249262084-Angelo-Stagnaro-Conspiracy.pdf

A BOOK OF CODES~ ILLUSIONS FOR THE MODERN STAGE MENTALIST~ SECRET ASSISTANTS, CONFEDERATES, ASSOCIATES, ALLIES, SHILLS, COLLABORATORS, COHORTS, PLANTS, ACCOMPLICES, COADJUTORS, SPIES, ACCESSORIES, STOOGES, PAWNS, CO-CONSPIRATORS, ASSISTANTS, COLLEAGUES ~ OTHER "PARTNERS-IN-MAGIC" ... WHETHER INTENTIONAL OR NOT ...

AN ORIGINAL COLLECTION OF MENTALIST CODES~ SIGNALS, TRICKS ~ TRAPS, SOME OF WHICH ARE BASED ON OLDER ESTABLISHED PRINCIPLES BUT ALL BRILLIANTLY REWORKED &:; EXQUISITELY PERFORMED by

Angelo Stagnaro TO THUNDEROUS &:; RAPTUROUS APPLAUSE, SPONTANEOUS COMBUSTIONS&:; HYSTERICAL PREGNANCIES

(and that was just during rehearsals!!)

First Edition © Copyright 2004 by Angelo Stagnaro

All rights reserved under International and Pan-American Copyright Conventions. ISBN: 0-9727938-2-8

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For Seth Joseph Weine: for his inspiration, direction, patience and friendship

In magic,

.~implicit)•

mahe.\· the masterpiece

- Edmund Spn·er

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Table of Contents List of Effects -page 7 List of Codes -page 9 Preface -page 11 Foreword -page 13 Chapter 1 -SOOTHSAYER- page 17 Chapter 2 - ORACLE- page 27 Chapter 3 - AUGUR- page 41 Chapter 4 - PSIONICIST- page 53 Chapter 5 - PROGNOSTICATOR- page 59 Chapter 6 - CLAIRVOYANT- page 81 Chapter 7 - SEER- page 91 Chapter 8 - PSYCHIC- page 97 Chapter 9 - MEDIUM- page 103 Chapter 10 -

MINDREADER- page 111

Chapter 11- VATICINATOR- page 117 Chapter 12- TELEPATH- page 123

About the Author-page 133 Magic Societies- page 135 Glossary- page 137 Bibliography- page 143 Appendices- page 149 Credits -page 155

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List of Effects

Precognitive Dream .................................................................................................................................................... 31 Statistical Impossibility ............................................................................................................................................. 32 Dicey Chances ............................................................................................................................................................. 34 Lady Luck ...................................................................................................................................................................... 34 Magnetic Sense ........................................................................................................................................................... 35 Instant Identification .................................................................................................................................................. 36 Astral Projection .......................................................................................................................................................... 36 Braggadocio ................................................................................................................................................................. 41 Room Service"- Revisited ........................................................................................................................................ 42 Unbeknownst ............................................................................................................................................................... 53 Telephonic Telepathy ................................................................................................................................................. 55 Preternatural ................................................................................................................................................................. 55 Electronic Psychometry ............................................................................................................................................ 56 Telepathic Images ....................................................................................................................................................... 57 Uncanny ......................................................................................................................................................................... 59 Horoscope Reading .................................................................................................................................................... 62 Name the Name ............................................................................................................................................................ 65 ESP Symbols ................................................................................................................................................................ 67 Symbology .................................................................................................................................................................... 67 Mass Hypnosis ............................................................................................................................................................ 68 What's My Line? .......................................................................................................................................................... 75 Tarot Reading ............................................................................................................................................................... 76 Second Sight 11 ............................................................................................................................................................. 76 Color ESP ...................................................................................................................................................................... 77 Clue ................................................................................................................................................................................. 78 Beyond Here Be Dragons ......................................................................................................................................... 78 Mass Mind ..................................................................................................................................................................... 79 X-ray Vision .................................................................................................................................................................. 81 Clairaudience I ............................................................................................................................................................. 81 Clairaudience II ............................................................................................................................................................ 82 The Garden of Good & Evil.. ..................................................................................................................................... 82 Clairaudience Ill ........................................................................................................................................................... 83 All-purpose Physical Code ....................................................................................................................................... 84 Ultimate Scrying .......................................................................................................................................................... 85

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Fakir Control ................................................................................................................................................................. 98

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Photokinesis ............................................................................................................................................................... 101 Stasis 1.......................................................................................................................................................................... 101 Borrowed Change ..................................................................................................................................................... I 03 Tibetan Prayer Tube ................................................................................................................................................. I 03 Levitation ..................................................................................................................................................................... I 04 A Complete Mindreading Act ................................................................................................................................. 105 Danger Sense ............................................................................................................................................................. I 06 Neverfail ....................................................................................................................................................................... I 06 Chronokinesis ............................................................................................................................................................ I 07 Mysterio ....................................................................................................................................................................... I 07 Come Hither ................................................................................................................................................................ I 08 Comic Interlude ......................................................................................................................................................... 108 Pure Magic .................................................................................................................................................................. Ill Classic ESP ................................................................................................................................................................ 113 Unearthly Premonition ............................................................................................................................................. 113 Newspaper Prognostication ................................................................................................................................... 114 Impossible Card Apportation ................................................................................................................................. 114 Personal Reading/Telephone Number Revelation ........................................................................................... 117 Transmogrification ................................................................................................................................................... 118 Personal Magnetism ................................................................................................................................................. 119 Levitating Table ......................................................................................................................................................... 119 I Spy·············································································································································································· 120 Dowsing ....................................................................................................................................................................... 120 Mot Juste ..................................................................................................................................................................... 121 Cryokinesis ................................................................................................................................................................. 123 Cool Thoughts ........................................................................................................................................................... 123 Fahrenheit 451 ........................................................................................................................................................... 124

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ran male Apportation ........... .. ... .. ... .. ... ... .. ..... ...... ... ........... ... ... .. .... 128 Any Drawing, Anytime ..........................................................................::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: 129

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List of Codes EYES Unbeknownst Pure Magic MOUTH Drowsing LEGS Unbeknownst HANDS Uncanny Symbology Classic ESP Latent Psionics VERBAL Telepathic Images A Complete Mindreading Act Mot Juste Any Drawing, Anytime ARMS Danger Sense Pure Magic TIMING White Magic Telephonic Telepathy GENERAL PHYSICAL All-purpose Physical Code OTHER Electronic Psychometry X-ray Vision Handy Psychometry Brilliance Tibetan Prayer Tube Retrogression

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men•tal•ism n 1 : of or relating to the magic of the mind 2 : a form of stage and close-up magic that simulates telepathy, ESP, telekinesis, precognition and other extrasensory or psychic paranormal skills or experiences 3 : a really neat form of magic - men•tal•ist n part•ner n 1 :ASSOCIATE, COLLEAGUE 2: either of two persons who perform together 3 : one of two or more persons associated as joint performers - part•ner•ship n Ralph Kramden: "What is this object? Does it ring a bell?" Ed Norton: "It is a bell!" Ralph Kramden: "That is correct! What is this object? Watch out!" Ed Norton: "It i.~ a watch!!" Ralph Kramden: "That is correct! What is it that I have in my hand? It might be over your head!" Ed Norton: "Is it algebra?!" -from the "Honeymooners." "Card tricks? It's a gimmicked deck!" "Coin tricks? You're using a fake coin!" "Stage illusions? Trap doors, sets of twins and camera tricks!" "Escapes? He's got a key!" "Close-up? He has it up his sleeve!" "Mentalism? ...... Ah! ... Ummm! I don't know ... " Many who perform even a single feat of mental prestidigitation will agree with me that no matter how well-executed your pass is, or how undetectable your gimmicked coins are, your audience will smile and approve and then wait for the next effect. A good mentalist will be able to leave his audience gasping for breath on the floor, shocked, eyes and jaws wide-open, bewildered at the possibility that anyone can know their most secret thoughts; that they actually possess ESP, telekinesis, pyrokinesis, precognition. telepathy and other psychic abilities. How much more can you ask for in a magic effect? This is as close to "real magic" as one can get. .. at least in the minds of your audience. I intended this book to be a resource for magicians and mentalists interested in expanding their acts into what I consider a very challenging and immensely gratifying field of magical entertainment. But ... as my ancient Roman ancestors use to say: "De gustibus et coloribus non disputandem est!" A figurative translation would be: "Intelligent people shouldn't argue about tastes." That is, mentalism isn't everyone's "cup of chai'' but being in the presence of an excellent mentalist who performs without pretense and egotistic delusions is a wonder to behold. I praise the work of good close-up magicians. stage illusionists and escapes acts will always hold a fascination for me but mentalism is my preferred form of artistic expression. All of the codes I came across in preparing my act were unnecessarily complicated. So complex, in fact, that I went through hair a dozen assistants before I could find one with the intelligence and perseverance to memorize them. But the opposite was similarly undesirable. Obviously, the "Honeymooner" mentalist skit that I quote above was meant to be humorous but I have seen mentalist acts that were actually that transparent. Let's presume for the duration of your career that EVERY audience you will EVER encounter, other than the unforgivably gullible, will always presume that you and your partner are using a code or some predetermined agreement. Keeping that in mind, I have created these innocent-looking, commercial. information-transmitting codes and other partner-style mentalist effects designed to help you create a truly magical reputation for yourself. Mentally yours,

