Do not nodyour head or make
a sound when 1 tellyou what I think you are visualizing."
He pauses. "Ithinkyourfavorite dessert is..."A longer pause. "Creme brUlie!"
Susan smiles.
The performer lifts the glass and opens the card. "Your handwriting is
better than mine. Creme brnlee? It is! Let's give Susan a round ofapplause!"
The performer hands Susan back her card as a memento.
When the applause dies down, he turns to Marsha.
·Marsha, remember that little boy you had a crush on? May I ask you a
question? Do you ever wonder-what Stephen would look like today?"
There is silence. Then Marsha, in a shocked voice, says, "Yes."

METHOD: All that is secretly required is a half billet that matches the two
in play. When you fold and tear the two business cards, use two marching
pieces, say the left halfofeach card, for your two helpers' thoughts. Discard
the other two halves in your pocket. The secret half biller is another left·
hand half card, which you've folded in half to match those used by rhe two
women. You also write something on the blank inner side of the biller, like
"Sundae," and you give the card a light
U"W 00.\IIUQ
second fold, near the center of the first. No JOb ioo
This crimp makes it is easy for you to
identify the dummy billet. Or, if you '206 234 B55d.
prefer, you may usc pencil dots or a Kirklnnd
small irregularity in the tear to make
the card distinctive to you.

1"7
 BARRJE RlCHARD.'iON

There is only one sleight in rhe routine, and ir occurs before the audi-
ence becomes aware of the experiment you intend. When you pocket the
rwo unused halves of the cards, you finger palm the dummy biller that lies
waiting there. After your helpers have written the name of a dessert and of
a boy on their two billets, and set them tent-fashion on the table, you pick
up Susan's dessert billet with the hand palming the dummy, and Marsha's
boy billet in the other hand. You then swap the two billets, placing each in
the other's spot on the table-but in doing this you also switch the dessert
biller for your dummy. You do this calmly and casually as you demonstrate
how you wish Marsha to exchange the billets.
That's it. Most of your manual labor is over.
While everyone is watching Marsha switch the billers back and forth,
you can secretly open Susan's dessert billet. Due to its small size, this is
extremely easy to hide. While you could read it at this time, there is no rush
and several better chances
will arise. You might pick
up one of the pens from
the table and hold it in your
palming hand in position
for writing. You can then
sight the name of the des-
sert on the billet as you give
instructions and gesture. I '11
point out two other oppor-
tunities as we come to them.
Two tented billers now sit on the table.
One has the name ofMarsha's first crush on
it. The other is your dummy. Have Marsha
indicate either billet she wishes, stressing
the fairness of her choice. "Lt:t's bt: clear. Tht:
oneyou point to will be your selection."'
While Marsha makes her choice, you
usc the hand in which you've palmed the
open dessert billet to pick up the inverted
glass. Here is a second perfect opportunity
to read Susan's favorite dessert. While your
fingers and thumb narurally grasp the glass
around its circumference and lift it, you can
read the billet through the glass.

158
 CURTAIN CALL

Since you are able to distinguish between the two billets after Marsha
has mixed them, you now use a magician's choice to eliminate the dummy.
If Marsha points to her own billet, that is her selection and you hand the
glass to Susan, so that she may cover the indicated billet. But if Marsha
points to your dummy billet, it becomes her selection, and Susan covers
the other billet, making it hers.
In either event, the dummy billet is lefi uncovered and you have John
tear it up. As he does this and places the pieces onto your extended hand,
it is natural that some of the pieces will spring open a bit. That is why you
wrote a word on the dummy. Your helpers will see bits of writing, rather
than suspicious blank space.
While John is tearing up the dummy, you tum your head and shoulders
away, so that you cannot see his actions. and you extend your empty hand
to receive the pieces from him. As everyone's attention is riveted on John,
you have a third perfect opportunity to sight the name of the dessert on
the palmed billet.

There you have three excellent moments to gain the information.

Choose: the one that feels most natural to you or takes the best advantage
of each audience's pattern of attention.
No matter which moment you choose to get your peek, you must after-
ward usc: your thumb to close: the billet and adjust it onto the middle finger,

159
 BARRIE RlC:JURDSON

which palms it. There is a huge opportunity to do this litde task unnoticed
while you dramatically divine Susan's dessert.
With the hand that is finger palming Susan's billet, raise the glass and
set it aside. Meanwhile, with your empty hand pick up Marsha's billet from
the table. Open it and pretend to read Susan's dessert, casually confirming
your impressions. The match is a surprising revelation. At the same time
you learn the name of the first boy Marsha had a crush on.
You now have an excellent moment to switch the two billets. (See
page 266 of Act Two for the method I usc here.) Give Susan her billet as a
memento.
You are now ready to surprise everyone by getting the name of Marsha's
first crush. The offhand way in which you do this is shocking and should
generate gasps.
Thanks again to my friends, Bruce Bernstein, Robert Cassidy and Allen
Zingg, for their huge contributions to this piece.

160
 The 1-L-'lppy Peek
WHY HAPPY? Because that is the name of my new dog, and I have to call
the move something!
How many ways are there to open and close a folded business card
without the audience perceiving it? The following procedure is not one
I've seen anyone else use, but it's possible someone somewhere might have
come up with something similar.
The idea ofopening a billet in full view of the audience was first shown
to me by Richard Busch, a billet master if ever there was one. Folding a bil-
let in such a way that it can be pulled open is modeled after Alain Bellon's
Obsidian Oblique technique (from his 2004 book, Obsidian Oblique).
Once you get the hang of my procedure, the action is so quick and natural
it doesn't look or feel as if any moves are done. The billet can be held opened
for some time before it is peeked, and in a fashion that looks quite innocent.
It can later be closed with equal ease, using only
one hand, if desired.
You must prepare a business card by prefold-
BU.t>el,.n~:'l
ing it. This can be done casually in full view of
Shcevepoart, Lt,,~~~ the audience, while pattering, but I prefer to do
it in advance. Here are the folds:
Holding the blank side of the card upward,
fold the right half over onto the left, making the
crease about a quarter of an inch right of center.

161
 ltuuuB RlCHAJtDION

As a result, the two adjacent end. arc

slighdy offset, the right end lying a bit
short of the left.
Fold the upper half down behind
the lower. The inner halfof the card now
projects slighdy beyond the outer hal£

Pull the inner section out at the

right angle, forming the folded card
into an L-shape. Sharpen all the
creases, then push the inner section
back inside the outer.

Open the card, tum it printed-side up and reverse fold all the creases
to soften them. This helps to eliminate unwanted noise when doing the
peek. To assure smooth working in performance, thoroughly breaking in
the creases is important.
You can peek as many as four /
pieces of information written on
this card, or less, depending on ~u~
the effect you intend to perform. -----
~~
You could have a simple message
written in the center, or four dif-
ferent things, each written on a
quarter of the card.
After having someone write whatever is desired on the card, ask him
to fold the card in half, and then in half again. He will naturally follow the
path ofleast resistance, using your well-defined creases, first folding across
the width, then along the length, just as you did above.
With your right hand, take the folded billet, gripping it at its folded-
over ends between the thumb and middle finger. You must hold just the
upper right, folded comer of the card, using the tiniest pinch you can
without dropping it, so that the inside portion is free to move. Rest the
tip of your forefinger on the extreme comer of the inner section, where it
projects beyond the outer section.

162
 CURTAIN CALL

The: right hand now passes the card to the: left. As it does so, press the:
projecting end of the inner section against the: left palm.

Immediately raise your right hand, still firmly pinching the outer corner
of the card. This action causes the inner section to pivot out of the outer
fold, opening into a reversed L-shape.

Continue to move the right hand's portion of the biller upward. "lhis
causes the left side of the billet (the horizontal bar of the L) to ''blossom"
 BARRIE RlCHARDSON

open, almost flat, revealing the entire left half of written side of the card
to you. Your hands completdy cover this opening action from all sides but
your own.

With the left halfofcard

secretly open, use your left
thumb and middle fingertip
to pinch the billet just to the
right of center, with the still
folded right half of the billet
visible at your left fingertips.

From the audience's view-

point the card appears still to
be folded shut and everything
looks perfectly fair.

164
 CURTAIN CALL

If you wish to read the

contents on the right side
of the card, simply relax the
pressure of your lefi: thumb
slightly. The natural spring
of the card will cause it to
gape open enough for you
to peek everything written
inside. Yet, to the audience
the card still appears folded
closed, exactly as the specta-
tor handed it to you.
Once you have sighted the writing, you must return the billet co its
previously folded state. You do so by reversing the pivoting action, pushing
the inner section back inside the outer folds, using your lefi: palm as the
right hand pinches the right corner of the lengthwise fold.
With a little practice,
it is possible to do the
refolding one-handed.
From the sprung open
position used to read the
messages, place your lefi:
forefinger on the lower
right comer of the outer
section and pull it left-
ward and down, causing
the lefi: halfof the card to
refold and the right half
to envelop it.
While a lengthy description of finger duties and pressures might be
given, the closing action is a simple knack to acquire, and a few minutes
practice will teach it more efficiently than words can. Once mastered, the
closing action can be done smoothly, in an instant, with minimal finger
motion visible to the audience.
1h~Magidan
March 2007

((,';
THIS IS ANOTHER WAY to peek up to four different pieces of information
simultaneously. Millard Longman's Acidus Novus concept forms the basis
of the method (see Acidus Plus by AI Mann, 1979, p. 2; and Longman's later
CD Thought Reading with Billets, Volume 1: Acidus Novus), but it is used
in a fashion that gives the impression the billet is barely touched. I've also
been influenced by Richard Busch's squeeze-billet idea from his book Peek
Performances (200 1, p.43 ). My main addition is one born of necessity: My
eyesight is not good, and I often have: to work under dim lighting. So I need
plenty of reading time to decipher and assimilate the messages. Coming up
with a suitable and subtle ruse for covering this was quite a challenge, but I
think I have solved the problem in a rather neat way, and hope you like it.
EFFECT AND PRESENTATION: The performer addresses a woman: "Will
you help me with an experiment?" Receiving her consent, she is invited to
join him up front, and given a pen and a business card.
"Please look at my fingers!"Thc: performer uses both forefingers and
thumbs to form a triangle. ':Assume this triangle is a movie screen. Please
project different colors onto the screen, usingyour imagination.
"Now try to make the screen just one color in your mind's eye. See that
color on the screen.
"Now do me aJavor; recordyour color on the back ofthe card, and complete
the little questionnaire, so that we have a record ofyour thoughts. Oh, and
don't let anyone else see what you write!"
166
 CURTAIN CALL

The performer turns away while the assistant enters the information.
"When you have completed this assignment fold the card in half, and in
halfagain."
This having been done, he once more faces his helper, takes her folded
card and without so much as glancing at it drops in a glass on the table.
"Now hold your hands like this!'" He makes the same finger triangle as
before. "Look at your screen. Can your imagination make it the color you
have in your mind?
"Please closeyour eyes. Put both hands out. I will touch your hands lightly.
When you sense the color, just say, 'That's it!' to yourself Okay, here goes:
white-yellow-green-blue-black.
"Open your eyes. I sense some ambivalence,· the color is neither white nor
black. Please look at me-The color is gray!"
She nods with astonishment.
"Let's try another experiment. Do you have a lucky number?"
"Yes!"
is there more than one digit?"
She nods to signify yes. Once more the performer touches her hands
and proceeds gradually to reveal the number.
"Do you have afavorite dessert?"He picks up a pad and pen and instructs
the woman to put her right hand on his lefi:. She then closes her eyes and
concentrates on the dessert. The performer appears to be trying to pick up
her thoughts while he tentatively draws a crude picture of what could be
an ice-cream cone.
His helper is asked to name the dessert. When she does, everyone real-
izes it has ice cream as its basis. He holds up his drawing for all to see.
He concludes by thanking the woman for her help and shows her back
to her seat. On returning to the stage, he stops suddenly as though struck
by an afi:erthoughc. "You have a middle name?-an unusual one?-NotJose·
phine-or juliet-but-jonnette?" The woman
one last time confirms that he is correct.
METHOD: The business card on which the
82.2 bel"'nt:'{ helper writes should be around the standard size
Sltrevepa~t. u,,,,~,
(approximately 2" x 3 Yl") and moderately stiff.
You crease it down its width, slightly off center
but not glaringly so; no more than an eighth of
an inch.
167
 BAJUUE IUCH.UDSON

Next fold the top side of the card down

and forward, over the bottom side, along the
center of its length. Sharpen the: creases, and
then unfold the card.

Fold a duplicate business card in the same manner and place it, folded,
somewhere convenient for you to steal it when needed.
On the blank side of the open card, write in each quadrant defined by
the creases the following: MIDDLE NAME, LUCKY NUMBER, FAVORITE DES•
SERT, SCREEN COLOR; and draw rectangles for the participant's responses
above the top two items and below the bottom two.

l J
+
Mi DPL£ NAMe ,
...
Lutk~ NtAM6£R.

