GMENTALISM — . & MINDREADING by Jules LenierABOUT THE AUTHOR Lenier was born in New York City in 1929 and became interested in magic at the age of 11. With an intense desire to learn, he read everything on which he could get his hands. This led him not only through books on magic, but also the allied arts, of which hypnosis held a particular fascination for him. Most well known as a magician, during his theatrical career Lenier has also been a singer, comedian, hypnotist and, of course, a mentalist His writing talent has covered the fields of music and comedy, and in magic he is known as both a writer and editor. cosko 408 Ninita Parkway Pasadena, Ca 91106FOREWORD § &=> Mentalism is a money maker. It always was and probably will be until the day that science makes a breakthrough and everybody can really read everybody else's mind. Today, it is more popular than ever, Just look around You. . . top money films are about witchcraft and the devil . . . shops sell everything you need to cast spells . . . and the sale of tarot decks and astrological charts has skyrocketed. Not everyone can present mentalism successfully. A touch Of grey at the temples can be beneficial, but the most important thing is the gift of gab. A good talker, armed with nothing more than a pad and pencil, can make mentalism completely believeable. In fact, a really good talker doesn't even need the pad and pencil. . . just a working knowledge of psychology. All theater is based on the suspension of disbelief. For the magician, this is difficult with today’s sophisticated audi- ences, but for the mentalist, it is done almost automatically by those same audiences. A little acting ability goes a long way to help create this impression. The following pages contain ideas for the mentalist. None Of them are complicated, elaborate or difficult. Instead, they are based on simplicity of props and ease of handling. Some of these have been printed before in Talisman, Genii, Magick, and Pallbearer's Review.CHAPTER 1: FOUR IDEAS FOR THE MENTALIST WHO IS COMPLETELY UNPREPARED LOVE AND HATE: Mindreading You go to somebody's home . . . they have seen you perform in the past, and you show up without a thing in your Pockets. At some point in the evening, the talk naturally turns to mentalism and they ask you for a demonstration. What do you do? You can try to bow out gracefully, or you can ask to borrow a pad and pencil and convince them of your ability, The center tear is one of the strongest pieces of artillery in the mentalist’s arsenal. It’s clean . . . it's easy... and Biven the proper handling, it's as close to real mindreading as you can get. The following presentation is not completely original. It is based on the thinking of many other people who came before me. I wish I could give credit to them all, but over the years names get lost and ideas begin to run together. Although this will work with a man, a female spectator makes the better subject. The cold reading is based on female psychology and, if you watch her, she will usually respond more readily to your statements, This is the way I have presented it for quite some time.A little opening talk will help set the mood. You can get a lot of background material from books on E.S.P., or just tell them what you want them to know about mind reading. The next thing to do is to get the spectator to write on the center of a small piece of paper. A sheet from a 2 x 3 pad works well. If the paper is larger, just tear it till you get the approximate size you want To get them to write in the center of the paper must have a logical reason. If it’s not logical to the minds of the audience, it begins to look like just another trick. While talking, casually fold the paper into fourths and open it up again. Then draw a circle, a square, an oval, an oblong, or anything you like on the center of the paper, but give it some meaning. It might be a crystal ball, a mirror, the cover of a book, whatever you can think of, just as long as it seems logical. Now that they know where to write, comes the question of what to write. This is one of the reasons for using a female subject. Talk about the strength of emotions such as love and hate, then ask her to write the name of some woman she dislikes very much. If she can’t think of anyone (or won't admit it) have her go the other way and think of a very close friend. Now, comes an important bit of wording. Tell her to put that name in the space in the center of the paper. Notice I said “put” . . . not “write” or “print”. This will become important later. Turn your back while she places the name on the paper. This movement will become important later on also. When she’s finished, have her fold the paper and hold it. The fact that you have already pre-folded it will insure that it will be folded the way that you want it. Do not touch the paper atall yourself. This is one of the strong points of this presentation. While she is still holding it, start telling her about the person she is thinking of. Give her general information that will fit anyone . . . the kind of things that you'll find in astrological books or magazines. Next, give her a sketchy description of the person she is thinking about. This is something I learned some years ago, not from a magic book, but from a book on psychology. To describe a woman’s worst enemy, describe the person you're talking to. On the other hand, to describe her best friend, describe her complete opposite. Naturally, this doesn’t always work, but if you keep it simple, you'll be amazed at how often you'll be right. This is just the beginning however. You're getting ready for the blockbuster, when you tell her the name that she’s thinking of. In order to do that, you have to get your hands on that piece of paper. More precisely, the small piece in the center with the writing on it. . . and it still has to remain completely logical. To get the paper is no problem. You haven't touched it yet and you've been giving some information about the unknown person. Now you tell the spectator that you might get a stronger impression if you hold the piece of paper. When you take it, don’t look at it. Hold it in full view with one hand and rub your fingers on it as though you were feeling for vibrations. So far, so good. Now you have to tear it without arousing suspicion. As you remember, you told the spectator to “put” the name on the paper. This is the time to ask her if she wrote it or printed it. Whatever she answers, you say, “I thought so”. . . and start to tear the paper. At the same time, you ask her to do it again,—“but this time, write it . . . writing is a more personal feeling"—or—"“print it . . . printing is a much clearer image”.6 As for the tear itself, just keep it simple. Hold the corner with the writing on it in your right hand. You'll be able to spot this corner when