II

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mag•ic n 1: the use of means (as charms or spells) believed to have supernatural power over natural forces 2: an extraordinary power or influence seemingly from a supernatural force 3 : SLEIGHT OF HAND -

magic adj- mag•i•cal -

mag•i•cal•ly adv

Prior to August 2003 I only knew Angelo Stagnaro through his outstanding monthly e-zine, Smoke and Mirrors. Imagine my surprise when Angelo honored me with a request to write the foreword to his new book, Conspiracy. Shortly thereafter, I received a rough copy to peruse. Truthfully, like many of my peers I had only occasionally utilized the primary subject of the book, the use of confederates, stooges, and similar artifices to perpetuate our beloved art of entertaining deception known as mentalism. Like others, I disdained the practice for many years primarily because it afforded audiences a very logical explanation for the miraculous happenings they witnessed: the use of a confederate who is acting in collusion with the performer. As time went by and my knowledge of mentalism increased, I realized that once the possibility ofcollusion was erased by a seemingly indiscriminate selection of an audience member, a secret collaborator could be used to great advantage. For those ofyou who have seen me perform over the past 62 years, where and when I took advantage of this secret weapon shall also remain a secret. The only effect that I published that employed the principle was entitled, Thumb Fun. It was created to enable my lovely wife April, to emulate my seemingly psychic abilities without having to possess any skills other than her innate ability to act. Amazingly the effect did not appear in any of my books, it was published as How to Read Minds in a book edited by friend, Jerry Dunn, entitled Tricks of the Trade for Kids. This 218-page paperback purported to reveal the secrets behind the success of 50 renowned personalities. My humble contribution appears on page 109. Before I studied the contents ofAngelo's Conspiracy, 1 asked him to e-mail me a brief history of his background. What I received was voluminous to say the least. Before 1 reached his magic resume I discovered that my newfound friend had an extensive and outstanding inventory of academic achievements. To put things in perspective. comparing Angelo's scholastic record with mine would be like comparing Socrates to Daffy Duck. Surprisingly to me, his accomplishments in magic and mentalism were hardly less impressive. Angelo has performed magic and mentalism for nearly twenty years. He has also performed extensively around the world, appearing on television in the United States and Spain. In fact, the deeper I penetrated his list of credits, the more impressed 1 was with Angelo Stagnaro. Especially after 1finished absorbing his extensive treatise which in Angelo's word'i consists of "codes and illusions for the modern stage mentalist and secret assistants, confederates, associates, allies, shills, collaborators. cohorts, plants. accomplices, coadjutors, spies, accessories, stooges, pawns, co-conspirators. assistants, colleagues and other partners in magic" ... intentional or not.

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Had I been familiar with the contents of this encyclopedic work on mentalism's version of the confederacy, I would have utilized this devastating tool considerably more over the years. What_surprised me even more, notwithstanding how many years I have been a performer and creator of mentalism, is the inspiration I derived from Angelo's material. My mind has been buzzing ever since I put it down. In fact, I'll make a prediction. Angelo's creativity in mentalism will soon assure him a respected position among mentalism 's elite thinkers, especially after the publication of this volume and the remaining two volumes of a mentalism encyclopedic trilogy. I sincerely hope that you derive as much enjoyment and material as I have from a Conspiracy that I'm privileged to have had a preview of I'm sure that you, like me, will be eagerly looking forward to more of the same from a very bright and talented thinker, Angelo Stagnaro. Larry Becker September 2003

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Legend () Transmits information ~ Previously agreed upon behavior

.E Verbal Code t

Physical Code & Written Code Requires specialized equipment II Requires electronic equipment ~ Requires hand-made item ~ Requires Internet connection ~ Variation of an effect already on the market 4- Card effect $ Money effect ~ Close-up effect + Platform effect Parlor effect ~ Stage effect ~ Home/Established setting Can be performed on the telephone 5;1 Involves animals ntt Labor Intensive /}) Escape - Requires Costume w Street Magic re1 Restaurant Magic CD Timing: Critical

*

• •

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sooth•say•er n : one who foretells events - sooth•say•ing

If the British went out by water, to show two lanterns in the North Church steeple; and if by land, one as a signal, for we were apprehensive it would be difficult to cross the Charles River or get over Boston Neck. - Paul Revere, (Signal code arranged with Colonel Conant of the Charlestown Committee of Safety (April16, 1775), Letter to Dr. Jeremy Belknap)

CRYPTOLOGY Cryptology is the science of communicating in secure and secret forms. The term cryptology is derived from the Greek krypt6s, meaning "hidden," and logos, meaning "word." Secrecy is maintained between the transmitter and the receiver by virtue of a key (i.e., a piece of information known only to them.) The need to pass on specific information only to specific audiences is an ability that has proven to be very useful throughout history. We know, for example, that Alexander the Great and Julius Caesar used them. Napoleon used the semaphore code specifically so that information would not fall into the wrong hands while travelling openly across long distances. The Enigma Code was used by the Germans during World War II with great success until the British correctly deciphered it. Spies throughout the years and in every country have developed ways of passing on information in nonchalant, secretive ways. This book explores examples of such codes between mentalists and their confederates.

PARANORMAL RESEARCH The term "extrasensory perception" (ESP) was coined in 1870 by Sir Richard Burton. A French researcher, Dr. Paul Joire, in 1892 used the term "ESP" to describe the ability of people who had been hypnotized to sense things externally without using their ordinary senses. The first systematic study of ESP was conducted in 1882, when the Society for Psychical Research, founded in London. J. B. Rhine (1895-1980) researched paranormal topics including telepathy, precognition, clairvoyance and telekinesis. In 1927, Rhine and his wife Louisa began a full-time investigation of ESP at Duke University, North Carolina. Rhine's work continued until his death in 1980. The psychiatrist Carl G. Jung proposed a similar theory that the conscious mind has subliminal psychic access to the collective unconscious, a vast repository of accumulative wisdom and experience of the human race. Louisa E. Rhine explored this possibility when she proposed the theory that ESP starts in the unconscious, a veritable storehouse of memories, hopes and fears. At this point a contact is made between the objective world and the mind. The person remains unaware of this contact until or unless the information is brought to the conscious level.

It was found in a survey published in 1987 by the University ofChicago's National Opinion Research Council that 67% of American adults believed they had experienced ESP. Eleven-years earlier the figure was 58% and more than 75% of people report continual feelings of deja vu. 17% of Americans have consulted fortunetellers, which translates to 50 million people. No matter the scientific explanation for these phenomena, they are certainly common to the human experience. If they are common then they must be natural and not "supernatural."

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THE SCIENCE OF CODE-MAKING

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1 have gathered together a number of codes from dozens of sources and several of my own invent1on !or th1s book. I su est examining each of the code systems described herein so that both you and your partner can d1sc~ss. the ~;r~ts and problems inherent in each. 1 would also suggest memorizing several of them so that you aren t t1ed to a

specific routine. The problem with the coded systems of yore is that they required countless months of practice •. the slighte~t mistake caused irrevocable mistakes, they could not be made to fit unexpected situ.ations and they reqUired mentahsts to speak convolutedly and in unnatural grammar, syntax and vocabulary ch01ces. I have use~ all of th~ ef!ects that I have included in this book in my performances throughout the years. Each can be used Without hes1tatJon as they are all audience-tested and mentalist-approved.