~vol'{'m: DEsSERT1 5ctUBN(~

+' I '+
I II I I
Once your helper has filled the four boxes with her answers, and
refolded the billet, you must switch it for the dummy which you now have
palmed and ready. Any neat billet switch that avoids fumbling will do. I am
particularly fond of AI Baker's switch, which I taught in Act Two (p. 283 ).
It is the dummy card that
you drop into the glass. This
leaves you with the genuine
billet finger palmed. To read '-:l~":-~~
the information, all you need
to do is slightly contract the
fingers. Due to the way the card
is folded, a gentle squeeze will
cause it to bow open slightly,
exposing all four written quad-
rants inside.
All that is now required is a pretext to bring the billet within range for
clear reading and lots of time for you to do so. My solution is to form the
forefingers and thumbs into a triangle. When you do this a second time,
168
 CURTAIN CALL

it is not just for presentation purposes. As you appear to peer through the
triangle, you are carefully reading all your helper's information-which
you then reveal in as dramatic and believable a manner as you can manage!

I don't bother to switch the billets again. I just dispose of the dummy
as if it weren't important.
This has become my favorite method of billet reading. Until now, I
have guarded it assiduously. But as my wife Janie recently said, a seventy-
seven-year-old man should not be keeping secrets from younger people who
might be able to use and improve on them. So it is thanks to her advice that
I have at last revealed it.
1he Magician
January 2007
 Dmrble Decept:km
Billet RDutine
THE FOLLOWING PRESENTATION uses the double billet method I
explained in Act Two (p. 275). Since then, I have changed two aspects of
the original. As a result, this has become one of the billet mind-reading
effects I perform most frequently. I do it for small groups and banquets,
but because there is an element of dual reality, it is not suitable for a one-
to-one close-up presentation.
EFFECT AND PRESENTATION: The performer invites a woman to pretend
she has a household catalog; one with pictures of all sorts of items: lawn-
mowers, refrigerators, toys, clothing, curtains, tools, etc.
"Willyou use your imagination and open the catalog to any page. In your
mind's eye, you are able to see some physical object like a dress, camera, necklace
or hiking boots. Can you do that? Mentally select any item, but it must be one
you can draw a rough picture of
"Willyou please sketch the item you have in your mind on the back ofthis
business card? And afteryou complete your assignment, fold the card in half,
and in halfagain. n
The woman is given a pen. "Please don't letanyone see whatyou're drawing."
As she is completing his instructions, the performer explains that people
can communicate thoughts through body gestures, often unconsciously. He
170
 CURTAIN CALL

then extends his hand. "No, I don't want to touch your drawing! I just want
my pen back!" he says with a smile.
He next asks the woman if she has a lucky number. She does. He raises
his hand above his head and moves it slowly downward, calling offthe digits
from zero to nine. Suddenly he stops, as though receiving a mental impulse
and enquires if he has just reached the first figure of her lucky number.
When told that he has, he repeats the process as often as is necessary to
disclose the entire number, a digit at a time. This is done in a serious but
hesitant manner, and looks like real mind-reading.
He now invites his helper to think of her object. She can look at her
sketch again, if she wishes.
The performer picks up a drawing board and a marker. 'Place yourfin-
gers lightly on my hand. Think! Close your eyes! Concentrate!"He tentatively
begins to sketch some random lines. "Please open your eyes. What picture
do you have in your mind?"
"A blue sweater."
The performer looks at his scribbled drawing; then holds it up for all
to see. It could pass for a crude representation of a sweater.
METHOD: I recommend that you read the full handling of "The Double
Billet" in Act Two. However, the handling used here differs in some small
details, so I'll explain them, along with a brief recap of the basics.
On the blank side of a business card,
write at the top end "PLEASE COMPLETE 'PLEA~£ Ctw.rLHE. A~IGNMENT.
ASSIGNMENT. 1. LUCKY NUMBER?" i LucKJ.t NuM5Eiit?
Below this draw a box to receive the
nwnber. All this must be fitted into the
I
top quarter of the card. Z, DRAw ~ouR TrEM.
Below the box write "2. DRAW YOUR
ITEM" and make a large box below this
line, one chat covers the entire second
and third quarters of the card.
Then write "3. NAME OF YOUR ITEM.
PRINT" and draw a third box in the bot-
tom quarter of the card.
You now pre-crease the card with
two widthwise folds: Turn the message
upside down; then make the first fold I )
slightly above center, a.~ you fold the top
171
 8ARRI£ RICHARDSON

of the card toward you and down-

ward. This results in the: writing being
folded inside: and the: uppermost edge
of the card falling just short of the
lowermost edge.

Then fold the: top half of the

card outward and downward,
behind the: bottom half, bringing
the first folded edge even with the
projecting bottom end ofthe card.
Open out the folded card and
your preparation is finished.
Three subtleties help to lead the audience: away from the: secret. The
first is the manner in which the billet is pre-creased. These creases influence:
your helper to fold the: billet in the same way. When you tell her to fold it
in half, and then in half again, the majority of the audience, seated too far
away to see, will assume she has folded the billet once widthwise and once
lengthwise. This is how most people, if left to their own devices, would fold
it. Consequently, the onlookers are unaware of how readily accessible the:
information is to you.
The second subtlety is that you never actually get to see the drawing.
What you do glimpse is the: woman's writing and her lucky number, which
are at the top and bottom of the billet. Neither are mentioned to the rest of
the audience as being there, but your instruction to the woman to "complete
your assjgnment," coupled with similar wording on the billet, guide her to
enter the information. Since you only tell the: participant to draw a picture,
everyone else is unaware that the billet solicits additional information.
So what we have in play is the dual-reality principle, whereby the on-
stage assistant perceives a slightly different effect than does the audience.
However, the woman is not a stooge. She: still does not know how you
obtain the data.
The third subtlety occurs when you put out your hand for the folded
billet and the: woman passes it to you. You should take it and then, as if
suddenly realizing what it is, give the impression that it is not what you

172
 CURTAIN CALL

want. You wish the pen back! How convincingly you do this will determine
the impact of the effect. If your acting is good, few people will remember
that you ever touched the billet-and those who do will dismiss the action
as irrelevant, because it was so obviously unpremeditated! Do not bypass
this bit of psychology. To quote Al Leech, "Of such bold malarkey is real
magic made!"
In the couple of sec-
onds you have the card in
your hand, you glimpse the
two needed bits of infor-
mation. To do this, hold
the folded card with its
bottom quarter outward,
broadside to the audience,
and the two folded-over
ends and creased center
turned downward. If you
were to look at either edge
of the folded card, you would see an inverted "V" or tent. Hold it with
your first two fingers on the folded upper edge, and your thumb on the
projecting lower edge.
When you wish to get your glimpse, simply let the far end of the card
escape your thumb; easy enough, as it falls short of the other end of the card.
Because of its natural stiffness,
the card will spring partially
open, and if you hold your
hand at about chest height
and let it drop at the wrist,
you can sight the information
in the top and bottom boxes.
The front portion of the card
completely screens the open
section from the audience.
Immediately press the card closed again as you ask your helper for the
pen. Slip the closed billet under the clip of the pen and hand it back to her.
I think these improvements to my original "Double Billet" handling
and presentation arc worthwhile. I hope you agree.
7he Magician
July 2006
 Ant:lwny BlnJ~
AN UNFORGETTABLE DAY

LAST SPRING, Janie and I were part of a small group of travelers who visited
Spain and Morocco to study the art and architecture of these wonderful
countries. Our last day was spent in Madrid, where Anthony Blake and his
vivacious wife, Maria, took us on a special tour of the city.
As we admired the magnificent architecrurc of Madrid-its churches,
buildings and parks-we also witnessed the: exciting celebrity of our magi-
cian friend. In a city square, a group of students on a field trip rushed up to
Anthony, giggling and asking him for his autograph and a photo. In tapas
bars and restaurants, we were greeted with a special enthusiasm and warmth
by the owners and their other customers. Walking down the street, heads
turned. Anthony is a David Blanc, David Copperfield and Uri Geller, rolled
into one-a very famous celebrity indeed.
Anthony is-as best I can tell-thought of as a person with indisputable
powers. His mind reading and magic are perceived as real, which helps him
to fill theaters in major cities in Spain and across Europe.
We continued on our tour, eventually coming to the Blakes' lovely home
just outside the: city. There we enjoyed a delicious late lunch and a visit with
their beautiful children.
That night, Maria and Anthony joined our group for a farewell supper
in a private: dining room of a famous restaurant. The others in our group had

174
 CURTAIN CALL

no idea that our guests were celebrities. It was not until we had our desserts
and coffee in front of us that Nigel McGilchrist, our leader, invited me to
entertain the party with a stunt. I used this opportunity to tell the group
about Anthony, and everyone clamored for him to do something, roo. As
far as I knew, Anthony was unprepared for such a request. But I was wrong.
That night, I found our why and how he has earned such a stellar reputation.

I ,
 BARRJE RlCHARDSON

Anthony stood-all six feet, six inches of him-and totally charmed

the audience with the story of why he took the stage name of Anthony
Blake. He didn't want his mother to know he had put aside his medical
training w make a living as an entertainer. •Anthony Blake" was a name he
had heard on television: the character Bill Bixby played in the 1973-1 rr74
series 7ht Magician.
Then Anthony demonstrated his powers.
"Could I possibly know your grandmother's first name?" he asked one
of the women in our group. He looked intently at her for a minute or more,
then wrote something on one of the pages in a small notebook.
"What is the name?" he asked. The woman answered, "Ruth." Anthony
held up the notebook and showed everyone in the room the name "Ruth"
clearly written on it. He ripped out the page and handed it to the woman,
who was visibly stunned.
He looked into the eyes ofothers around the table and correctly identi-
fied a lucky number and a favorite dessert. Next, a fork picked up from the
table slowly bent in the dosed hand of an incredulous woman. Another
traveler standing on his right was able to feel the touch of his finger on the
arm and face of a woman on his left. No explanation. Spooky!
He last demonstration was totally amazing. He had Nigel think of a
famous person and print the last name on a slip of paper, which was then
destroyed. He asked Nigel to think ofphysical objects associated with that
person. Anthony drew something in his notebook and placed it writing-
side down on the table. Next he had Nigel think of the number of letters
in the name of the person. He picked up the notebook, wrote something
else down and set it back on the table.
Anthony now revealed the name N igel had in mind. Letter by letter,
Anthony spelled out "Mozart." He picked up his notebook and showed his
stunned audience the number six-the number of letters in Mozart-and
drawings of musical notes and instruments.
The next morning, our group of travelers-educated, mature men and
women-were convinced that Anthony Blake had amazing powers. There
was no other explanation.
And of course, they are right!

176
------- -, l
E HAVE JUST SPENT a chapter look-
ing at biller folds that allow information
to be glimpsed. In this chapter I will
explain a new message-reading method in
which the message card is sealed inside an
envelope. I was originally going ro publish
chis idea as a brief description of jusr a
new type of gimmicked envelope. Then,
as so often happens in magic, I found
there were useful and deceptive aspects
to chis approach that had wider applica-
tions than I originally believed. I wish to
explain how the Osmosis Envelope can be
used with one person over a cup of coffee,
or in platform and stage routines. Most
effects using billets that have to be se~.:redy
opened and closed can be pertormcd with
the Osmosis tc~o:hniquc, leaving behind
the sleights and misdirection required in
a great deal of biller work .
 The 0sllli5sis
fuveillpe
THE OsMOSIS ENVELOPE is a gimmicked pay envelope that enables an
audience member to seal a message card inside it without detecting anything
out of the ordinary, yet the performer can quickly read the message on the
card. This is accomplished during the simple outward action of removing
a paper clip from the envelope and using it to fasten down the flap.
The Osmosis Envelope is made from a brown, heavy-duty coin envelope
measuring 2!4" x 3~': Using a steel ruler and an X-acto craft knife or razor
knife, neatly trim away a
sliver from the bottom
of the envelope. This
creates a "back door."
You next need a
stick of "reposition-
able" glue, the type that
securely sticks surfaces
together, but allows you
co easily separate them
and re-stick them. Sev-
eral companies make

1!11
 RARliJE RICHARDSON

these rc:positional glue sticks, and you can buy them in office and craft supply
stores. I've: found that Elmer's Craft Bond glue stick serves our intentions
very well, but there: arc others that will do the: job.
Coat both inside edges of the: open bottom of the envelope. Apply the
glue in a very narrow strip. no wider than an eighth of an inch. Prop open
the bottom until the
glue is dry. You can then
press the two bottom
edges together, gluing
the bottom of the enve-
lope closed. Rub your
thumb and forefinger
along the edges to make
a good seaL
This envelope can be handled like any ordinary one and will go unques-
tioned in the hands of a spectator, who can place a card inside: it without
noticing anything unusual. Nevertheless, the: bottom of the envelope may
be secretly opened, the card partially or fully extracted and the envelope
resealed again. And an Osmosis Envelope: can be used a number of times
before it wears out and needs replacing.
Now I must say a few words about the message card that goes inside the
envelope. It should be approximately Ye" smaller in both length and width
w·
than the pay envelope; that is, 1 X 3W'. This is slightly smaller than a
standard business card, so you will probably have to trim your card to the
required size. You don't wish the business card to bind when going into the
envelope. It must move perfectly freely inside. You may wish to use blank
card stock, instead of a business card.
The: sizes of the envelope and card I've suggested are chosen for the
average-sized hand and are the ones I use. Once you understand the pro-
cedures involved, you will know what is necessary. At that point you may
wish to reconsider the sizes of the card and envelope. Ifyou have large hands,
you may be able to use an untrimmed business card and a proportionately
bigger envelope.
The card must also be fairly stiff; stiff enough that you can push on
one end of it when it is in the envelope and force the other end to push
through the glued edges and out the bottom. This is the secret principle of
the Osmosis Envelope. You do not wish the card to buckle. If it is too thin,
it will be too weak to do the task you require of it. Fortunately, business-
card stock of the necessary stiffness is easily had.

182
 CURTAIN CALL

I also like to draw two short

arrows that point to the left on
&rrie Richardton the left end of the printed side
of the card. These aid in guiding
your helper when inserting the
8l2~5lr~ Tcl:(3l8)1M 0104 card into the envelope, placing
~.!.A71108 ~# JIS)'/42~2
it subtly in an orientation that is
helpful to you.
You will need one last thing: a paper dip around rwo inches long. There
is otherwise nothing special about it.
Those are the props. I'll now give three sample routines in which I'll
teach you how to use the Osmosis Envelope. The first will demonstrate the
handling in close-up circumstances. The second and third take the Osmosis
Envelope onto the platform or stage.
 The Happy Stm:y
EFFECT AND PRESENTATION: Afi:er dinner or over coffee, the conversa-
tion turns to the discussion of how often we reveal what we are thinking
without knowing it.
"When I was a ten-year-old boy, I absolutely believed that somehow the
three-sided pointer on my sister's Ouija board actually moved about by some
mysteriousforce. Didyou believe that, too?
"Here is a true story. I have a little dog, Happy, who has what seems to
me the astounding capacity to read my mind. When we are on a walk in the
neighborhood and we come to a corner, I have three options: cross the street
straight on, turn left or turn right.
"Now Happy is on a slack leash. I do not (I would testify in court) pull him.
Instead, I merely think: turn left, turn right or cross the street. And Happy,
without missing a beat, continues his walk in the direction I want to go.
"I have been told that Happy is getting some physical messages.from me,
even though I'm not aware ofit. Maybe it is like the Ouija board.
"Let's try an experiment. This will only work ifyou are open-minded and
willing to direct your imagination as I guide you."
The performer removes a coin envelope from his pocket. He opens the
flap and removes a small card. The envelope has a paperclip attached. He
hands his test subject a pen, the envelope and the card.
'1 will turn away. I wantyou to write thefirst name ofyou mother. Do it
carefully. Afteryou have done this, take afew seconds and study the name and
184
 CuRT.AIN C.ALL

how you have written it. Then place it, writing-side down, in the envelope.
Let me know when you arefinished.
•Good. Please ho/J the envelope up to the light. It is opaque, right?"
The perfonner takes the envelope, removes the paperclip and uses it to
pin the Sap closed, explaining that the glue on the flap isn't dependable.
He drops the envelope to one side on the table.
He nen fetches a white business envelope from his pocket and retrieves
his pen. Placing the point of the pen onto the envelope, he invites the
woman to place two of her fingers lightly on top of his hand.
•Closeyour eyes. Nowplease visua.lizeyour T!Z()thers name;just thefirst letter."
The pen moves and wanders about.
•Now the next letter.
·Now see the entire name.·The performer moves the pen around the
paper. He then turns the envelope writing-side down.
Next he picks up the coin envelope, removes the paperclip and pulls
out the card.
·so your mothers name isjuliette?"
He turns over the business envelope, showing the jwnble ofscrawls he's
made on it. He turns it different ways and then points out the letter J. Sud-
denly everyone perceives that the scrawling lines form the name "Juliette"!
He gives the envelope and card to the woman, congratulating her on
her powers of concentration.
METHOD: The envelope
from which you remove the
small card for your helper's
use is, of course, an Osmosis
!----1-
Envdope. You make no men-
tion of the paperclip openly ((
attaehed to the mouth of the
envelope at the bottom edge.
When your subject has written her mother's name on the card, you
instruct her to return the card, writing-side down, to the envelope. This
request, in conjunction with the arrows you've drawn on the end of the card,
aid in guiding her to place the card into the envelope in an orientation that
will be most helpful to you. Because the card is shorter than the envelope,
your helper may feel it hit the •bottom," but the glue seam is firm enough
to widutand the modest pressure that will be exerted. Have her hold the
envelope up to the light and a.ssure herself it is opaque.
185
 BARRIE RICHARDSON

With your left: hand, take back the pay envelope and, with your right
hand casually remove the paperclip from it as you mention that the glue
on the flap isn't dependable. While this ruse is necessary for the operation
of the Osmosis Envelope. it simultaneously solves a modern problem. In
contemporary society, in which health issues become an increasing concern
to many, some people are disturbed when someone is asked to lick the flap
of an envelope they have been given.
As you remove the clip, secretly insert the tip ofyour right middle finger
into the envelope and give the card inside a firm push, breaking through
the bead of glue and sending the left: end of the card out the "back door."
The protruding card-about two inches of it-is naturally concealed by
your left: hand. While not always necessary, you may squeeze lightly with
your left: thumb and fingers on the opposite edges of the envelope to aid in
breaking the seal. I generally squeeze and push the card at the same time.

The instant you finish pushing the card through, pinch the paperclip
between your right thumb and forefinger and pull it to the right and offthe
envelope. You needn't look at your hands as they do these simple things.
Treat the actions as unimportant.
Immediately push closed the flap of the envelope and slip the paperclip
over it, locking it shut. In a continuing action, turn the envelope over in your
left: hand, bringing the side of the card with your helper's mother's name

186
 CURTAIN C.ALL

into view behind your hand. Once again, you ttcat this action as unimport-
ant. And outwardly, it certainly appears so. It is psychologically invisible.
Having glanced briefly at your hands as you fit the paperclip onto the
envelope, you glimpse the name. Without hesitation, raise your eyes as you
push the paperclip completely onto the envelope, and in this action push
the envelope to the lefi, forcing the card, the lefi end of which lies against
your lcfi palm. back into the envelope.

With your right hand, grasp the envelope and lift it from the left hand.
In this action, slide your left thumb and fingers along the bottom of the
envelope, sealing it. This needn't be a perfect seal; just enough to prevent
the bottom from gaping open.
Drop the envelope casually to one side, paying no attention to it.
This procedure, while requiring some time to describe, takes from start
to finish a couple ofseconds. All the actions should appear innocent, natural
and of no importance. Yet, before the effect seems to begin, they achieve
everything you need.
Go through the business of the Ouija-like writing or scrawling on the
business envelope. Then pick up the Osmosis Envelope to check what your
helper wrote. Remove the paperclip, open the flap and squeeze Iightly to bow
open the envelope. Draw out the card within and read it, pretending that the
name is a revelation to you. Then help everyone discover it in your scrawls.
Give the card and business envelope to your helper as a memento. You
keep the coin envelope.
Notice how the Osmosis Envelope docs the job of a window envelope.
However, your helper may handle it freely and both sides arc clearly seen.
Inspection of the envelope isn't requested or necessary, even though the
IK7
 BARRIE RICHARDSON

Osmosis Envelope will stand a surprising amount. The: casual way in which
you handle it and let your helper do the same eliminates suspicion. Yet the:
contents are learned in a moment, during actions that look perfectly normal.
You will now understand why a small coin envelope and trimmed down
card are used. These arc the right size: for most hands. However, ifyou have:
larger hands, which can comfortably conceal the secret work necessary,
you may usc a slightly larger Kraft envelope and a full-sized business card.

*
uThe Happy Story" uses just one person and one envelope to demonstrate
the workings of the Osmosis Envelope in a simple and straightforward way.
In the next routine, we will layer a second principle, the one-ahead, with
the Osmosis Envelope, to get two thoughts from two people. This routine
can play to a group of two or a theater of hundreds.

188
 Memmies ill the
Snn nnd MD-illl
EFFECT AND PRESENTATION: "Some psychologists say you should try to
live in the present. There is something to that, I'm sure; but the older I get, the
more I love talking about the 'old days' with my contemporaries. It gives me
immense pleasure to recall how safe, free and adventurous we were as children
in the city ofChicago.
"Do you like recalling good experiences? Lets try an experiment."
Turning to a woman on his right, the performer says, "'want you to
think ofsomething that happened in the past that was positive and special. To
malce it interesting, lets say this event happened in daylight. You are in the sun.
"Try to summarize this event in one or two words. Can you?"
He hands the woman a small card, a pencil and a coin envelope. He
then turns to a man on his left.
"Wouldyou please think ofsome positive event, too; but makeyours some-
thing that happened at night. Try to draw a picture, a simple one, to capture
this event."He is also given a pencil, card and envelope. "You are the moon.
"Please fill out your cards and put them writing-sides down into _your
enflelopes. • They do this.
 BARRIE RlCHARI>SON

The performer takes the woman's envelope and, speaking to the man,
explains. "1h~g/u~ do~sn 't work too w~U. Pl~ASe remov~ th~ papudip and us~
it to fASten down th~fop like this. ·The man follows the performer's lead.
The performer now holds the woman's closed envelope in his right hand
and takes the man's envelope into his lefi:.
•1his is what happens in our /iv~s. 1h~ sun mov~s across th~ sky ..." He
crosses his right hand over his lefi:. ':And th~ moon com~s out. And tiTM pASses.
"It is sad how w~ sometim~sforg~t thos~ sp~cia/ times in th~ past that can
be a source oflaughter, prid~ or joy. L~t smake time go back." He uncrosses
his arms, returning the sun envelope in front of the woman, and the moon
envelope in front of the man.
Turning to the woman: "I think you had a memorable tim~. whm you
were around ten. Is that right?"
"No," she responds. "It was when I was eight years old."
"You did somethingspecial-with someone special. I thinkyou did something
adventurous. Maybe at camp-in the water. I'm not sure. Could it b~ sailing?"
The performer removes the dip and pulls out her card. He pauses. "Close,
but no cigar. It was white-water rafting."
He puts the card in his pocket and turns to the man. "Let m~ try to
communicate in a different way." He opens a drawing pad.
"Your event is at night. I hop~ it will not embarrASs TM.
"You have a simple picture to summarize this ~vent, right? Pleas~ putyour
lift hand on my shoulder. Close your eyes and think about the ~vent.•
The performer makes a sketch and sets it drawing-side down.
"Open your eyes. What happened at night that is so special?•
"I got engaged in Hawaii twenty years ago, when I was in the navy."'
"What did you draw to summariz~ this p~ak experience in moonlight?"
"A pineapple and a diamond ring."
The performer holds up his drawing. It is of a ring and a tree with pine-
apples hanging from it!
METHOD: I imagine, after the information you've been given, you have
been able to deduce much or all of the method from the presentation.
The woman is given an Osmosis Envelope with her card. You glimpse the
woman's information as you instruct the man on how he should clip his
ungimmicked envelope shut.
As you talk about the sun moving across the sky and the moon com-
ing out, crossing and uncrossing your arms and the envelopes, you secredy

190
 CURTAIN CALL

switch them. This is done as you uncross your arms, using my handling of
a switch by Dr. Jacob Daley, which I described in Act Two (p. 16). Briefly,
it is done as follows:
Hold the woman's envelope by its ends in your palm-down right hand,
and the man's envelope clipped between the first two fingers of your lefi:
hand. Cross your right hand over your lefi: as you mention the sun moving
across the sky.

Look up at your helpers as you say, "It is sad how we sometimes forget
those special times in the past that can be a source oflaughter, pride orjoy. Let's
malee time go back," and calmly uncross your hands. As your hands pass by
each other, catch the right hand's envelope in the fork of your left thumb.

191
 BARJUE RlCJURDSON

Simultaneously, shili: the right hand's grip to the ends of the lett hand's
envelope. This transfer must be done calmly and smoothly, with as little
hesitation as possible.

Without pausing, your hands continue to separate, each with its own
exchanged envelope. Remember, you are looking at the audience, not at
your hands, as you make the switch.

You drop the envelopes back in front ofyour two helpers. They believe
they are receiving their own envelopes back, but the opposite is actually
the case.
Thanks to the Osmosis Envelope, you already know the woman's
memorable event; but you don't divine it precisely. This makes the effect
more believable; and just as important, it gives you a motivation to open
the envelope in front of her, apparently to check the accuracy of your
192
 CURTAIN CALL

impression. While you miscall the information on the card you draw from
the envelope, you learn the man's moonlight event.
Put this card and envelope into your pocket. Then pick up the draw-
ing pad and a marker, and have the man put his left hand on your shoulder
while you get his picture-then reveal it in as effective a manner as you
can manage.