A PHILOSOPHY OF MENTALISM Have you ever experienced one or more of the following situations: •

• • • • • • • • •

Deja vu Know who's calling on the telephone before you answer it Kismet/Fate Flashes of intuition Realize someone's passing at the very moment that it happened Psychic or spiritual connection to a place, an object or a person Realize a close friend or family member was in trouble and needed your assistance Those times when you were certain you knew what someone was thinking Those times when you were certain what numbers to chose on a lottery ticket Premonition of good or unfortunate results

So have I. We've all heard the stories of people changing their travel plans at the very last moment only later to learn that they avoided an unfortunate accident. How often have any of us said, "I was just thinking about you!" when bumping into someone we did not expect to meet? A humorous example of paranormal phenomenon is the scene in the Oscar-winning movie "Life is Beautiful." Benigni's character "psychically" compels a woman he was interested in to look toward him simply by waving his hands hypnotically and saying, "Tum toward me! Tum toward me!" I'm not qualified to suggest an explanation for these phenomena but I do use these common experiences as an introduction to my mentalism act to draw my audience into the performance. I would rather steer away from a preternatural explanation because it's dishonest. Personally I would never let an audience believe that I'm "gifted" in some way or that I have access to supernatural powers. I think that is simply nonsense and most modem audiences are not willing to suspend disbelief that much. It does a disservice to the world and to the community of magicians when a "fakir" sets up impossible standards that most other mentalists and mental magicians will not be able to attain. Personally, I don't believe in ESP and the other allied psychic skills. Others might disagree but if you truly exhibit any of these abilities I would say that you are wasting your time on the stage; you would best be served working on Wall Street or for the National Weather Service. Furthermore, I find it reprehensible and unprofessional to bilk ?eopl~ of money just for the.sake of one's career; one would have to be a true misanthrope to deceive people mtent10nally for personal gam. The appeal of mentalism is that humans don't have these abilities and mentalists strive to "reproduce" them through artifice and guile. Stage and close-up magicians no longer claim "mastery over th~ el.ements" or of "de.mo~ helpers" to explain their effects. These days, they clearly and honestly attribute their abll1t1es to cleverness, 11lus10n and dexterity. They are quick to point out the difference between illusion and what some. people mig~t thin.k is "real" m~gic. I believe one can perform mentalism without resorting to deceptive practices. So, as I ve la1d out the eth1cs that performers should keep in mind as they go about their acts you'll see that there is a fine line that needs to be treaded ... but treaded it will be.

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CONTENTS This manuscript contains several types of effects: I) 2)

Codes for mentalist teams designed to transmit secret information between them; and Mentalist effects performed with the previously agreed upon cooperation of a secret partner.

The legend in the beginning of this book will help you determine which effects are best for your performance. Each effect is described in detail and, where necessary, performance tips, photos and diagrams are included. Patter ~uggestions are listed at ~he end of every effect. A glossary of mentalism and psychic and paranormal terms is mcluded at the end ofth1s book to help you develop your patter. Appendices contain further useful information.

YOUR DEMEANOR Magicians practice the art of illusion; the science of the unreal. In order to be successful, mentalists need to give the impression that they do in fact "alter" reality. Mentalism portrays some truly bizarre effects including the creation of flames, reading minds, knowing the future and moving objects telepathically. Since these "phenomena" are obviously unreal, we have to present ourselves as being comfortable with them but not present ourselves as some type of "mystic." You are more of a leader in this regard than a performer. Like any good magician, you must facilitate your audience's suspension of belief. A well-executed knowing smile, for instance, will be generally enough to waylay suspicion. Not putting on airs is another; people can see through this. No matter what persona you wish to project on stage or how you want to present your performance, you will need to create an environment of complete believability for your sake and that of your audience. The mentalist bas to be able to manipulate his audience's credulity successfully; his performance and reputation demands it. If you are not convinced of your own verisimilitude, then no one else will be.

PSYCHOLOGICAL MISDIRECTION I've performed with magicians who, though completely familiar with the principles of misdirection when it comes to coin and card work, are fish-out-of-water when it comes to mentalism. It's a different style of magic than the others. You must appear extremely confident and yet inviting and warm to your audience; a boisterous or rude mentalist quickly looses the respect of his audience ... and then his audience as well. Be sure to couch your pronouncements with "outs." Don't be specific unless you feel you have a reasonable chance of success. Other forms of misdirection include Docc Hi! ford's examples on his videotape How to Turn Ordinary Tricks into Mind-Shaking Miracles. Most of them deal with telling people what you want them to believe and telling them what to remember after the fact. All of cold reading is based on the ploy of telling people what they want to hear. An example of this type ofpsychological misdirection is Paul Harris' use of exaggeration in his performance of the Balducci Method of Levitation. He suggests to magicians that after "levitating" a few inches off the ground. they should tum to their audiences and spread their hands several feet apart and excitedly ask them if they saw you levitate "that much." The shock of seeing someone levitate and the excited manner of the person levitating should be enough to "scare" people into believing you. Larry Becker also uses misquoting and prevarication to misdirect his audience.

SELECTING YOUR "VOLUNTEERS" veri•si•mil•i•tude- n : the quality or state of appearing to be true I've always loved the word "verisimilitude." As you'll note the definition I quote above refers not to something that is true but something that seems to be true. It is this very concept that needs to be exploited for the success of mentalist acts. Consider the following ways in which you can "randomly" choose a "volunteer:"

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Clear Forcing Bag Method A mentalist shows a large clear plastic envelope full of folded strips of paper. A volunteer is called up to examine several of the strips. Each one contains the name of a different person in the audience. The strips are returned to the envelope and the volunteer is then asked to select one. The secret to this bag is that it has two compartments. One contains authentic billets, each with a different name. The other compartment has an equal number of billets, each containing the same name; the name of your confederate. The second time you ask your volunteer to select a single name, you maneuver the bag so that her hand goes into the secret gimmicked compartment. Mesh Forcing Bag Method Assemble together three pieces of fabric: I) a wide-mesh cloth, 2) a gauze-like fabric and 3) a second piece of widemesh cloth. All of these pieces should be approximately 9" x II" (23 em x 28 em.) Sew along three-sides to from a bag. You may hem the remaining open end. This bag is essentially the same as the Clear Forcing Bag mentioned above. The handling is the same. Ping-Pong Ball Method This method allows for an absolutely "free" choice in volunteers. The mentalist stands before his audience with a bowl of Ping-Pong balls, one of which is marked with a red X. He announces that whoever catches the marked ball will be his assistant. In actuality, none of the Ping-Pong balls thrown out to the audience are marked. Your stooge sitting in the audience already has a ball marked with a red X palmed in his hand. He feigns catching a ball as the others fly past him and produces the palmed one. In the flurry ofmotion from having 10-12 Ping-Pong balls flying into an audience with everyone present scrambling for a ball, no on will notice your confederate "retrieving" a single ball.

SOURCES OF INFORMATION IMPROMPTU COLLABORATORS

Be secret and exult, Because of all things known That is most difficult -William Butler Yeats

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Collab.orat.ors can found everywhere. The level of helpfulness and acting ability will vary from person to person but, With time, pat1ence and a good sense judgment on your part, you can find those sympathetic to helping you. Look for possible impromptu collaborators among: • Family and friends of the person you hope to read • Their colleagues and business associates • Secretaries SWEAR THEM TO SECRECY

The secret is the thing ..Don't appr~ach people. wh.o are "above reproach;" they rarely have a well-developed sense of humor necessary to be 1~ on the tr1ck. Be spann~ m those you take into your confidence; they might be too eager to expose you. Afte~ards 1mpress upon them the Importance of secrecy and for their continued support even AFTER the performance IS over. Don't be demanding but do strive to be personable. Your personal warmth should be enough to compel them. St. John Don Bosco, the Catholic patron saint of magicians, once said "If you wish to b loved, you must first be lovable." ' e THE INTERNET

~ith the. proliferation of Yellow a~d White Pages search engines throughout the Web, a great deal of ersonal mforrnatJOn can be legally and ethlcall~ found o~t about your audience members. One mentalist su ri~ed me for a ~ew ~econ~s when he t~l~ me where I hved prev10usly, that is, until I realized that he had gotten it ;;ffan old ata ~e. t was a surpnsmg effect nonetheless. See the description of an Internet-related effect called Ultimate Scrymg on page 85.