193
 Fsrurth
Dimensi_o-n,'ll
0sJruJsis
OvER MANY YEARS, my friend Bob Cassidy has earned well-deserved praise
from mentalists and has garnered delighted astonishment from audiences
for his presentation and handling of Annemann's "Fourth Dimensional
Telepathy." I recommend that you study Bob's last published version of" The
Three Envelope Test" in his book The Art ofMentalism, Volume 2 (p. 21;
also in the later Artful Mentalism ofBob Cassidy, p. 27) to understand the
timing and nuances he uses to make this effect a minor miracle.
The following routine, using three participants and three envelopes,
is structured for platform and stage performance. My handling deviates
from Cassidy's in ways that, while small, I like. First, it avoids the increasing
social taboo of asking people to lick the flaps of envelopes given them by a
stranger. Second, the message cards of the first two participants are handed
back to them immediately after their thoughts are disclosed, and without
the performer going to his pockets.
EFFECT AND PRESENTATION: The performer hands a small envelope and
a pencil to each of three persons: Joan on his left, John seated in the center
of the front row, and Albert on the right.

194
 CURTAIN CALL

Taking back Joan's envelope, he explains, "I want each ofyou first to
remove the card in your envelope.• He docs this with Joan's. "Be carefol not
to lose the paperclip. Leave it where it is, fastened to the mouth ofthe envelope
like this. You will use it later to close your envelope.
"Now, each ofyou will have a different assignment. joan, I want you to
write the name ofyourfavorite grade-school teacher.
john, I wantyou to write the name and lastfour digits ofsomeone's phone
number, someone you would call ifa wonderful thing happened in your life.
':Albert, I would like you to draw a simple picture. Not a house or a smz1-
ingfoce, but some physical object, like a suitcase or lightbulb; something we
can recognize.
"When you ali completeyour tasks, return your cards, writing-sides down,
to the envelopes. I hope this is clear."
After a reasonable pause he asks, "Are you through with your tasks?"
Walking over to the participant on his left, he says, 'Joan, you cannot
see through the envelope, can you?" He takes it and holds it up in from of
her eyes. "I want each ofyou tofasten theflap ofyour envelope shut with your
paperclip, like this." He demonstrates with Joan's envelope, then hands it
back to her. He then watches as the others fulfill his request.
When all the envelopes are clipped shut, he gathers them, from right co
left, at his fingertips and drops them dismissively onto his table:.
"Why don't we go in order. joan, you arefirst. Please stand. Look at me.
Can you imagine beingin one ofyourfavorite grade-school classes? Do you see
the clock and the blackboard. Please shutyour eyes. Now imagineyour teacher
is printing her name on the blackboard."
The performer has picked up a spiral-bound writing pad and a pen. He
writes something, crosses it out, and then prints something more: on the pad.
"Please open your eyes. Don't say a thing." Looking at his pad: "Your
favorite teacher was Miss Fulton." He: retrieves Joan's envelope: from the
table, pulls off the paperclip and takes out the card inside. He looks it over.
'Joan, I was close. You did a goodjob. Her name was Felton, not Fulton,
and she was married not single. She really likedyou, didn't she?"
He: puts the message card on top of his pad and says to Joan, "/only
know a little about handwriting analysis, but I can tell by the slant ofyour
vertical/etters that you are a veryforgiving person." He draws a few Ii nes on
Joan's card. "But you are notforgiving ofpersons who deliberately deuive you.
You don'tforget orforgive. Andyou were that way as a child, I believe."
The: performer initials the: card and hands it back co Joan as a keepsake.
19'i
 BAIUUE RJCJ£UWSON

job,., our har~JsomeftimJ ;,. the midJte, willyou please sliUuJ? I ASieed
you to thiNe ofa pmon you might C4il ifsomethinggood-really gtNHi-hap-
pened. ·The performer picb up his writing pad again and wrttcs.
·closeyour eyes. See thefirst three numbm in your miNi Now thefourth
one-eight, five-four-Im not surt-one!
·1he phone is ringing. A man answers. You say, 1/e/Jo-Harry, I ht~vt
some great news.'Opm your eyes.•
The man is smiling.
The performer picks up John's envelope, opens it and rem~ the card.
'7 was close. 1he number was eight-fivefour-two, not one. Ha1T) is your
goodfriend? ..
"Yes, he's my brother."
The performer Jays the card on the pad, signs it and sends it back to John.
Picking up the third envdope from the table, the performer asks, "Albert,
do you have to see your picture again or do you recaJl itr He remembers it
clearly, so his envelope is discarded.
"Please stand. Close you eyes. My hand is in the middk ofthe page. In
your mind, guide it. It is moving up-now down-and now up again-and
now bade down ....
"Open your eyes. What object do you have in your mind?"'
"Scissors."
·were they opened or closed?"
"Open:
After a pause, the performer turns his
pad around. He shows a picture of a pair of
scissors, blades open! ~-----------1
I I
METHOD: The first helper is given an 1 r
I I
Osmosis Envelope. However, you have made I I
one further bit of preparation to it. On the I I
I
inner wall of the seam-side of the envelope I
I
you have glued a card of the same size as the I
I
I I
message cards. I
I I
The envelopes the second and third help- I
ers receive have paperclips attached to them, I 1
I I
in the same way the Osmosis Envelope has.
These two envelopes arc also marked subtly . v:______ ---___]\
I I

but clearly, so that you can easily and quicldy

196
 CURTAIN CALL

identify them by sight. The marks can be a slightly trimmed flap, pencil dots,
dog-eared corners, etc. You might even put the marks on the paperclips
rather than on the envelopes; anything you like that you can easily see but
that doesn't draw attention to itself. As you will soon discover, the marks
aren't strictly necessary, but they are a good precaution, guarding against
your getting the envelopes confused during your handling of them.
Each of the three envelopes contains a message card. After your help-
ers have written or drawn their thoughts on the cards, and placed them
inside their envelopes, you take back the Osmosis Envelope from Helper
One on your left and show the other two participants how they are to dip
their envelopes shut. In demonstrating this, you secretly push Message One
out the back door of the envelope. With the card sticking two-thirds out
of the envelope, hidden behind your hand, you dose the flap and dip it
shut. Tum the envelope over behind the screen of your left fingers, so that
the message side is up. You do not, however, glimpse the teacher's name
at this point. Instead, you grip the exposed left end of the card in the fork
of your left thumb while your right hand draws the envelope to the right.
This pulls the card the rest of the way out of the envelope and leaves ir
thumb-palmed in your left hand. From this position you can easily shift
the card to a finger palm.

Regrip the envelope at your left fingertips, pressing and sealing its bot-
tom end. Then hand the envelope back to the first helper as you watch the
other two follow your insrructions. The first helper can feel a card inside her
envelope {the dummy glued to one side), so everything seems as it should.
197
 BARRIE RiCHARDSON

When all the message cards have been locked inside their envelopes. you
casually gather them, holding them at your fingertips; first Helper Three's,
then Two's and finally One's. You carry them back to the table on stage and
drop them casually onto it. While you don't say anything about it, by the
way you have gathered the envelopes, it will be clear that you know their
order and therefore who each belongs to.
You now pick up the spiral-bound writing pad on which you will write
your impressions. This pad is prepared in only the simplest sense. You have
placed a large paperclip onto the left edge of the top sheet. Use your right
hand to pick up the pad and transfer it to your left hand. In doing this,
use your left thumb, on the right end of the palmed card, to tilt it up away
from your fingers, so that the card can be slipped secretly on top of the pad.
You eventually push the card under the paperclip as you are jotting down
impressions, but there is no rush. With the card in the clip, you can handle
the pad with complete freedom and even set it writing-side down on the
table without losing control of the card.

Suggest that working with each helper's thought in order, from left to
right (or One, Two, Three), is as good a plan as any. Ask the first helper to
picture her teacher writing her own name on a blackboard. Jot down a few
impressions and divine the name, which you can plainly read off the mes-
sage card clipped to the pad. Make a mistake or two in getting it, to increase
believability and to give you a reason to check the card in her envelope.

198
 CURTAIN CALL

Pick up the second helper's envelope as if it were the first's, open it and
remove: the card. (Lying on the table, the positions of the envelopes are
impossible to see from the audience.) Pretend to read the teacher's name:
from the: card, congrarulate Helper One for doing such a good job, and
correct the errors you've made while mentally receiving the: name.
Then start to comment on her handwriting and do a bit ofgraphological
analysis. In the process, place the second helper's card on your pad, so that
you can draw on it, illustrating the quality of the letters you are comment-
ing on. In reality, you secretly slide this card under Helper One's card in
the paperclip and make your marks on her card.
Finishing your comments, you initial the top card, slip it from the dip,
set your pad writing-side down on the table and return the card to your first
helper. (This one-ahead method was inspired by Cicardi's (Dr. Charles Scott]
"Psi-Grafico; published in issue 412 ofMagick, October 28, 1988, p. 2057.)
You rum next to the second helper, seated near the center. Have him
stand, dose his eyes and concentrate on his friend's phone number. Pick up
your pad and start to jot down your impressions. The numbers and name
are dipped there for you to read at your convenience. Again, you make a
small error, missing one number in a dose and believable way.
Pick up the third envelope as if it were the second, take out rhe mes-
sage card and pretend to read the numbers and name from it. Slip the card
under the second helper's card, dipped to your pad, and as you point out
the errors you've made, circle or underline rhe number you missed and sign
the top card. Then remove this card and set the pad again on the table while
you walk forward ro return the card to Helper Two.
Ask the third helper if he still remembers what he drew. When he: cells
you he does, pick up the unopened envelope from the table ( apparen ely his,
bur acrually the first helper's Osmosis Envelope) and casually pocket it. It
is now unimportant and unnecessary.
Have the third helper stand. Tear off the top sheet ofyour pad, crumple
it up and pocket it, giving yourself a fresh page to work on and disposing of
the last shred ofevidence, the third card. Have Helper Three close his eyes
and concentrate on guiding your hand as you draw your impressions on the
pad. Since you have had abundant time to see the third person's drawing
on his card, you can now draw your approximation of it while following
his mental commands.
Have him tell everyone what object he is concentrating on, then dra-
matically turn around the pad to show what you have drawn!

199
 THE BEST OF THE BEST

Do YOU REMEMBER the most memorable musical production you've seen?

What about the most memorable meal or magic show? Finally, is there
some mind reader you witnessed who stands out in your memory in the
way the Sears Building in Chicago towers over all the other sky scrapers?
I can answer all my own questions with absolute certainty. I have no
sense of mental vacillation or equivocation.
My most memorable musical was South Pacific. I was thirteen years
old, and it was my first time in a downtown Chicago playhouse. I took
my mother, in a cab, to this event as a surprise birthday present; and the
performance ended up being a present to myself
A few years ago, I was treated by my wife to the best dining experi-
ence of my life. It was at one of Paul Bocuse's restaurants in Lyon, France.
We visited the spotless, gleaming kitchens, walked through the herb and
vegetable garden, and saw the wine cellar. The seven-course meal was filled
with delightful aromas, tastes and textures, and the dessert trolley has never
been equaled.
The best stage magician-in my mind-was Blackstone, Sr. Jay Marshall
agreed, but had he thought differently, Blackstone's show and his charming
personality would still form the pinnacle in my mind.

200
 CURTAIN CALL

Now what about mind readers?

As a boy, Dunninger's radio programs absolutely astounded me when
he read the minds of the audience members and did totally unexplainable
stunts, which he called "brain busters.~
But, for me, there has been no mind reader I have ever seen who
intrigued me, mesmerized me, entertained me and so totally astounded
me as much as Gil Eagles.
I first heard about Gil Eagles back in the late 1960s. Then he was billed,
I believe, as the fastest hypnotist in the world, as well as a mind reader. It
was another ten years before I saw him perform; he did a show at Hope
College in Holland, Michigan.
By that time, I was a serious student ofmemalism. I had almost memorized
Annemann's work and had a library ofwell-worn monographs and books on
the subject. I also had given hundreds of performances of my own program,
"The Magic of Your Mind," for all types ofaudiences throughout the Midwest.
My two best friends in magic at the time were both serious students of
the art-Thad Seymour, president of Wabash College, and Bob Schwarz.
Bob was a psychologist, a noted lecturer on ESP and a performing mental-
ist. They had come to visit me when I told them Gil Eagles was going to
perform at Hope College.
We got seats in the front of the balcony. The college theater probably
held four hundred persons. On either side of the stage were rwo tables with
small items on them, and offto the side was a taller table on which sat what
looked to be a very large fish bowl, possibly made of cut glass.
Gil Eagles walked onto the platform, tall, dark eyes, dressed in a blue
suit. As soon as he started talking, I was intrigued. His accent was strange.
I'd never heard one like it. His demeanor was also unique. He seemed not
only extremely relaxed and comfortable, but also a little edgy. He pattered
for a few minutes on the nature of the mind, and told about his unique
background, growing up in East Africa. He was in all ways a man apart; a
person with a strange past, slightly sassy, yet likeable.
As almost a throwaway, he penciled something on a page of a spiral
notebook, pointed to a person and asked for a two-digit number. As we
expected, the number he predicted matched. Nothing special here.
Small pieces of paper were then handed out, and many in the audience
were asked to write a question or concern, and then to fold up the paper.
The folded slips were collected by student helpers and were dropped into
the bowl on stage.

201
 RARRII:' Ru:HARos oN

Eagles invited two students to come forward and help him with the
next procedure. This is where all three of us were confident of what would
take place. But we were wrong!
First, two silver dollars were examined, and in a flippant way, Eagles
asked them to find the holes. There were none.
One silver dollar was placed over his right eye, and two pieces of wide
adhesive held the dollar in place. The other eye was similarly covered. Then
another side strip of tape was placed above his eyebrows, and finally a piece
was stuck across the bridge of his nose and sealed tightly to his cheeks. A few
more strips were applied and firmly pressed imo place by his helpers. Then a
leather blindfold was placed over the tapes. His hands never went to his face.

202
 CURTAIN CALL

Now we all had done blindfolds and knew about pin holes, fake blind-
folds and various ways of looking down the nose. I would have testified
under oath that this man's eyes were completely sealed shut.
After doing two or three blindfold stunts in which he reproduced a design
drawn by a spectator and identified collected objects, the real program began.
Standing next to the table on which the fish bowl rested, he reached
into the bowl and stirred up the folded slips of paper. He pulled out a few
and let some fall to the floor. He then held one over his head and opened
it with the fingers ofone hand. He seemed to be reading the message with
his finger rips. He dropped the paper to the floor.
Calling out the initials "R. R." he asked this person to stand. Eagles, with
his unusual accent, told the young man his concern was about a sporting
event, a high-school baseball game. A team lost-he hesitated-and then
named the team and the final score.
The audience was stunned.
He dipped into the bowl again, held a slip overhead, fingered it and once
again dropped it. This rime he called out the initials ofa young woman. She
was concerned about a test-no a report that was due in chemistry-organic
chemistry. She wondered if Professor Wilcox would accept a late paper.
Another young man stood. Eagles told him he would not embarrass
him, but that he should always be honest with his girlfriend, and these
secret phone calls to another woman should stop. The audience laughed.
He answered another six questions-some serious, some humorous, and
with all of them he revealed detailed information. This portion of the show
ended that night when a man who happened to be the assistant dean ofstu-
dents was asked to take out his waller and look at his social security number.
Gil Eagles dramatically called the number out. He was silent for thirty
seconds, and then, with a small smile, said he was happy for him. Why?
Because he would soon learn that he had won a fellowship to the University
of Michigan.
Eagles groped about rhe stage. He found the microphone, removed
the blindfold, and then slowly pulled the strips of adhesive from his face.
The tapes stuck tightly and pulled his skin as he ripped them away, and
the ripping sound was amplified. The audience gasped and winced at this
bizarre sight and sound.
He dropped the tapes, rubbed his eyes, stood tall and nodded.
The audience-who had yet to applaud-exploded. They were on their
feet-and so were the three of us.
2(1:\
 BARRIE RICHARDSON

Later, we discussed his performance. We could not figure out how

he got the information. Did he have confederates? Was there pre-show
work? Radio communication? Did he somehow read the writing with his
fingertips? He absolutely could not see, we agreed, so there must be some
other explanation.
I saw him two other times at college shows. The program was basically
unchanged, and I was just as astounded, just as clueless at the last show as
I was at the first.
Other performers can do stunning blindfold acts, but these perfor-
mances of Gil Eagles are still a peak experience for me.

A few years ago, Gil Eagles gave a lecture to two hWldred mind readers at a
Psychic Entertainers Association convention in Chicago. He explained in
detail how he did his blindfold act. I was not there. In many ways I'm glad.
Gil Eagles is a man apart, and I want to keep it that way. Of course, his real
secret is not in his blindfold technique, but in his personality and unique
showmanship. Gil Eagles told me he only did two effects in his forty-year
career. But he did them better than anyone else I have ever known.

204
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_.. ·--···--·----
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· .. _-_..__.._~-..
;

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~

. . . . . ;.;.__,.,.__._"_,. ._ ~. ~. .-~~..-- · ,-·,·-·..-.... · · · ~··-· --J

HIS CHAPTER consists of devices, sleights and
billet switches, six in all, and some of which I hope:
will be of value to you.
The first item is a renovation of the "Devi-
ous Deck Switch" in Act Two that should make
its operation much easier. It has many uses when
you want to convince the audience that a deck of
cards is thoroughly shuffled. You will no doubt
find other applications that haven't occurred to me.
Most of the sleights I do were taught to me
during my decade in London by Fred Robinson,
the much-esteemed card expert. He used subtlety
and boldness as well as near flawless skighr-of-
hand. Many of my mentalist friends are rcluct:J.nt
to use playing cards or practice sleights. Too bad.
Many card sleights can be used with business
cards, billets and Tarot cards. Furthermore. I have
found that competence in sleight-of-hand givo
me much more confidence in all other areas of mv
life-strange bur true.
 Devious DecJ~
Switch
A MoDEST RENOVATION

ON PAGE 44of Act Two, I describe a technique for switching decks without
going to your pockets. This deck switch can work in close-up circumstances,
on a platform or on stage.
After taping some of my effects and routines for L&L Publishing, I was
surprised when I found one of them, "Angel's Flight" from Theatre ofthe
Mind (p. 83 ), had totally baffled not only the audience, bur aJI the expe-
rienced magicians in the studio. As far as I know, not one of them caught
the deck switch, even when they reviewed the tape. At least, that is what
they told me.
Sometimes, small changes make a big difference. I have discovered a
small change that facilitates the switch.
After you have neatly cut away the bottom end and accompanying tabs
of the card case, carefully pry apart the glued layers on the seamed side.
Then reglue these layers, but with the outer layer lying about a sixteenth
of an inch short ofiu original position. This adds a small amount of space
inside the case. It isn't a great deal, but it is more than sufficient to lc:t the
20<)
 BARRJJ.: RICIJ.ARJ)!J()N

Reglue these lay=, but with the outer

layer lying about a sixteenth ofan inch
short ofits originalposition.

deck slide effortlessly out of the case. By increasing the depth of the card
case on one side, the exchange is made much easier.
You finish the preparation of the case by snipping off the two small
tabs at its mouth, and slitting two sides at the folds, from the bottom to
approximately an inch from the top on the front surface of the case.
We now come to the deck switch icsd£ I'll be brief about this, as it is
covered in detail in Act Two. Assume the card case is in your left hand, flap-
side upward and mouth turned outward. (The reason you are holding the
case must come from the context of your performance.) You have let the
face-down stacked deck inside it (which will be switched in) slip partially
out of the open bottom of the box, and it rests in the hollow of your palm.
210
 CURTAIN CALL

Snip th( two sides at th'fold< to

about an inch.from the top.

The slit underside of the case gives way beneath the deck, letting it angle
down into the hand. The deck is hidden in this posicion by the hand and
the card case.

Now you need a logical reason to put the shuffled deck you arc holding
in your right hand into your ldi: hand. I have found the following approach
works well for me. Ask a question as you look out ar the audience, sul·h a.~

211
 BARRIE RlC:IIAIW.\'UN

"How many ofyou have good, natural memoritJf" As you arc completing
the question, insert the right hand's shuffled and face-down deck partially
into che open bottom of the case and above the concealed second deck.

Then raise your right hand as if signaling the audience co raise theirs.
And many often do. This is a natural action that requires the right hand
to be free.
After acknowledging the audience, lower your right hand back down
co the deck in the left hand, and use your right thumb to push the shuffied
deck completely into the case. Irnmediatc:ly grasp the case and the shuffied
deck it contains by their ends, lift them away and set the loaded case on the
table. This leave the switched-in second deck behind in your left hand. These
actions aren't difficult and should therefore be done smoothly and casually.
That's ic. A little extra space and a natural seeming motivation for your
actions. But these little things make this deck switch easier and more decep-
tive. When you find how nicely the actions of this switch work, I think you
will use it.

212
 The_ Clicl~ Switch
LIKE THE SWITCH explained in "The Eye ofthe Target" (p. 71), this switch
uses a pen with a dip on it; but the method is entirely different. I came up with
this a few years ago, as a result of experimenting with a business-card switch
by Charlie Buckner and myself, which I taught in Act Two (seep. 266). I have
sincelearned ofa fine billet switch using a clothespin, by Germany's very clever
Alexander de Cova. Mr. de Cova came up with this switch in the early 1980s
and eventually published it in his 1992 book Ein Profipacktaus ... Meanwhile,
Jay Sankey had. changed the clothespin to a paperclip and published the switch
in 10096 Sanluy by Richard Kaufman (1990, p. 38-9). And in early 2006
Elliott Bresler combined dements of Sankey's version of the de Cova switch
with the business-card switch from Act Two. He published his switch later that
year in his Switchcraft e-book. All these switches are very deceptive, and while
they all use essentially the same basic action, I think you will appreciate the
differences and strengths each offers. Here are the details of my Click Switch.
The billet you wish co switch out-I usually use a business card folded
in quarters-is fixed under the clip of your pen and displayed there, like a
little flag or sign on a post. This places the billet in plain view, away from your
fingers, and rna.Us the audience feel it is secure and safe from tampering. You
may also hand someone: the pc:n with the billet clipped to it to hold up for,
say, a prediction. With the: biller folded under the clip. chances arc small that
the: person will open it, unless cold to do so.
213
 BARRIE RU.'HARJ>SON

You have the dupli-

cate billet you wish to
switch in finger palmed
by your right second fin-
ger. When you are ready
to execute the switch, you
grip the pen vertically at
your left fingertips. simul-
taneously clipping the
left end of the dummy
billet between your first
two fingers, in apparent
preparation to remove it.
The action your audience will perceive is that your right hand takes the
pen and pulls it off the billet. In reality, the dummy billet stays right where
it is, under the clip of the pen, and the right hand's palmed billet is passed
to the left hand and brought into view. Here are the details of the switch.

As you bring your right hand to the pen, put your right thumb on the
left end of the palmed billet and tilt it up, away from the fingers. (Charlie
Buckner showed me this maneuver, but Gene Grant preceded Charlie in
thinking of it. See Phantini's Lost Book ofMental Secrets, 1955, p. 18.)

As you take the pen into your right hand, the palmed billet passes over
the ncar side of the pen, and your left thumb and forefinger grip its left end.

214
 CURTAIN CALL

Grasping the top of the pen between the right thumb and inner phalanx
of the forefinger, you pretend to pull it off the dummy billet. Actually, the
billet stays in place, under the clip and concealed behind the right fingers,
while your left hand strops the second billet smartly over the pen clip as
the pen moves to the right.

When done smoothly, the visual illusion of removing the billet from
the: pen is utterly convincing. and is reinforced by the sound of the billet
snapping off the: clip.
While: focusing your full ancntion on the left hand's billet, camally
place: the: pen (with the: dummy billet on it) inro your pocket. It has servnl
its purpose and is no longer important.
2 1'i
 BAJUUE RlCHAJWSON

That's the switch. With a little practice you will soon !ee how very
deceptive it is. There is almost a retention-of-vision quality to it.
Besides billets, you can use this switch for folded bills as well, to switch
in, say, a bill with a known serial number. You can also switch the tom comer
of a borrowed bill using this technique. I hope you like it. I think you will.

216
 Fro:cing Flip-Pn_d
I WAS CLEANING out some old boxes of magical bits and pieces I had not
looked at for years, when I came across a spiral notebook. At first I thought
it was just that-a notebook. Then I remembered it was an approach I had
used to force a number.
It goes back more than thirty years, so it's possible similar things have
since appeared in print. But this was my method:
Three or four people each write a three-digit number on the first page
of a spiral-bound notepad. A fifth person adds them up and announces the
total. However, this final number is forced and can match a prediction, be
a factor in a one-ahead routine or be used in some other way.
Most readers will know that one of the common procedures is to replace
the back cover of the notepad with a second front cover. Then afi:er people
have written down the numbers, the cover is closed and the notepad is
secretly turned around. When the person who is to do the addition opens
it, four numbers previously written there by you, in different styles of
handwriting, are revealed for his computation. This is still a fine method.
My modest contribution was to adapt the principle, so that the note·
pad does not need to be turned secretly around. The action of closing and
reopening it switches the participants' numbers for yours. This approach
requires less handling by you and, thus, in theory, should fed a bit less

21 7
 BARRIE RICHARDSON

suspicious. I'm not entirely convinced it really is better than the original,
but it appeals to me and may to other performers as well.
You will need two duplicate spiral pads. All you really need from the
second pad is its front cover. Remove this by twisting the spiral binding
wire out of the pad.
Remove the binding wire
from the other pad, too. Then
insert the second cover three or
four pages in from the front of the
first pad-and twist the wire back
through the holes in the pad.