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WARNING: If you want to be convincing, DO NOT divine the spectator's e-mail address!!! DO NOT even use th~ words "We~" or "Internet" or anything that could remotely suggest that the information you're

revealing could easily be retrieved by half the planet! It won't do well for your career. BE WELL-READ & WELL-ROUNDED

My past cold reading successes include "divining" some spectators as being Maltese, Tyrolian, Ibo, Vietnamese and Romanian using the following clues: • Maltese -a volunteer wore a ring inscribed with a Maltese Cross, a rather uncommon sigil; • Tyrolian- a volunteer was clearly Germanic-looking but spoke Italian perfectly; • lbo - a volunteer had a scar on her cheek reminiscent of wards against evil, as is the custom among the Ibo of Nigeria. Her accent cinched the idea; • Vietnamese- an Asian woman I met spoke English with a French accent. Vietnam was a former French colony; • Romanian- the volunteer spoke a language very reminiscent of Italian and Spanish and yet I could barely understand it even though I spoke both of those languages; Romanian was the only other option left. In the movie "Leap of Faith," Steve Martin's character reasons that a police officer is a violin virtuoso simply because he had a mark on his chin; the mark was from excessive violin practice. It would be impossible for me to list everything you could use as a sign or clue about everything else that humans do in the world but if you remain open to the learning process and earnestly seek out experiences you will greatly improve your performance skills. RELIGION COLD READING

• Ethnic names are excellent clues to religion and ethnicity; • Look for crucifixes, Stars of David, Orthodox crosses, yarmulkes, Sikh bracelets, Moslem skullcaps, Hindu "Om" pendants. They provide valuable information as to the religious predilections of your audience members; • DAMAGE CONTROL: Should you make a mistake and miscall someone's religion you might try something humorous like: "Yes, but you only recently converted .... " OBSERVING HUMANITY

It's important to be a "people person." Misanthropes are best directed to other forms ofmagic ... ifany exist that could better accommodate them. Mentalism is for personable, charismatic performers; people who are frequently complemented for being intuitive, helpful, sympathetic, compassionate and gentle of spirit. Why? So that you can better understand motives, predict behavior and gain insight into people's lives both past and present, and possible future. PSYCHOLOGICAL MISDIRECTION

A stage illusionist misdirects his audience with scantily clad women, sudden loud sounds, flashes of light and the sheer size of his stage. Card & coin workers misdirect with their eyes and hands. A mentalist might resort to these tricks of the trade, but largely he depends upon his presence, his speech, his charisma and his mystique. It can be argued that mentalism requires more of a sense of mystery to be convincing then do other forms of magic. One can also be humorous in presentation; it can help the performer to "lighten up." Being too serious might work against you. OTHER TRAINING:

It's important to develop an eidetic memory; it would be highly beneficial to take a course in memory development. Acting, choreography and stagecraft classes are also helpful and can only add to your performance. It's an unfortunate aspect of modem magic and mentalism that performers forget that we are stage performers no less important than singers, dancers and other entertainers. COLD READING:

Read any book on Tarot. You'll be amazed at how general the "readings" and "interpretations" are for each of the cards. Here's an example: "'You have been lied to in the past and it caused you a great deal of pain. The person was someone you respected and trusted very much."

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(fa single person who reads this manuscript can tell me that the above st~tement ~?ES NOT describe him or her, I would say that he or she isn't telling the truth. Everyone has had a trust vwlat~d; _It IS part and ~arcel o~ the human experience, unfortunate though it might be. Cold Readi~g offers such generahzatwns couched m seemmgly "specific" language. Here's another great example: "You have a scar that hasn't completely healed." Now, in the event that a spectator actually manages to escape the regular scrapes and near misses of a normal childhood, the above "reading" can be interpreted to mean a "psychological or emotional scar." The cold reader wins either way. This type of equivocation is imperative for the success of a mentalist. ADVICE:

•

HAM IT UP! Instead of the answer "a house" say instead: "I see a beautiful, smallish house. Full of love and light. There are friends and family all around. There are beautiful moments shared there ... " • Best to use a combination of signals throughout one's show. Don't rely on any one particular system no matter how well it works for you; • Don't restrict your performance only to confederate-style effects. Use other mentalist effects in conjunction with them.

MENTALIST ACCOUTREMENTS • Gimmicked Blindfolds: Several of the codes in this book will require the use of a blindfold. There are many good books on how to construct one yourself. Sam Dalal of India produces several types of inexpensive and examinable blindfolds; your local dealer will be certain to carry them. • Aluminum Blindfold: Exactly what you must think: a blindfold made of aluminum. This is an older item that isn't made any more but with some patience and some metal cutting tools you can have a thoroughly examinable blindfold. The Osterlind original version of this blindfold was completely ungimmicked. It allowed its wearer to see by looking straight down the sides of his nose. It was effective because it was a single piece of relatively thick aluminum without any aperture. • Peek/No Peek Hood Method A cleverly designed hood fits completely over the mentalist's head. It can be placed over a spectator's head but they will not be able to engage the gimmick that would allow complete visibility. For more information on this unique piece, contact me directly at [email protected]. • Crystal Ball A real crystal ball made from rock crystal of any size suitable for stage presentation will cost an unimaginable and unwarranted amount of money. A synthetic crystal ball, on the other hand, will not only be flawless but also affordable to most performers. • Swami Gimmick Available at any well-stocked magic store. • Clear Plastic Force Bag Read the instructions on its construction and use on page 20. • PK-style magnet Available at any well-stocked magic store. • Rare-earth magnets Available at any well-stocked hardware or educational toy store.

22

• Thumb tip Available at any well-stocked magic store. • Palmtop or laptop with Internet connection Palmtops oUaptops with Internet access are now ~ommonly found on the market. A laser printer with a very small footprint is also useful.

CHOOSING A PARTNER-IN-MAGIC • Pick someone with whom you don't mind spending a great deal of time. This first and foremost means someone who either lives near you or at least someone with whom you will have daily or nearly daily contact. Ingraining the codes into your respective memories is the hardest aspect of this type of partner mentalism work. The more time you spend together the better for you both. A pre-existing friendship may not be a requisite to learning these codes but it would certainly help; a mentalist team needs to be able to read each other well; • Two- and three-persons telepathy team: Don't disregard the possibility of having a third or even a fourth partner. People who would suspect a hidden assistant might want to have a particular person removed from the room but they would be less likely to think that you had multiple assistants. If a confederate is asked to leave the room during a performance, a third accomplice will be completely overlooked; • I've been asked many times whether I prefer a male or female confederate. I'd have to say that I've had more success with males. This is most probably for several reasons. Most of my stooges were magicians themselves with a great deal of experience with misdirection and keeping secrets. Second, I think the presence of a man at a magic or mentalist performance draws less attention than would a woman. But, this is not meant as a hard and fast rule; you should choose your hidden partner as best fits your purposes; • Don't stare directly at the source of secret information ... this is only common sense and yet it is the number one mistake of new mentalists; • A confederate has to be able to manipulate his audience successfully. He has to be completely believable despite the radical and clearly unreal nature of the goings-on of which he is a part.

There is a condition that is generally classified as a "learning disability" known as "directionally-confused." People with this disability continually confuse right and left. Some of the codes in this book are right/left-specific and might cause a problem with those who have difficulty distinguishing the two. Generally it is not fatal. .. unless of course the medium and the assistant get into an argument! DYSLEXIC ASSISTANTS: 'WARNING SWEAR THEM TO SECRECY

498 fooled people out of a possible 500-audience members is good enough ... it's outstandin_g actually. The fact that you didn't fool two people is approximately the same success rate as any other type ofmagtc performance. ~n a normal performance, no matter what your specialty in magic is, you'll find som~ ~eopl_e refuse to be entertamed; they are so bitter towards magic and magicians that they can not have an entertammg ttme.

23

ARGUMENTS AGAINST MENTALISM

1 remember several incidences when, after doing a card trick for a large crowd, one person will speak out saying: "Hey! That's not real magic!" I would generally respond to them "What was your first clue~ When I took the car~s out of the box?" That usually solicits enough laughter for the heckler to sulk away. There w1ll be people who cant and won't appreciate your performance in the way it is meant to be enjoyed. Disregard them. MENTALIST BEHAVIOR

• •

• • • •

Use humor; Try to appear as if you are receiving a shadow of incomplete thoughts ("receive as an impression"). If you are successful, your audience will respond accordingly. If you are a little off or completely off the mark, you have an out; Build it up- explain yourself; Use a few tangents; Keep talking ... like any good magician; Speak a lot, say nothing- speak in generalities.

The gent who wakes up and finds himself a success hasn't been asleep. - Wilson Mizner PRACTICE TIME

•

Much to his annoyance, I frequently call my partner on the telephone and instead of introducing myself I will simply say "Eight of Hearts." To which he will need to give me the correct coded response. It's important to keep everyone on their toes.

•

One can never have too much practice. Set aside time everyday or at least several times a week to devote to the study of these codes.

RECIPROCITY

•

It's also important to learn how to give and to receive codes. Some situations will be completely unexpected and you will need to deal with them.

A ROSE BY ANY OTHER NAME

Because mentalism is such a distinct and complex aspect of magic, very frequently, its specialists refuse to be called "magicians" but "mentalists" instead. The best definition I have come across about what a mentalist does comes from Marc Salem:

An illusionist tries to fool the eye. A ventriloquist tries to fool the ear. And a mentalist tries to fool the mind.