[ I

~-~-=~·­
------
~~
~-
.. - ~""'
,....__.
Tape tab

To the center bottom edge of the

buried second cover stick a small tab of
clear tape. This is so that you can easily
find this cover by touch when you need it.
Write your four force numbers on the first page of the pad and close it.
That completes the preparation of the pad.
In performance, you bring out the pad, feel for the tab and use it to flip
open both covers and the pages trapped between them as a unit. Everything
looks just as it should.
Three or four people are asked to write three-digit numbers. You then
take back the pad, flip it shut- so that I don't seeyour number/'-and hand
it to someone, asking that he add the numbers. "When he opens the pad,
he naturally lifts just the front cover, which exposes to him your prepared
figures. You can take it from there.
The Magician
January 2006

218
 Slippery Jack's
Side Sfu'1l
MY MAIN PURPOSE in writing up this trick is to explain what I believe
to be an original concept in side steals. I first began working on it nearly
twenty-five years ago. At that time I showed it to my friend Fred Robinson,
who agreed it had possibilities but felt I should try eliminating some finger
movc:mc:nts and fumbling. I have persevered with the idea on and off since
then. Sadly, Fred died before: I was ready to show him the improvements.
The: Slippery Jack side: steal is not an easy sleight, but I believe it to be both
versatile and deceptive.
EFFECT AND PRESENTATION: The performer drops three rubber bands
onto the table: and picks up a shuffled deck, which may be: borrowed.
"Have you ever heard ofSlippery jack, the escape artist? Houdini mod-
eled his efficts after this little-known character." This is said with a wink
and a smile:.
·no me afavor. Go through the deck and remove whichever cardyou think
might be Slippery jack! •
Someone obliges.

219
 BARRIE RJC:HARDSON

"You've ulected the Four of Spades-wow! How did you know that one
was Slipptry jack? He tried to disguise himself, butyou wtrt too cleverfor him/
Now let me show you what Slippery jack can do."
Holding the deck face down, the performer pushes the Four of Spades
into the center. "Willyou pick up a rubber band, please, and stretch it around
thedeck?N
The deck is handed to the helper, who binds it with one rubber band,
and then the other two, so that there is nowhere len unobstructed from
which a card might enter or leave the pack.
Retrieving the deck, the performer snaps the rubber bands several times
to emphasize their tightness. "Slippery jack works best when no one is look-
ing." He puts the cards behind his back. and the audience hear the bands
going snap. snap. snap. followed by a really loud snap. He brings one hand
immediately forward with the still-banded deck, which he drops dramati-
cally onto the table. His other hand then emerges. On its open palm is a
single face-down card.
Aner a suitable pause, this is turned over-it is Slippery Jack.
METHOD: In brief, the card is never secured in the deck. Rather, it is
secretly extracted and palmed, using my side steal, before the rubber bands
are fastened around the pack. When the banded deck is retrieved from the
helper, the stolen card is added secretly to the bottom. After some byplay
it is shown to have escaped.
Should all this sound too bold or daunting, stop reading now! On the
other hand, if you are prepared to spend the time necessary to learn the
sleight, you will have both an entertaining mystery and a useful, versatile
card control.
Now to the details. A card is freely selected. After it is noted, you take it
from its chooser and insert it into the middle of the deck, which you hold
in len-hand dealing grip. Use your right fingers to push the card into the
outer end until only about an inch remains protruding. Finish pushing it
home by applying stronger pressure with the right ring and little fingers,
which cause it to slant diagonally to the right.
At the completion of the insertion, your right hand takes the deck
directly into end grip. Under the cover provided by this hand, use your len
index and little fingers to straddle grip the projecting right corners of the
angled card. By moving the deck slightly forward, you can cause the selec-
tion to pivot on your right thumb, exposing the front corners more widely
for the len fingers to obtain a secure grip.

220
 CURTAIN CALL

Now rotate both hands clockwise at the wrists, positioning the backs
of the cards to your right and the deck at a vertical position, its lefi: side
turned upward. A slight lefi:ward body turn is advisable as you do this, to
help obscure the lefi: side, which can be vulnerable as the sleight proceeds.
At the same time, rest your right little finger between the first two fingers
of your lefi: hand. This helps to close a uwindow" and create a shield to
screen che steal.

Two small movements now occur at once. Your right thumb pivots thr
inner end of the deck upward a few inches, using the left forefingcr as a ful -
crum. At the same time:, your left hand, still holding the card in an endwise
!_!_I
 BARRIE RICIURJ)SON

/J

straddle grip. moves slightly downward, keeping its thumb immobile. That
is, do not shift your left thumb away from the side of the deck. (People with
larger hands will find this easier than others will.) These two simultaneous
actions result in drawing the selection silently and invisibly from the deck.
Ifyou now reverse the motions of the hands, the stolen card will be moved
automatically to the bottom.
This is a control of one card with no visible finger movement. The right
hand screens the action, and the deck is always in view.
However, for this trick the card is not returned to the bottom. Once it
clears the deck. the left little finger releases its hold and slides up to lie along-
side the ring finger on the right side of the card. At the same moment, the
forefinger curls slightly, bowing the card concavely toward the left palm. The

222
 CURTA/NULL

other fingers relax, allowing this to happen, and your right thumb may press
down lightly on the stolen card, settling it into a variety of gambler's cop.
With the card bowed as
described, your left thumb
and forefinger may create
the opening of a ~tunnel"
through which the audience
can see, and if you are careful
with your angles, they will
nor see the card, unless they
are directly behind you. Part
" of the card projects from the
'- rear edge of the hand, but it
is still out of sight.
With the card palmed, you can have your helper bind the rest of the
deck with the three rubber bands. Receive the banded deck in your palm-
down right hand and place it into the lefi:, directly onto the palmed card.
Be careful as you turn your lefi: hand palm up to accept the deck, that you
don't allow a flash of the concealed selection. This is avoided by correctly
synchronizing the actions of both hands.
Once the deck covers the loose card, all the hard work is past. Simply
place both hands behind your back; snap the bands a few times; chen bring
out the deck in one hand and, shortly afterward, the selection in the other.
Using the banded deck is merely one application of the sleight. Once
you have stolen the card into gambler's cop. it can be loaded under a beer
glass, into your wallet, pocket, etc. And with a little experimentation, this
sleight can be used to bring the card to the top as well as to the bottom.
Ihe Magician
March 2005

2B
 The StL-'Ulge_r's
Tricl~
A FIRST-HAND REPORT: It was around midnight; several of us were
hanging out in the lounge area of a Las Vegas hotel. As you would expect
at a magic convention, the group that had gathered was doing card tricks
and sharing stories.
A tall slim man in his forties approached us. He wore a double-breasted
blue blazer, gray slacks and had a light yellow cravat. His straight blond hair
was almost shoulder length. He smiled and with a sofi: but commanding
tone: politely asked if he could watch. He had a Swedish accent. Magicians
love having a lay person, and for the next twenty minutes they went to town.
During that time, we learned that the stranger was an orchestra con-
ductor currently living in Germany. I asked him if he did any magic. He
replied that he only knew one trick and this mostly utilized his intuition
and musical skills.
"Let's see it!w someone said.
Almost reluctantly, he agreed to give it try. "We need a table,whe said.
I offered him my cards, and he moved over to a low table. We all
exchanged knowing glances, expecting some: version of the old Twenty·
One Card Trick.

224
 CURTAIN CALL

He turned to Jon Racherbaumer. "I want you to mix these cards well."
When Jon had done that, the stranger continued, "I would like you to
deal the cards one at a time, face down, into a neat pile. Whenever you feel
like stopping, do so. You can look at either the last card you dealt or the
one on top of those remaining in your hand.
"Then I want you to shove whatever card you looked at into the center
of the packet you are still holding."
While he was explaining, he demonstrated what he wanted. He reassem-
bled the cards and had the deck mixed again, this time by Phil Willmarth.
The stranger cut the deck once; then he stepped back about five feet and
turned his back.
"Please follow my instructions. Pick up the deck and deal the cards until
you feel like stopping."
Jon dealt at least fifteen cards. Then following instructions, he looked
at the last card dealt and pushed it into the center ofthose he held. He next
put the dealt packet back onto the deck and gave it several complete cuts.
The stranger turned around. "Who has the card case?"
I signaled that I did.
He immediately handed me the cards, which I returned to the case and
put into my pocket.
"What's he going to do?" I wondered.
He removed a pencil from his pocket and tapped it on the table as if
it were a conductor's baton. Standing about five feet in front of Jon, he
asked him to think of the color of his card. He began to wave the pencil,
as if conducting a slow piece of music. "Black-red- black .... Your card
is red!"
He repeated his movements, now indicating hearts and diamonds.
Suddenly, he announced, "You card is a-heart!"
Then, in a similar manner, he divined that the selection was a court
card. Finally, after along pause, he announced that it was the Jack of Hearts.
There was total silence. ThenJarny Swiss exclaimed, "Are you a devil?"
The stranger broke into a ironic smile as he nodded and departed.
Then the buzz started. Was Jon a plant? Absolutely not. What about the
cards? They were my own. Maybe there was a mirror- or some electronic
communication with a hidden person who had strong binoculars?
We were all stymied and a little shaken. Since then, whenever we meet.
•The Stranger's Trick" seems to come up in conversation.

22S
 BARRJE RICHARDSON

Do you think this actually happened? Is there an explanation or is it

jusdiction?
METHOD: Yes, there: is one! The stranger was indeed a devil-but only a
cunning, earthly one! In the course of moving to the table, while we were
all off guard, he switched my cards for a matching stripper deck.
The shuffling was fair. However, after he had carefully explained how
the card was to be selected and buried, he gave the deck a final cut. This
involved about thirty cards being cut from the top and set onto the table.
In placing the bottom batch on top to complete the cut, he turned it end
for end. The net result was that any card taken from the top twenty or so,
when placed into the center of the talon, would be reversed.
When the stranger asked for the box, he had a moment for his fingers to
locate the projecting edge of the reversed card and pull it down sufficiendy
to peek its index.
The rest was drama.
How do I know this is the explanation? I had been messing around with
the deck for a week or so when I suddenly realized that it had mysteriously
become stripped! The rest is deduction!
The Magician
December 2007

226
 The Bluff
·me ...,f_m:ce
P'111
THIS IS A DIRECT FORCE of the top card of the deck that looks entirely
innocent. You can do it seared or standing, with or without a table. I believe
it original with me, as I've not found anything similar in my small collection
of classic books; bur perhaps someone will correct me.
You will probably fool yourself when you practice it in a mirror. It is
very easy to do, and irs sheer boldness should bring a smile to your face-
provided you have the nerve to try it.
I'll first explain the force. I'll then offer two applications that use addi-
tional subtleties, to showcase the versatility ofthe move. You will probably
find plenty of others.
Hold the deck face-down in left-hand dealing position and curl your
left forefinger beneath it, in preparation for a thumb riffle. Riffle off about
fifteen cards as you invite someone to call stop. Continue ro let cards escape
very slowly off the: thumb as you direct the: end of the deck toward the spec-
tators' c:yc:s, so that they clearly sec: your progress down rhc: side of the pack.
When told to stop, do so immcdiardy. and increase: the: thumb's pressure
to widen the: gap. so that it is plainly sc:c:n. Here: you can ask your helper if
he is satisfied with your stopping at this point; otherwise, you can riffle a
bit further. Accommodate: his wishes.

227
 BARRIE RICHARDSON

Extend your right forefinger and point-

edly insert the entire: first phalanx ofic into
the ldi thumb's break. To this point, every-
thing has been absolutely fair. That is about
co change. Bring your right thumb down
on cop of the deck, obviously pinching
the portion above the break between that
digit and the right forefinger. At the same
time, in a natural manner, let the tip ofyour
right middle finger setcle on the face of the
bottom portion of the pack.

You will nexr appear co lift off the cop portion, and then push off the top
card of the left hand's remaining bottom packet and offer it co the person
who stopped you at it.
Now, here is what actually
happens. By pressing up with
your right middle fingertip on
the bottom of the deck, you can
securely clip the bottom packet
between the first two fingers of
the right hand. Slighcly loosen
the left hand's grip on the deck as
you move your right hand, with
the bottom packet, forward and
upward, pulling it from beneath.

228
 CURTAIN CALL

As soon as it clears the top packet, let that portion drop onto your left
palm. The switching, or transposition, of the two packets is screened from
the audience by the back of your right hand, which momentarily obscures
the cards from view. This happens so quickly, no one realizes the deck has
ever been out of sight.
The instant the bottom packet has cleared your leti: hand, bring the right
thumb down on the back of the packet and straighten your right forefinger.

You may deposit this packet face down on the table or retain it in your
right hand. I prefer the former, when it is possible, as the action justifies a
larger, more sweeping motion and diverts attention momentarily from the
left hand's packet.
Return attention to that packet and offer its top card to your helper.
Force accomplished!
If you give this a fair trial, I think you will be pleasantly surprised by
how automatically it works, and how deceptive it is.
Now for a couple of subtle applications.

PANTS ON FIRE
This is my handling of Henry Christ's wonderful "Lies! Lies! Lies!" from
1he]inx (Summer Exrra 193S. p. 39).
229
 BARRIE IUCHARDSON

Have: the: cards mixed. As you retrieve them, glimpse the: bottom and top
cards of the deck. While you may find it easier to remember the cards ifyou
glimpse them separately, ifyou can memorize both cards in one glance, you
can use the top and bottom card glimpse described in Thr Vt'rnon Chronicks,
Volume Two (p. 122). In brief, as you hold the deck in face-down left-hand
dealing position, push the top card about a quarter of an inch to the right.