WORKING TOGETHER I highly sug~est watching Steve Ma~in'~ "Leap of Faith." It is a must-see for mentalism partners to see what teams can ~ccomphsh toge~er. A lot ofthe1r tnckery wa~ el_ectr~nic but many "effects" were accomplished with sheer chansma, braggadociO, common sense and a keen ms1ght mto humanity. What we should see when w~ witness a performer and his confederate at work is "nothing ... nothing at all." You and ydofiur p~ner would be the epitome of, the very flower of, the quintessence of, nonchalance Consider the following · e m1t10ns: non•cha•lant- f!dj IF, fr. OF, fr. prp. of nonchaloir to disregard, fr. non- not+ chaloir to f1i r · concern fr. L ca/Ere to be wannJ · oi • • · ... vmg an e ect o unconcern or mdifference syn collected,

24

composed, cool, imperturbable, unOappable, unruffied - non•cba•lance n - non•cha•lant•ly adv im•per-turb•able- adj : marked by extreme calm, impassivity and steadiness : SERENE sang•froid- n [F sang-froid, lit., cold blood[ : self-possession or an imperturbable state esp. under strain a•plomb- n [F, lit., perpendicularity, fr. MF, fr. aplomb, lit., according to the plummet[ : complete composure or self-assurance

• Be clever, clear-minded and quick-witted. If you plan to cold read a volunteer you'll want to pay attention to her body language and outward appearance. Be astute, discerning, wily, crafty, penetrating and clever. Be ingenious, artful, canny, cunning, shrewd and resourceful. You have to be able to understand your audience better than they understand themselves; • The only way to make an audience believe you are "aboveboard" is to appear self-confident. I can't stress this enough. Lack of self-confidence might conceivably work with a self-working card trick or with a coin effect but 1 assure you it will not in a mentalist act; • Don't overdue it. Three tries with the same code is plenty. Even the most undetectable code system can be figured out with close examination; • The mentalist and confederate have to be consummate actors, liars and frauds ... anything less and you're opening yourself up for failure; • Subtly ONLY ... nothing obvious! No winks, nods or elbows, yelling or hooting, St. Vitus Dance attacks, dancing, capering or other nonsense. This is mentalism: the pretense of psychic ability. If you pretend to be a psychic then you should act mysteriously and professional not clownishly. This is mentalism NOT charades; EMPHASIS & STRESS ON WORDS When a situation comes up where the mentalist has to decide on two possibilities, consider using a pause to indicate the WRONG choice. Using a pause for the correct choice would be too obvious. Consider the following examples:

"Is the source ofthis letter .. .local or international?"- This would indicate that the mentalist should choose "international" as the correct response.

"Is the source of this letter local or ... international?"- This would indicate that the mentalist should choose "local" as the correct response. DAMAGE CONTROL

If your medium makes a mistake, remain silent. Your silence will signal to her that she is mistaken. She can then reconsider whether to respond or take further clues from you. In the case where you have misinterpreted a signal from your confederate you'll need some damage control. Endeavor to be humble as that sells best but try to be proactive. Raise your hand to your forehead or shake your head as iftrying to understand a misunderstood image or thought. Say: "I don't know ... it's something weird!! You're very conflicted by this ... as if you were embarrassed somehow."

PREPARING A MENTALIST PERFORMANCE A good mentalist act requires very few props ... try to keep it that way. Artifice raises suspicion and gives the audience reason to doubt you and equate you with being a "magician." Don't combine "Run Rabbit, Run" with a mentalist effect. .. it simply won't work.

25

Other than securing important information for you for an effect of your own design, your confederate can be useful in other ways also. You can create your own mentalist confederate-style effect by simply adjusting an established effect in the following ways: I. Perform any card effect with a prior agreement with your confederate when you give him a "free choice;" 2. Imagine the ease at which an effect that requires a stacked deck can be performed if you ask your confederate to give the deck a few false shuffles; 3. A fairly and openly examined normal deck of cards can be switched for a gaffed one at the last minute by your shill; 4. A coin effect that requires a gimmicked coin can be enhanced if is it borrowed from a confederate. Alternatively, a normal coin from a volunteer can be palmed off for a gimmicked coin before it is handed to the mentalist; 5. If you use a gimmicked deck (or any other gimmicked prop) your confederate could demand to examine it. His vehemence should be enough to waylay any suspicion from the remainder of the audience; 6. Billet and envelope switches are more easily facilitated through the use of a confederate; 7. You can also ask a confederate to "volunteer" a prearranged response. For example: "You are thinking of the color red ... "

ANYTHING ELSE? What I have written here is not to be taken as Gospel. Recreate, reinvent and redevelop these ideas with your partner. The problem with too many other code systems on the market is that they are tied up in a certain manner and performance philosophy. I've tried to make the codes in this book flexible enough so that they can evolve into something better suited for you and your partner. If you two decide that a different sign is more appropriate for you and your partner, go for it.

26

Chapter

2

or•a•cle n 1 : one held to give divinely inspired answers or revelations 2 : an authoritative or wise utterance; also : a person of great authority or wisdom orac•u•lar adj

Kirlian Photo raph

In magic, the mind is led ingeniously, step by step, to defeat its own logic. - Dai Vernon EFFECT: The mentalist allows a spectator to freely select a card and keep it to herself. He then asks yet another spectator to merely think of a card and to write it down on a pad of paper. The mentalist then explains the concept of Kirlian photography. The mentalist introduces an instant camera and takes a photo of the spectator who selected the card. When the photo develops, a spiritual presence revealing the card's identity is clearly displayed. METHOD: Penn & Teller's book How to Play in Traffic contains a more detailed explanation of this effect but the transparencies that are included in that book aren't very interesting. Furthermore, using a confederate makes this effect stronger. Photocopy this page and transfer the image onto an acetate transparency. Cut out the square and simply place the cut-out on top of the standard Poloroid 600/0ne-Step camera film pack. Fit it into metal tray so that it doesn't slip out.

Before loading the film pack into your camera, remember that you will not be able to remove the unused film without exposing it. You will need to use all of the photos before retrieving the acetate transparency. When you expose the film, the image of Elvis will appear in the upper left-hand comer of the photo holding the force card . A problem with the original effect is that it seems suspicious; spectators will naturally start to wonder about the camera. I find that the use of a confederate will increase the emotional effect on one's audience. After you force the appropriate card (in this case, the Three of Spades) on your legitimate spectator, ask a second spectator, your confederate, to join you on stage. Ask him merely to think of a card. Prior to your performance, arrange with your confederate to write down Three of Spades when he is asked to "select" a card. When the image appears on the photo. your audience might suspect the camera is gimmicked. Having your second spectator mentally select a card will deflect attention from the camera and will add to the mystery of the effect.

TIP: Make sure you position the camera in such a way as to ensure your spectator is on the right side of the view tinder. Have the volunteer stand in front of a light-colored surface. Also, it's important to explain the concept of Kirlian photography AFTER you take the picture to give time for the photo to develop. The patter about Kirlian Photography will till this the time. PAlTER: Kirlian Photography

Oui"a Board

The mistake you make is trying to figure it out. -Tennessee Williams EFFECT: A volunteer selects a card but doesn't look at it. Instead she places it face down on a Ouija Board in front of the mentalist. The mentalist then explains the function historically ascribed to the board and explains that though spirits are not responsible for messages that are portrayed on them, it is possible that the collective unconscious of the group can manifest itself. Everyone lightly places his or her fingertips onto the planchette. Through some mysterious movements, the card's identity is revealed. METHOD: The planchette found in a Ouija Board game can easily be gaffed with high-ferrous nails or iron filings. Your confederate controls the movement of the planchette with slight movements with a magnet hidden at the tip of his shoe.

TIP: Secure rare earth magnets as they are the most powerful. Use magician's wax to adhere it in place. PATTER: Hypnotism, Mass Hypnotism, Precognition, Telekinesis, Telepathy, Intuition, Thought Planting

Telepathic S nchronicit

They say to the seers, "See no more visions!" and to the prophets, "Give u.~ no more visions of what is right! Tell us pleasant things, prophesy illusions." - Isaiah 30:10 EFFECT: A me_ntalist writes down a number on a Post-It Note Pad" and holds it to his chest. Two random spectators are chosen to su~nlarly wnte a smgle number on their own respective pads. After some by-play, the three numbers are shown to be Identical. METHOD: This effect works just as a normal Swami gimmick-type effect would. The only difference is that the second volunteer, your confederate, is the one using the Swami gimmick. He simultaneously writes down the number g1ven by the first legitimate spectator as he announces it.

TIP: ,After you ask the legitimate vol~nteer to reveal her selected number, ask her to repeat the answer as if you hadn t heard her. The advantage to th1s method is that it will give both you and your confederate more tim t wnte out the announced number. e 0 c 1ear 1Y PATTER: Group Mind, Mass Hypnosis. Subliminal Suggestion, Telepathy

28

Ps chic Interlude

~·

Mundus vult decipi, decipiatur ergo. (The world wants to be deceived, so deceive it.)

E~FECT: The mentalist's assistant walks into the audience and quietly points to five different objects. The

blindfolded mentalist standing on stage identifies each of them correctly. METHOD: This_quick effect is meant as a light interlude or transition between two other more complex mentalist effects. The assistant touches five items in an agreed upon order:

I. 2. 3. 4.

5.

Chair Collar Tie Purse Button

You may, of course, change the five objects. You may also add to the list to better fit your situation. PATTER: Telepathy, Second Sight, ESP

Jan le

Every age is fed on illusions, lest men should renounce life early and the human race come to an end. - Joseph Conrad, Victory EFFECT: A mentalist asks his audience for any electrical device and a flashlight is produced. It is placed in the middle of the performance table. The mentalist concentrates and "activates" it using only his mind. METHOD: Your confederate, who supplied the (gaffed) flashlight, has a strong PK-style magnet strapped to his knee, ankle or secreted in his shoe. It is an excellent effect but slightly suspicious without the use of a confederate. TIP: It's best to perform this trick after the CHRONOKINESIS effect described on pg. I 07 to keep to a single theme. ALTERNATIVE VERSION: Any electric or electronic device can be easily augmented with a mercury switch. You arc limited only to those items that have a plausible explanation for why an audience member would bring them to your performance. Suitable electrical devices other than flashlights that can be thusly retrofitted arc: I. 2. 3. 4. 5. 6. 7. 8.

battery-powered toothbrush car door remote keyfinder calculator camera radio/personal stereo electronic games ltty-bitty Book Light"

PATTER: EMP (Electromagnetic Pulse,) Electrokinesis, Psychic manipulation or disruption or electrical devices

All that we see or seem i.'> but a dream within a dream - Edgar Allen Poe EFFECT: A pen is borrowed from a volunteer who is asked to lay it atop of a clear drinking gla~s in plain sight of the audience. Slowly, after a bit of concentration on the part of the mentalist, the pen topples from Its place. METHOD: The principal flaw with this common magic store-bought effect is that the mentalist. needs to p.l~ce the pen precariously atop of a glass in order for the trick to work. This imm~diate.ly ma~es ~he aud~ence su.s~JCJous as the mentalist seeks out the ideal position for the pen. Most lay people w1tnessmg this tnck realize that It IS gimmicked in some way. Having a confederate lend you the pen is by far more convincing. Further:more, he is asked to balance the pen himself atop the glass, which completely disassociates you from any possible chicanery.

TIP: You can also make your own "telekinetic pen" if you cannot procure one. Simply conceal two ferrous BBs into the body of the pen. Set up your confederate up with a strong magnet in his shoe and position him so that he can unobtrusively manipulate the pen as it rests on the glass' rim. PATTER: Telekinesis

Go in , Go in , Gone ...

Was it a vision, or a waking dream? -John Keats EFFECT: The mentalist asks a volunteer for a quarter. It is placed on the table and the volunteer is directed to loosely cup both of his hands over it. The mentalist, in tum, places his hands slightly above them. After some by-play, the mentalist removes his hands as does the volunteer to reveal that the quarter is in fact gone. METHOD: This miracle is accomplished through the use of a Raven~~:. Your volunteer is a confederate trained in how to manipulate that particular gimmick. I find that the Ravenx produces great magic but when you can misdirect people further by putting the magic in another person's hands, it produces an even stronger effect. As the confederate closes his hands over the steel quarter, he should activate the device thus getting rid of the coin. He should do so only under cover of the mentalists' hands.

TIP: When you place your hands over your confederate's cupped hands, make sure that your hands are fairly spread open to give the impression that you are concealing nothing. PATTER: Apportation, Astral or Psychic Plane

He who can no longer pause to wonder and stand rapt in awe, is as good as dead; his eyes are closed. - Albert Einstein EFFECT: The mentalist asks a volunteer for a coin as part of an experiment in teleportation H · t k· d 1 ·t · h · . e IS o mar It an pace 1 man ot erw1se empty. trouser po~ket. The mentalist rolls up his sleeves and shows his hands empty. He lowers h1s cupped hands to mid-chest height and opens it to show that he now has the signed coin in his hands.

I originally learned from one of Meir y d'd' 1 tu h d I N U e 1 s ec res as e emonstrated Jeff ow- - - t, ow- -Don't." He looped a short length of invisible thread to a small, thin, transparent

METHOD: This is an old effect that

St

rt'

ewa s,

"N

uc

30

plastic disk. He then a~fixed the assemblage to a previously signed coin using magician's wax. The loop is then passed over your dommant hand's index finger. The coin is then made to rest on the back of your hand. Face your open palm toward the audience. Swing the coin gently toward you. As you do so, tum your hand completely so that your pa_Im faces you. Swing the coin towards you again and tum your palm toward the audience again. This gives the audtence an opportunity to see that you are evidently concealing nothing on either side of your hand. When you are ready to ma_ke the coin app~ar ~n your hand, twist your hand again and close your hand slightly. Open your hand and pass the com out for exammat10n. Your confederate should then immediately check his pocket. Using the empty sp_ace at the top of most trouser pockets to hide the coin, your confederate can safely pull the pocket inside-out wtthout fear of the coin falling out. NB: I suggest procuring Jeff Stewart's marketed effect, "Now- U-C-lt, Now-U-Don 't." His instructions are far more detailed and he offers other tricks including an excellent "Miser's Dream" with this gimmick.

TIP: You might consider using a FISM Flashoc to "announce" the appearance of the coin. PATTER: Apportation, Teleportation, Astral/Psychic Plane, "Poltergeist" the Movie

Preco nitive Dream

Your old men shall dream dreams, your young men shall see visions. -Joel, 2:28 EFFECT: The mentalist shows a sealed manila envelope and suspends it from the ceiling with a string or a ribbon. A

volunteer is then guided through a dream sequence and is asked to give her own responses as the story progresses. All of her answers are written on a nearby flip chart resting on an easel within plain view. Once finished, the mentalist retrieves the envelope that has been in plain sight all along and opens it to show that the prediction matches the spectator's dream sequence exactly. METHOD: This effect is accomplished with a backstage assistant who is a quick and accurate typist, a laptop computer, a laser printer, a chair, two envelopes and not a little bravado. Your confederate has listened carefully to the volunteer's responses and quickly types them into an already created word-processed file.

After the "prediction" is printed out, an assistant places it into a white business envelope and affixes it to the back of a chair. She then brings the chair to the mentalist who uses it to retrieve the suspended manila envelope. Once it is taken down, the magician artfully grabs the back of the chair to move it aside and surreptitiously takes away the business envelop hidden there by the assistant. The size of the manila envelope should mask the subterfuge. The mentalist casually opens the manila envelope and seemingly fishes out the smaller envelope. In actually, he is simply placing his hand behind the large envelope and appears to remove the smaller one. This envelope is handed to a legitimate volunteer who, in tum, reads it aloud. You may use the following dream sequence or develop your own. DREAM SEQUENCE:

Last night I dreamt I was in . It was a beautiful day and all around me were and and . I saw there. We started a conversation. We spoke about - - - - - - . Then we both went to the and then to a restaurant where we ate and o'clock, I decided to go home. I stopped at the . When 1 realized it was -----in order to and then I woke up. ------

TIP: Feel free to augment the dream sequence to fit your performance or your personality. To give the confederate more time to prepare the printout, the mentalist should review the entire "dream'' as described ?ythc volunteer .. Place an blank sheet of paper into the sealed manila envelope to give the impression that there ts mdced somcthmg inside of it. PAlTER: Precognition, Premonition, Precognitive Dreams, Dreams Visualization, MadLibs'k

31

Henceforth I ask not good-fortune, I myself am good-fortune. Walt Whitman EFFECT: The mentalist asks for four volunteers to assist him. He hands one of the volunteer an unopened deck of cards with the instructions to shuffle them continuously. During this, the mentalist discusses the Laws of Probability as they relate to a closed set of 52 objects like a deck of cards. When ready, he asks the volunteer with the cards to deal a hand of poker to each of the three other spectators. He explains that some people have the ability to influence the Laws of Probability; they are called "charms" or "jinxes," depending on the situation. As the cards are being dealt face down, the mentalist stands behind the third seated spectator from the dealer's left. The dealer does not deal himself a hand. When the cards are exposed, the spectator nearest the mentalist turns his cards over to reveal a Royal Flush. The cards are collected, shuffled and dealt a second time. This time, the mentalist stands behind the first spectator from the dealer's left. When the cards are examined, this spectator is now the winner. The cards are collected, shuffled and dealt a third time as the mentalist stands behind the second spectator. When the cards are examined, this spectator is now the winner. The mentalist turns to the audience and asks them what they think is the next card. Several guesses are offered. The mentalist then stands next to one of the seated audience members explaining that hopefully he will be able to bring him luck. The mentalist then asks the dealer to tum over the next card. It matches the audience member's completely free choice. METHOD: Gently open the bottom of the cellophane wrapper of a deck of cards and stack the deck using the system below. Replace the cellophane and you are ready for the effect. This stacking will produce Royal Flushes for each of your spectators in the following order: third (spades), first (diamonds) and second (hearts.) Just make certain that the dealer, your confederate, does not deal himself in and that he starts dealing to the person on his left. At the end of each deal, the dealer collects the dealt cards and places them on the bottom of the deck in is hand. As you step behind each spectator in tum, explain how you are a "magnet for luck."