You next take the deck into right-hand end grip and turn it clockwise,
end for end, in an all-around square-up action. In the midst of the turn the
bottom card and one index of the top card will be exposed to you.

230
 CURTAIN CALL

As you setde the turned deck back into left-hand dealing position, push
the top card square again.
Having learned the top and bottom cards, execute: the: bluff riffie force,
setting the: right hand's packet face: down on the: table. Make a point of turn-
ing your head away as the selection is noted, so that there can be no suspicion
of your seeing the card. (No need, as you already know it.) After everyone
has noted the card, have it returned face down onto the left hand's packet.
Turn back around, pick up the tabled pile: and set it neatly onto the
packet you hold. Then set down the deck and have your helper give it sev-
eral straight cuts. You might even risk his giving the deck a brief overhand
shuffie, as doing so is unlikely to separate the key from the selection.
Hand the deck to your helper and ask that he hold it face: down and
deal cards from the top into a face-up pile, naming each one as it appears.
However, when he reaches his card, he is to lie as convincingly as possible,
miscalling it as another.
You once more turn away, as he follows these instructions. Lisren for
your key card. When you hear it, you know the next card is the selection.
You also know its identiry. So when your helper miscalls it, cry out, "Liar!"
with a smile. Then, without turning around, proceed to name the card in
as dramatic a manner as you can manage.
When Janie is around, I like to let her do the lie detecting. Before I
begin the trick, I flash the bottom card of the deck to her and shuffle it to
the top. I then flash the new bottom card to her. Next, I force the top card
while she turns her back. Since she knows the card I've forced and the key
card {the bottom card), she can detect the lie and correct it. Her participa-
tion adds another nice layer of mystery to the effect.
By the way, you can speed up the presentation of this piece by cutting off
halfthe: deck and using just it. This shortens the dealing procedure withour
diminishing the effect.

DIVINE AND CONQ.!!ER

Peek the top card of the deck and put a slight concave crimp into it along
its length.
Invite someone to give the cards a tabled riffle shuffle. If you pick a
right-handed person, chances arc: excellent he will leave the crimped card
undisturbed on the deck during his shuffle.
In a gesture of extreme fairness, turn away while the shuffle is done.
When you turn back, you will be able to see if the crimped card is .~till on
2."\1
 BAJUU£ RrCIURDSON

rop. If ir is, excellent. If nor, forget the pecked card, glimpse the bortom
card and secretly shift it to the top with a side slip. If you must pick up the
deck and do this, you wish to leave the impression thar you haven't altered
the order of the cards.
Now execute the bluff riffle force whUe turning your head away. Let
your helper note and display the card to the group. Then have him replace
it, reassemble the deck and put it somewhere out ofsight, all while you keep
your gaze averted from the cards.
Face front and slowly divine his thoughts!
Club 71
September 2003

232
 DerrenBmwn
DOES "THE BEST CARD TRICK"
OF THE YEAR

IN OCTOBER 2001, in a pub ncar Bristol in England, I saw the best card
trick I've seen in years. What is noteworthy is that this effect was done
without any cards! In truth, the demonstration was not actually a card trick,
but a perplexing and jaw-dropping display ofwhat looks like and feels like
the powers a real mind reader or a seer would have.
Dcrrcn Brown is a British mentalist with a unique approach to per-
forming small miracles. In his television programs, he gives stunning
demonstrations in everyday places, such as pool halls, health clubs, pubs
and university science laboratories.
Let me describe the event as best as I can recall it.
He approached Janie and me and asked, ·would you like to see adem-
onstration?" We said yes.
Dcrren picked up a paper beer coaster, and after thinking for a few
seconds, he wrote something on it, showed it to Janie alone:, and placed it
writing-side down on the table.
Turning to me, he said, •Imagine you have a deck ofcards in your hands.
I will not go duo ugh the silliness of having you mix these: imaginary cards,
 fl.ARRIB RICHARDSON

but what l do want you to do is to sort the: cards into two piles; one red
and one black. l do not wam to know which pile is black and which is red."
I started doing this, and he stopped me and asked me to help him by
taking the experiment seriously. I followed his instructions and concen-
trated on my task of dividing the invisible cards. After a few more seconds,
he asked me to stop and, in my mind, select one of the piles.
He then requested that I sort these imaginary cards into suits. If they
were black, one pile would be spades, the other clubs. If I had mentally
chosen the red pile, I would separate the cards into hearts and diamonds.
I did this in my mental world.
"Now select in your mind one of the piles and spread the cards out faces
up in front of you."
I did this.
"Now toss aside the court cards."
I mentally followed his instructions.
"Now separate the cards. Put all the odds in one pile and all the even
cards in the other." I dealt my imaginary cards once again.
"Good. Now take your time and decide on one. Only you know which
pile you have selected."
I did this.
"Spread your cards out. You have either five odd or five even cards.
Mentally remove the cards on either end of your imaginary spread."
Once again, I followed his instructions.
"You now have three cards. Hand me any one-take your time."
As I did this, Derren asked, "Which one are you handing me?"
"The Six of Diamonds," I said with some trepidation.
My wife turned over the beer mat. The "Six of Diamonds" was written
on it in dark ink.

Derren's remarkable demonstration has a powerful and practical lesson for

all of us who want to be known as miracle workers. The cleaner, clearer and
more fair a demonstration seems to the audience, the more memorable the
effect becomes.
Assume, for example, that you invite someone to select a card, sign it
and mix it back into the deck. Then you retrieve the deck, give it a few cuts
and apparently fail to find the selected card. The puzzle is solved when you

234
 CURTAIN CALL

reach into your jacket and pull our ;t wallet. 'I he \\·,tiler i' ttn ;ippc<i .ul< lt hv
~igncd card i' f(nmd in ... idc.

If done well. rhc audicnn·\ c~·cs will pop otlt in 'llrJ>ri\l·, .lllllt h i'~~~ '''I'
will applaud. ·I hi' i' a good trick . Bur how Jllall\' will rn·.tll ti m n p t' lll' ll< "
rht: next d ay' H. the y do, mighr nor the y sa v, "( " tw rlti, clnn , ll'ight nl
hand gu y. I k had IIH' '~'kn a l'ard and 'ign it ;IJld 111ix it II(' in thc ,lc, k
 BARRIE RICHARDSON

And do you know what? He was able to slip it out without me seeing it and
somehow get it into his wallet.•
Contrast this with the experience ofsomeone who is instructed to name
any card and that is the only card found reversed in a deck.
Or much better yet, ask Janie what magical experience stands out in her
mind afier our four weeks in England, watching magic lectures, close-up
demonstrations and gala shows.
You got it. She will not talk about clever card or coin tricks, or stage
illusions. She will positively glow with wonder and enthusiasm when she
recounts to her friends the fun of meeting Derren Brown-a young man
who at 10:30 P.M. in a pub ncar Bristol gave a breathtaking demonstration
that has no explanation but one. He is a real mind reader.

236
WARNING. There are no new tricks in this
chapter. Indeed, there is only one effect, or rather
a presentation for an old trick.
Robert Neale, in his brilliant introduction ro
This Is Not a Book, shares his philosophy of life,
illusion and his own experiences of wonder. H c
asserts-and I as his student concur-that magic
is more than tricks, and nor all tricks are magical. It
may be more imporranr for the performer co opcn
the door to wondermcnr and rhe wonder of our
own lives than to be fooled. I would like to dedicate.:
this presentation to him.
When I'm faced with time constraints dur-
ing a banquet show, if l have to decidc whether
to perform a very strong trick or to stcp ~(Jrward
without any props and recite a poem that Jelin:rs
a humanistic message, l always choosc the pol'lll .
The majority of persons coming up to the plat-
form to talk to me afi:er the program m;ty \:II' t hn·
thoroughly enjoyed the performance, and thm .t,k
where they can get a copy of the poem I rccitcd.
2 \')
 BARRIE RICHARDSON

Of course, I am not a guru. This has been my experience, and this

approach may be right for my personality, while ochers have different ideas
and guidelines.
What follows is a poem and a story, combined with the venerable
Hydrostatic Glass, the invention-or so Professor Hoffmann believed-of
J. M. Hartz. The story I relate may be only ninety percent accurate. Memo-
ries recalled from fifty-five years past are rarely unerring. Yet veracity has
little to do with the magical experience the audience will share with the
performer; at least I hope so.

240
 Birches
EFFECT AND PRESENTATION: On a small table there is a large wine glass,
a bowl, a small pitcher of water, a few four-inch squares of newspaper and
a folded white napkin.
The performer nods to the audience. He then picks up the wine glass and
opens the napkin. Without saying a word, he polishes the glass inside and
out. Setting down the napkin, he picks up the pitcher ofwater and pours a
bit into the bowl. He then fills the glass, looks at it and pours it back into
the pitcher. He refills the glass, almost to the top, and sets it on the table.
After drying his hands with the napkin, he steps forward , looks out to the
audience and tells this story.
"How many ofyou know the name Robert Frostr
Almost everyone does.
"It doesn't sum that long ago, but infact, it was overfifty years ago, when
I was a senior at Carleton College, that I met Robert Frost.
"The suite next to mine in Severance Hall was the guest apartment f or
visiting scholars, artists and dignitaries. At the time, I had little interest in
poetry or poets, and this visitor, an eighty-year-old, white-haired, lean and
good-looking man dressed in a wool shirt and khalcis, was not ofany special
concern to me.
•Every Frid4y afternoon Ill 4:00 P.M.,faculty spouses hosted a tea in Great
Hall. I happened to pop in, probllb/y to get a littk sandwich or a piece ofcake,
241
 BARRIE R.JCIURDSON

and Ifound the roomfilkd with townsfollt and Carleton peopk. Robert Frost-
the much honored'farmer poet'-was reading, actually reciting by memory, his
poems. I wasfoscinated. His poems used little words and ostensibly reflected on
common experiences. He took no questions, but he was gracious and courteous
to everyone during the social hour thatfollowed.
"The next day I borrowed a book ofhis poems and read many ofthem. A
fiw days later, I met him on the staircase and told him I was not an English
major, but that I liked the poems he had recited. He invited me into his room,
along with afiw other students-allyoung women.
"At the end ofthe session, after everyone else had left, I told him I had read
the poem "Birches" three times, and I wondered what it meant. Was it a story
ofa lonely boy coming ofage? Was it a confission of his own depression? Or
theyearning to do what he could never do again? Or was this really a spiritual
quest in which the trees were a metaphor? Maybe the poem is saying this is all
there is-make the best ofit.
"He, in a crusty but not unkind voice, said, 'You are wrong on two counts.
First, poems are not to be read. 1hey are to be spoken. Second, it makes no
difference what I think the poem means. The question is what does the poem
mean to you.'
"Afiw days later, he came by my dorm suite. He had learned that I loved
magic, and so did he. We chatted, and I said I would love to do a wonderful
science trick with a waterglass at the end ofhis recitation of 'Birches.' He smikd
and agreed to give it a try.
"1he next Friday afternoon I put a wine glass filled with water and a
little bowl on the grand piano in thefront ofthe room. We had arranged that
'Birches' would be his last recitation, and I would stand to the side ofhim by
the piano and do the water-glass demonstration. He looked at me as he started
the poem. I nodded that I was ready.
"Robert Frost recited the poem with great meaning, and I stood transfixed.
Either out offiar or shyness, I did not do the water-glass demonstration.
"1he session ended. Robert Frost was mobbed by persons who wanted their
books signed. I never talked with him again.
"On Saturday morning he left our campus. A Jew years later, I saw
him on television, where he read a poem at President john Kennedy's 1961
inauguration.
"Tonight I would like to play two roles. I will be Barrie Richardson, the
college student; and I will also play the role ofRobert Frost, reciting his poem,
'Birches."!his is the demonstration as it might have happened in March of1955.~

242
 CuRTAIN CALL

Standing behind the table, the performer picks up a small piece of

newspaper, dips it into the bowl of water and places the wet paper over
the mouth of the wine glass. Unhappy with this, he removes the paper and
drops it back onto the table. He picks up a second piece of newspaper, wets
it and puts it over the mouth of the glass. Satisfied this time, he pushes the
wet edges down, sticking them to the sides of the glass.
The wine glass rests near one side of the table, so that it can be easily
picked up, lified high and returned to the table. The performer moves to the
right side ofthe table and begins reciting the poem. The language is simple,
and the story takes many twists-from ice storms to thoughts about love,
risk, despair and, finally, the joy of living.
The performer looks at his audience-sometimes particular persons-
as he recites. His cadence varies, and his passion rises and falls. It is a long
poem, but the audience gets drawn into the messages.
During the poem, the wine glass is introduced as a physical symbol for
a boy climbing a birch tree. At the finish, a surprise happens.
BIRCHES

Whm I su birch~s bend to left and right The performer's voice

Across th~ line ofstraighter darkn- trees, is that of an old man,
I lik~ to think some boy's been swinging th~. reflecting on a happy rime
But swinging doesn't bend them down to stay. in his youth. He wants
Ice-storms do that. Often you must hav~ seen them to share these sights and
Loatkd with ice a sunny wint~ morning sounds and feelings. His
Aft~ a rain. 1hey dick upon th~u/v~s voice is strong and his
As the breeze rises, and tum many-colored face shows the pleasure
As the stir cracks and crazes their enamel. he has in his recollection.
Soon th~ sun's warmth ma/w them shed crystal shells
Shattering and avalanching on the snow-crust-
Such heaps ofbrokm glass to sweep away
Youti think the inn~ dome ofh~aven hadfallen.
1hey ar~ dragg~d to th~ with~red bracken by th~ load,
And they s~~m not to br~ak; though once thq ar~ bow~d
So IDw for IDng, they nev~r right rh~mu/ves:
You may su th~ir trunks arching in th~ woods
Yt-ars aft~ards, trailing th~ir leav~s on the ground
Lilu girls on hands and ftnm that throw th~ir hair
Beforr th~ ov~ their h~ads to dry in the .<un.