The piece de resistance is when you ask the crowd to name any card. The next card on the top of the deck should be the 9 +(as long as the dealer has conscientiously placed all of the spent cards to the bottom of the deck.) A second confederate is instructed before your performance to ask for that specific card. Stand behind him and then ask the dealer to tum over the next card and voila! A statistical impossibility. You are a mentalist with an incredible reputation! STACKING ORDER:

6+ 6. K. 3+ s+ A.

IO•

s• Q• K• 7.

J'l 8+ 6+ 10. A+ 3. 2+ 10+ 2'1 2+ Q+ 2•

9• J+ 9+ 7+ K+ 6• 7• 3+ A+ 4.

5'1

K+ 3• 4+ Q+ 7+

9+

J•

s•

Q• 4+

St

9'1

10+ 4• s.

A•

Jt 8+

NB: The 6 +should be face-down at the top of the deck the 6 • is next etc The A • h ld b f: d bottom of the deck. ' ' .. s ou e ace- own at the TIP: It's important to discuss the odds of getting each Ro al Fl h h trick and somehow misdirects people so that they do t y 'dus hast ey.ru:e. revealed. I find that this reinforces the no cons1 er t e possibility that you are using a staked deck.

32

TABLE

TYPE OF HAND ROYAL FLUSH STRAIGHT FLUSH FOUR OF A KIND FULL HOUSE FLUSH STRAIGHT THREE OF A KIND TWO PAIRS PAIR NOTHING

1: PROBABILITIES OF POKER HANDS NUMBER OF POSSIBLE HANDS

PROBABILITY

4 36 624 3,744 5,108 10,200 54,912 123,552 1,098,240 1,302,540

0.000154% 0.00139% 0.0240% 0.144% 0.197% 0.392% 2.11% 4.75% 42.3% 50.1%

ADDITIONAL STATS: There are 2.598,960 different ways to deal five-cards in a 52-card deck.

TABLE

#of Royal Flushes in a Row 1 2 3 4 5*

2: PROBABILITIES OF ROYAL FLUSHES Odds

Probability

649,740 :1 422 ,162,067 ,600:1 27 4,295,581 ,802,424,000:1 178,220 ,811 ,320 ,306,969 ,760 ,000 :1 115,797 ,189,947 ,256 ,250,531 ,862,400 ,000:1

.000154% .00000000024% .00000000000000036% .00000000000000000000056°~ .0 0000000000000000000000000086°~

• According to Prof. Howsner of New York Uni versity's Math Department, it would less risky to bel thai a coin tossed 96 times in a row would wind up on heads each time than to bet on the possibility of winning live Royal Flushes in a row .

TABLE 3: COMPARATIVE STATISTICAL DATA

Occurrence Givinq birth to Fraternal Twins t GivinQ birth to Identical Twins t DvinQ on your own Birthday HittinQ the Jackpot on a Slot Machine Giving Birth to Triplets t HavinQ the Same Birthday & Year as Any Other Random Person Getting a Hole-in-One on any Given Hole Giving Birth to Quadruplets t Getting Hit by LighteninQ Dying from Falling out of Bed Being Killed bv a Snake Making 27 Straight Passes (wins) with Dice at Craps t Giving Birth to Quintuplets t WinninQ a State Lottery * BeinQ Killed by a Meteor **

Probability 90:1 285:1 365.25:1 889 :1 8,1 00:1 29,293.05:1 33,000 :1 729,000:1 2,000,000 :1 2,000 ,000:1 3,000,000:1 12,467,890:1 65,610,000:1 83 MILLION :1 10 TRILLION :1

t Hellin's Law stales thai before the advent of fertility methods. the natural occurrence of multiple births arc as listed above . tIn 1950, at the Las Vegas Desert Inn, an anonymous sailor made 27 Straight Passes (wins) with dice al Craps. The odds against 12,467,89() to I. The dice today are enshrined in the hotel on a velvet pillow under glass. • New York Stale L.uttcry

33

su~h"

feat arc

•• Although a> mu" 2 + 2°" 2 + 3?"

Then. without pause, ask the following questions: "What "What "What "What

is is is is

3 + 2°" 2 + 2?" 2 +I?" I+ I?"

Again. ~·ithout pause. say, "Name a vegetable." The majority of spectators who take this experiment seriously will answer 'carrot." You must ~ppear ser.ious when leading your spectator though these questions. If the spectator giggles or otherwise becomes d1stracted, JUSt calmly ask them to compose themselves and start again. TIP: This effect ':"orks only on native English-speakers. If you wish to try this effect on native speakers of other languages, expenment first and take note of the responses that they give before attempt" t d. · h · responses Also th h ld b d. · mg a pre 1ctmg t e1r . ere sou e no Jstractwns whatsoever as the result will be wildly unpredictable. H h . person focus on your VOice and on your face durmg this effect. ave t e PATTER: Hypnotism, Mass Hypnotism, Precognition

68

Hand Codes

A

B

c D

E

70

71

Hand Codes with Clipboard

A

B

c D

E

72

K

L

M

N

0

u

X

v

y

z

74

What's M

Line?

() t +

When I consider life, 'tis all a cheat; Yet,fool'd with hope, men favor the deceit; Trust on and think tomorrow will repay. Tomorrow'sfalser than the former day. - John Dryden EFFECT: A blindfolded mentalist stands alone on the stage. A medium/assistant walks amongst the audience and stops every now and again to ask those in attendance questions about their jobs. The mentalist, well outside of hearing, correctly divines the spectator's responses.

This effect is similar to the previous one except that this effect is meant to be presented as an example of mindreading or ESP, whereas the previous one is presented as clairvoyance or "Second Sight." Hold a pen in your hand as you signal with ASL fingerspelling; your signals will remain clear but not overly suspicious.

METHOD:

PATTER:

Telepathy, Intuition, ESP, Imaging, Mass Mind

.JOBS

ACcountant AcTor ADministrator AdVertising ARtist AUthor Auto Mechanic Baker Bank Teller BanKer BarBer BeaUtician BOokkeeper BRoker Bus Driver ButCher CaRpenter CheF CheMist CLerk CoBbler Computer Programmer ConDuctor CoNtractor CooK DancEr DecoraTor

Librarian Magician MAid MaiL carrier MaNager ManicurisT ManuFacturer MarinE MaSon MechaniC MessenGer MilitarY Miner MOrtician MotorMan MUsician NOtary Public NUrse NurserYman OPerator OpticiaN ORganist OSteopath Painter PHotographer PiloT PLumber

Dental Hygienist DeNtist DeSigner DetectiVe Dietician DOctor DRaftsman DriVer Dry Cleaner Electrician ENgineer EnterTainer Factory Worker FArmer FireMan FLorist FUrrier Gardner GRocer IMporter InsPector Insurance Salesman Janitor JeWeler JOurnalist LAborer LaWyer

75

Police Officer PrinciPal PRinter ReCeptionist RepairMan ReporteR ROofer SailoR Salesman SeamstresS SecretarY Singer SOldier STudent SurGeon TailoR TaXi driver Teacher Ticket Agent Truck Driver TYpist Undertaker UPholster Veterinarian Waiter/Waitress WElder X-ray Technician

() ... t +

What is the secret of the trick? -Ogden Nash

EFFECT: Before the mentalist leaves the room. he asks a spectator to shuffle the Major Arcana cards of a Ta~ot deck and then to lay them out in a semi-circle. The group is to decide on a single card and to concentrate on 1t. The mentalist returns and immediately knows the identity of the selected card. METHOD: The method is basically the same as the previous one. PATTER:

Telepathy, Intuition, ESP, Imaging, Mass Mind

TAROT CARDS

Chariot Death DeVil EmperoR EmpresS Fool

Lovers Magician MOon STars StrengtH Sun

Hanged Man HErmit Hlerophant High Priestess JuDgement Justice

TemPerance Tower Wheel of Fortune WOrld

Second Si ht II

() t +

A sight to dream of, not to tell! - Samuel Taylor Coleridge EFFECT: A blindfolded mentalist stands alone on the stage as his assistant walks amongst the audience and stops every now and again to ask the mentalist about certain key facts about the audience member ' s appearance . Despite the blindfold, the magician correctly answers each question. METHOD: The method is basically the same as the previous one.

TIP: As in the aforementioned effects, hold a pen in your hand as you signal with ASL fingerspelling ; your signals

will remain clear but not overly suspiciou s. Be clear but not obvious. PATTER:

Telepathy, Intuition, ESP. Imaging, Mass Mind

Amethyst Diamond Emerald GAmet

.JEWELRY pLatinum Quartz Ruby SApphire

--~--

Gold Imitation Opal PEarl

76

Silver White Gold

MATERIAL

Cloth cOtton Glass Iron

Leather Metal Plastic Rubber

silK Steel Tweed waX

Wood WooL

CLOTHING

BLouse Boxer Briefs BoXers BRiefs Commando Dickey

French cuffs Hat Jacket Kerchief Overcoat Pants

ParKa ScarF ShirT SHoes SKirt SOcks

sWeater sUit Tie TRousers

HAIR COLOR

balD bLonde Brunette

dYed Gray Gray Temples

Platinum blonde Redhead Salt & pepper

tHinning White

TIP: As an interesting twist in your "Second Sight" performance, after you are asked to identify a person's hair color. ha\·e your assistant keep her hand on the same person's head and ask you the question again . At that, say '' But you'\e touched that person ' s hair already . . : :.

Color ESP

() t + Make no little plans; they have no magic to stir men's blood. - Daniel Hudson Burnham

EFFORT: Several cards, each with a different color, are laid out on a table . A single person or the entire audience selects one. The mentalist, after some by-play, announces the correct color. METHOD: Procure 4 to 16 of the following colors. Cut them all out on the same size paper. Your confederate is hidden in the audience . He broadcasts the information as to the chosen color to you by using the lingerspelling codes mentiont.:d below :

TIP: lfyou use full size sheets of paper of the colors listed , you can perform this trick as a platform cfl'cct PATTt:R: Telepathy, Intuition, ESP, Imaging

COLORS

SilVer Various/mixed White Yellow

PlaiD PurPle Red SalMon

Green Ivory Orange Pink

BlacK BLue BrowN GraY

Clue

() t +

I know a trick worth two of thaL -William Shakespeare, King Henry the Fourth, Part I, act II, sc. i, I. 40

EFFECT: Ten or more volunteers are selected to come up to the stage. The mentalist introduces the concept and rules of the "Clue" board game . Each volunteer is given a placard he or she wears around his or her neck. The mentalist leaves the general vicinity while the volunteers decide amongst themselves who will be the "murderer." The person hides a toy gun somewhere on their person. The mentalist returns and after some by-play, deduces the killer through "deductive reasoning" patter and some cold reading. METHOD: Your confederate secretly informs you of the murder's identity. Hand out nametags or placards each with one of the following names in large letters. I would suggest using a laser printer and having a single name printed on each full size sheet of paper:

I. 2. 3. 4.

Colonel Mustard Ms . Greene Dean Blackman Admiral Rose

5. 6.

7.

8.

Miss Pinkstone Fr. White Mrs. SilVerman Captain GraY

9. Mr. L'Orange 10. Dr. GolDstein II. Prof. Canary 12. Senator BrowNe

13 . Judge Teal 14. Officer BricK

If possible, try to match the name with the appropriate colored paper. Attach them to a long string so that the placards can be hung from people's necks. After each person has chosen a name, have the group decide who amongst them will be the "murderer." Have that person secret a toy gun somewhere on his or her persons. TIP: Don 't feel the need to use all of these names. Use as many as you think necessary and entertaining. PATTER: Telepathy, Intuition, ESP, Imaging, Mass Mind, Psychometry, Aura Reading

() What is called a sincere work is one that is endowed with enough strength to give reality to an illusion. -Max Jacob EFFECT: An atlas is given to a group of spectators with the instructions that they look through each map and decide

upo~ one, and then one country hsted on that map. Ask the volunteers to choose a country with which they are

fam1har. Tell them to choose a country to which they feel some connection. They then write the name of the coun on a separate sheet of paper. After some by-play, the mentalist reveals the name of the chosen country. try METHOD: Let the confederate whisper hi s intention to the others around h. d th · · d · f db d Th . - · 1m an en wnte 1t own on a separate p1ece o car oar . IS WI 11 g1ve your assistant time to fingerspell the infonnation to you .

78

TIP: You and your partner should practice the names of the more popular countries. At first you might want to give your audience selected maps rather than the entire atlas. To limit their choices further simply use the following patter: "Consider the map in front of you. Choose one country towards which you feel an affinity." ALTERNATIVE VERSION: You can use the fingerspell codes to relate travel plans, ethnicity, nationalities, countries of origin and any other information that involve the names of countries. There are two hundred countries in the world currently and dozens of protectorates. Nearly two dozen countries were created during the 1990s alone. This makes a compkte up-to-date list of nations difficult to assemble but, frankly, depending upon where you are performing, the possibilities aren't infinite. lfyou perform this effect in Kansas, the chances of you finding an Omani or Bhutanese citizen are slim to none. And, personally, I've never met a resident of Greenland. Considering the real possibilities of ethnicities available to you in an average mentalist show you might want to study only the most popular ones. PATTER: Telepathy, Intuition, ESP, Imaging, Mass Mind, Psychometry, Aura Reading. Divination

Mass Mind

() t "-+ Magic sees the invisible, feels the intangible and achieves the impossible. -Anonymous EFFECT: The mentalist leaves the room after asking the audience to mentally select a card. The mentalist returns to the room and asks everyone to concentrate on it. He immediately reveals the chosen card. METHOD: One of your audience members is a confederate. He fingerspells a two-letter code to you as you return to the room. The codes are listed in the table below. If your confederate signs '"1-1" and '"G," he is signifying the 7• ("'G" being the seventh letter in the English language). PATTER: Telepathy, Intuition, ESP, Imaging, Mass Mind

7'J

80

Chapter

6 X-ra

clair•voy•ant adj [F, fr. clair clear + voyant seeing] 1 : unusually perceptive 2 : having the power of discerning objects not present to the senses - clair•voy•ance \ n

Vision

() t

~ Therefore trust to thy heart, and to what the world calls illusions. -Henry Wadsworth Longfellow

EFFECT: Four different coins are borrowed and displayed along with an empty coffee cup or mug. Before leaving the room, the mentalist instructs his audience to agree upon one of the coins and to place it under the overturned cup in the middle of the table. Upon returning, he immediately ascertains the identity of the coin under the cup. METHOD: This classic effect is one of the first coded transmission effects I ever did. It appears in every beginner's magic book. The code to transmit the information as to the identity of the coin under the cup is as follows:

© Quarter

@

@

Dime

Nickel

@ Penny

Of course, any small object can be used instead of coins.

TIP: Make sure your confederate doesn't overly align the cup's handle. Placing the cup somewhat haphazardly will make the effect stronger. Also, make sure the cup is aligned properly in his hand BEFORE placing it on top of the coin; it will look suspicious if the cup is placed down first and mucked about \\ith. PATTER: Telepathy, Intuition, ESP, Psychometry

Clairaudience I

() t ~··

Let every man he fully persuaded in hi.~ own mind. -The Epistle or St. Paul the Apostle to the Romans, 14:5

EFFECT: Before leaving the room. the mentalist explains the concept of clairaudience and asks e\ eryone to agree

upon a number or object. The mentalist returns after a short bit and immediately reveals the group's ch01ce. METIIOD: Ideally, a two-way radio would work for this effect but in lieu of that. your conlcderah: should keep his cellular telephone on to allow you to eavesdrop on the ensuing conversation. Call him on your own cellular tckphonc

in anticipation of this ef"fect and keep the line open.

PAri •.u: Clairaud icncc

XI

·

() t

· n e II

+

Ifyou cant spot the .