24.~
 BARRIE RICHARDSON
But/ was going to say when Truth brolte in
With ali her matter-offact about the ice-storm
(Now am I free to be poetical?)
I should prifer to have some boy bend them
As he wtnt out and in tofitch the cows-
Some boy toofar from town to learn baseball,
Whose only play was what hefound himself,
Summer or winter, and could play alone.
One by one he subdued hisfathers trees
By riding them down over and over again
Until he took the stiffness out ofthem,
And not one but hung limp, not one was left
For him to conquer. He Learned ali there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always lupt his poise
To the top branches, climbing carefoily
With the same pains you use tojiil a cup
Up to the brim, and even above the brim.
1hen heflung outward, ftetfirst, with a swish,
Kicking his way down through the air to theground.
So was I once myselfa swinger ofbirches;
And so I dream ofgoing back to be.
Its when I'm weary ofconsiderations,
And lift is too much lilce a pathless wood
Where yourfaa burns and ticlt/es with the cobwebs
Brolten across it, and one eye is weeping
From a twigs having lashed across it open.
I'd /ilte to get awayfrom earth a while
And then come baclt to it and begin over.
244
Here there is a shift in mood
as he introduces "10me boyw
on a fann.
He lifts the wine glass in his
left hand, as if it were the
boy climbing from branch to
branch, and stops when it is
head-high, as the boy reaches
the top of the tree.
He stares at the wine glass
filled to the brim.
Spoken with excitement, he
lowers the wine glass. making
a half circle on the way, like
the boy docs when kicking his
way down to the ground. He
places the glass on the table.
There is a long pause; perhaps
fifteen seconds. The mood
changes again. Looking out
at the audience, he takes a
deep brcarh and shows the
emotion of personal revela-
tion. The poem is now no
longer about "some boy; but
about him.
 CURTAIN CALL
May no.fote wiJfo/ly misunderstllnd ~
And halfgrant what I wish and snatch~ away
Not to return. Earth's the right pkefor love:
I don't lenow where it's likely to go better.
I'd like to go by climbing a birch tree
And climb bkle branches up a snow-white trunk
Toward heavm, till the tree could bear no more,
But dipped its top and set~ thJwn again.
That would be good both going and coming back.
One couM do worst th11n be 11 swinger ofbirches.
Goodnight!
With his left hand he lihs the
glass as if it is climbing from
branch to branch.
The glass is held above his head
(the top of the birch tree).
He turns the covered glass
upside down and slowly brings
it to chest level. The water
remains inside the glass. There
are gasps from the audience.
With his right fingertips he
slowly pulls the paper away
from the inverted glass as his
ldt hand slowly lifts the glass
up again to head-height. The
water remains suspended. He
pauses, ignoring everything
but the glass.
He then lowers the: glas~
slowly back to chest level and
grasps it with both hands for
about four seconds. Suddenly
the: water falls from the glass
into the bowl on the table.
He sets the now empty wine
glass on the table.
Standing tall. he looks dirccdy
at the audience.
245
 BARRIE RJCHARI>SON

METHOD: When I began to develop this presentation, I was not happy

with the idea of using an ordinary drinking glass. A wine glass seemed more
appropriate. My current glass is made of crystal-dear acrylic plastic, which
looks like a genuine wine goblet.
Brian O'Neill, a creative and talented
Dallas magician came up with the final
design and constructed the glass and gim-
mick for me. Drilling a channel from the
I
re - - - --
:9~
I

bottom of the bowl of the glass down to

the foot is very difficult, so Brian came up
with the idea of drilling the channel only
halfway down the stem, and at that point
drilling another hole at a right angle. This
was not only pragmatic but an inspiration,
as it allows you to hold the inverted glass
by the stem, rather than at the foot, when
you wish to release the water. This is a more
graceful manner of holding the glass.
The clear disk chat secretly seals the
mouth of the glass is made of one piece of
'I
very clear plastic, and has a turned and pol- 1 I
I I
ished lip, machined for a perfect fit. When I I
1 I
in place, it becomes invisible from even a I I
I I
short distance. Of course, this never hap- I I
pens, because the gimmick is covered during 0-
performance by a square of wet newspaper.
The hole on the stem of the glass is
sealed by a small piece oftape or bit ofposter
putty, which your thumb can scrape off
when you wish to release the gimmick and
water from the glass into the bowl below.
The rest is sheer poetry.
This may seem rather lightweight in magical effect, but Robert Frost's
poem combined with the suspension of the water creates a deeply magical
feeling in an audience. This is my favorite, and now my only closing piece.
Nothing I do is stronger.

246
 Pnlmeru R,'llch
A REPORT FROM A MAGICIAN's HEAVEN

IF YOU ARE the envious type, you should not read what follows. It will
definitely make you feel jealous and may upset you a little for a few days.
In the fall o£2004, I received an invitation from Michel Clavello to be
a guest of honor at a three-day informal seminar to be held the following
April in Argentina. I admire Michel's vibrant and charming approach to
magic and mentalism, and I think his effects with his wonderful hold out
create absolutely stunning visual magic. I relished the thought of getting
to know him better.
He explained that Roberto Giobbi, Max Maven and Pat Page had been
previous guests ofhonor, and they had all immensely enjoyed the session. I
explained that I, with no false modesty, did not consider myself to be in the
league of his previous guests, and furthermore, I had no skill in Spanish.
He insisted that my approach to magic, which emphasizes patter and
drama in the presentations, was of great interest to his colleagues, and that
most of them understood English. There would also be two attendees who
could do instantaneous translations.
Afu:r checking the calendar with Janie and learning about the beauty of
the country and its cultural opportunities, I happily accepted the invitation.

Hi
 BARRIE RICHARDSON

We've now come to the exciting part of my story. Never have Janie and
I been treated with so much affection and graciousness. Michel met us at
the Buenos Aires airport with not only hugs and smiles, but also choco-
lates, a book about the city and Argentine music. He took us to a famous
restaurant where meats were slow-cooked on skewers and cut to order at
our table. Argentina may have the best beef in the world.
The next morning, we assembled with twenty other magicians at a
small airport near the downtown area. We flew for over an hour to the
western city of Mendoza, famous for its wines and silver goods. Outside
the airport, we found a bus and a remarkable person waiting for w. There,
wearing a blue blazer and friendly smile, was Gustavo Palmero, our host
and owner of Palmero Ranch, the site of our magic seminar. We learned
later that, besides his passion for magic, Gustavo was a serious polo player,
a lover of nature, a devoted father and husband and vice president of a huge
family-owned corporation.
After an hour's bus ride, we arrived at his ranch. "Ranch" is really a
misnomer. This is actually a private vineyard. The alluvial soil is perfect
for growing Malbec grapes, and with no rainfall, the acres could be irri-
gated perfectly for the vines. The ranch house, a large two-story rambling
structure with porches and decks, was surrounded by an expansive and
beautiful garden, the snow-capped Andes off in the distance. Later, we
found a sign in this park-like garden that read, "In this spot one can listen
to the silence."
In our room, Gustavo had surprised us with a big box ofchocolates and
a vase of red roses. But the real surprise was a bottle of wine: number one
of a hundred and fifty bottled for this meeting and labeled, to my delight
and astonishment, "The Barrie Richardson Malbec-2005."
The magic started that afternoon and was followed by a tasty picnic
lunch. We assembled in the main living room. A large fireplace sat at one
end, and chairs and sofas were arranged in an informal fashion, so that
the participants could see the front of the room. This group of magicians
was a special fraternity. Even though their ages varied from twenty-seven
to seventy-four, they seemed like a band of brothers. They would hug one
another, tease and demonstrate real concern not only for each other's magic,
but for all aspects of their lives. Seven of the twenty-three participants were
professional magicians. Five others used magic in presentations they gave
in their various professions. Several were amazingly skillful and talented,
in the Tamarisian mold. That is to say they were extremely competent in
their technique, graceful and dramatic in their presentations. I never saw

248
 CURTAIN CALL

them perform a quick bar stunt. Magic for these devotees was not about
tricks, but about an. Here is one example:
During a break I saw Pablo Zanatta, a handsome thirty-five-year-old
man, sitting at a picnic table on the patio. He was handling his cards in a
soft and masterly fashion as he conversed. With a smile, I asked him if he
would show me a trick. In a polite voice, bur clearly not happy with my
request, he said, "No." He went on to say, "This is not the right time or
place, and I do not feel like performing."
On Friday night Pablo did a one-man forty-minute d emonstration for
the group. He sat calmly at a card table and completely fooled me. and prob-
ably everyone else, with what seemed to me to be original plots with cards
and coins. His work was flawless; but it was his Latin charm and artistry
that made it a magical performance. If I had had the power, I would have
awarded him a gold medal on the spot.
There were frequent breaks, during which the participants playnl
Ping-Pong, drank specialty coffees and shared thoughts and creations
with each other.
The next day. after breakfast, I did several routines in a casual kcwrl:
format, which involved cards, ropes and coins. I then did my version of
the Bill in Lemon. What followed the performance was hscin a rin~. In thi~
routine, the bill is found in a lemo n that I never touch, becut.sl· iris in.s idc .1
bag that I give to ~omeone to hold bcf(,rc the trick starr.~. As I wa.s n pl.1in in~
-~ ..,,
 BARRIE RJCHARD.'WN

the method, someone blurted out, "Your method is too perfect, since there
is no possible way for the typical person even to venture an explanation."
The group, with a great deal of enthusiasm and some agitation, debated
the Too Perfect Theory. I sat back and, through my interpreter, became
spellbound by their knowledge of magic and their interest in philosophical
questions. One magician, in almost a dismissive fashion, stated that he wanted
all his magic to be "too perfect," and it was impossible to be too perfect.
Throughout the day, the members of the group showed one another
new routines and presented works in progress. But what was unique to me
was how these friends affirmed each other and felt free to make helpful
suggestions. They all seemed to welcome help. and no one was defensive
or displayed a bruised ego.
Magic was going on all over the ranch all the time. One group might be
watching Dai Vernon and Charlie Miller videotapes; others were working
on new sleights; and still others in small groups talked about presentation
and their thoughts on performance.
The hospitality was magical as well. After a sumptuous meal, which
included several bottles of our own special Malbec and some champagnes,
we were treated to a surprise. Two classical tango dancers and a male singer
were brought in to entertain us. The dancers were only a few feet from us,
and their agility, discipline and artful movements were breathtaking. It was
near midnight when they left, but this was just the beginning.
The room was then set up theater fashion for a cabaret show, for which
six of the attendees had volunteered. And what a show it was! Many of the
routines presented were works in progress, but the performers displayed
great humanity and style, and they all connected with the audience in a
way rarely seen in North America. The show ended with the astonishing
hand-shadow act of Greco. With nothing but his hands and a lamp, he
created profiles offamous people and hilarious "shadow movies." Yet this
was not the end of the night. Many stayed up another three or four hours.
Talk about passion.
The following morning I did an informal lecture in the garden, which
was set up with thirty chairs. After my turn, other participants presented
some of their new effects, most of which ba.ffied me. Conversations and
enthusiastic little debates followed each one of our presentations. Hours
passed like minutes in this extraordinary setting. Never have I been with
a group of more eager and able magicians who wanted to learn and share.
The final luncheon was a barbeque, but not in the American style.
Mountain goat, lamb and beefwere cooked for many hours over smoldering
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wood, and the succulent meats were served along with vegetables, with
style and good cheer.
There we sat jubilant guests, around four picnic tables. The snow-capped
Andes were behind us, grape fields to one side and a peaceful and verdant
garden all around.
There followed a formal presentation. Janie, the first woman to attend
this remarkable event, was made an honorary member ofthe Palmero Magic
Gathering. She was given a Palmero emblem to put on her blue blazer.
I was given a beautiful citation, which made me tear up, and a specially
handcrafted silver-handled knife. (All real Argentine men have a knife for
barbeques. Now I am a real man.)
The sun was shining. Our stomachs and hearts were full. Then every
one of the men hugged and kissed us.
The trip back to Buenos Aires wenr easily. We had so much to think
about. How could anyone ever be in a more loving, beautiful, fun-filled
and stimulating environment?
Can there be a magician's heaven on earth? What do you think?

2'il