you take the paper from the Spectator. Now, tear it in half and place the left hand piece to the front. Give the paper a half turn and tear it again, Once more putting the left hand pieces to the front. The Piece you want is under the right thumb. Pull the thumb back a little and slide that piece slightly to the right as the left hand removes the other pieces and drops them into an ashtray. Forget about palming the torn piece, just hold it in a comfortable position. Give the spectator a second piece of paper and turn your back just as you did before. Since you've already done this once, they really won't be paying much attention to it this time. You'll have plenty of time to unfold the piece of paper you're holding and read the name on it. Once you've read it, re-fold it, tear it in half, and hold the pieces clipped between the fingers of your right hand so they cannot be seen. I always have a cigarette in the ashtray and, as I reach for it, I drop the pieces in with the others. Of course, the cigarette isn’t a necessity. Just drop the pieces in casually without thinking about it . . . nobody ever notices, This is the time for your big finish. Dress it up—make it dramatic. Have the spectator concentrate on the name and very slowly . . . letter by letter . . . tell them the name they're thinking of. If this doesn’t make them believe in mindreading, you're doing something wrong. By the way, if they want to check later, all the pieces of the first slip of paper will be found in the ashtray . . . silent proof that you never saw the name.GEOMETRIC: Prediction This is something else for which I claim no originality. As a matter of fact, at least six other writers and inventors of mental magic have all contributed in some way to the overall effect. I've done this many times and it never fails to get a great reaction. The performer writes a prediction on a piece of paper which is handed to one of the spectators for future reference. The other spectators call out five geometric designs which are put on separate slips of paper. These are mixed and one is selected . . . naturally it matches your prediction. The method is basically very simple, but there is quite a bit of psychology involved. You must be in charge of the situation at all times, and at no time can it appear as though you are trying to think of what to do next. To begin, from the borrowed pad tear some sheets to make at least ten small slips about two inches by three inches. You don't really need ten slips . . . this is just insurance. On a larger piece of paper, you write your prediction. This should state very simply, ‘The selected design will be a triangle.” Fold this so that no one can see what you have written and have it held by one of the spectators.Now, take five of the small slips and ask the spectators to call out designs for you. The instructions to them must be very carefully worded. I usually say, “I want you to call out some simple geometric designs . . . like a circle or a square.” Don’t forget the word “simple” . . . you might have some engineers with the ability to name things you've never heard of before. Also, don't forget the words “circle” and “square” because most of the time they go to the next obvious design . . . a triangle. Don't worry if it's not the first one named, someone will think of it before you get to the fifth slip. As they call the designs, draw them on the slips of paper and fold each one. These can be folded into fourths or eighths, whichever is most convenient for you to handle Also, remember which is the one with the triangle on it. I could prove most embarrassing later on if you don't. When the five slips have all been folded, pick them up and mix them. At least this seems to be what you do. Hold the slips between your cupped hands. The one with the triangle on it is held in the crotch of your thumb, and only the other four are mixed. After the mixing, let them all drop to the table. It’s a simple matter to follow the one that was held by your thumb. Now, line them up in a row like little tents. The triangle slip is placed second from your left. More psychology comes into play here. Ask another spectator to help you and see that he faces you across the table. This puts the selected slip second from his right, which is where you want it.Have him push one slip out of line towards you. You'll be surprised at the amount of times that the triangle slip is the one they will go for. If not, don't worry about it . . . he'll have another chance. If he did select the proper slip, go no further, but if he took the wrong one, ask him to push two more towards you. You will either discard these three or the other two. If the correct slip is in the two that he didn’t touch, have him pick one up. He is either to place this with the others that were discarded, or open it up and read it. If it is one of the three that he pushed forward, have him pick up two of these, one in each hand. If it is the one on the table, have him discard the other two. If it is in one of his hands, you discard the one on the table. Now have him hand you either of the slips that he’s holding. You either discard it, or hand it to the person who is holding your prediction. ‘As I said earlier, during this you cannot seem to be thinking about what to do next. It must look as though this is the same way you do it every time. It must have a natural, easy flow until you get to the one that matches your prediction. Just as an afterthought . . . what happens if no one calls out a triangle? Remember, you still have five more slips in your pocket. Have five more designs called out. Then it’s simple magician’s force as to which pile to use. If they don’t call out a triangle with ten slips of paper, burn the slips and borrow a deck of cards . . . mentalism isn’t for you.ALMOST AN EPIC: Three Tests There have been many versions of Mental Epic on the market and the Geometric Prediction works well for the item to be forced. The slate is a very cleverly made prop and, whereas it works well in a formal show situation, it certainly isn’t a common thing to carry around with you. However, a similar effect can be achieved with just a few slips of paper. Borrow a cup or a glass and you're ready to begin. I break the tests down so that I am demonstrating three different aspects of mentalism. Otherwise, why repeat the same thing three times? The first test is mindreading. Have one of the spectators concentrate on some specific thing. Usually, I have them think about some city, anywhere in the world, that they would like to visit. Now is the time for some acting on your part. Remember, you're trying to pick up his thought. If you could really do it, it wouldn't be easy, so spend some thinking, get ready to write, change your mind and think some more . . . you know, the kind of stuff that makes audiences believe. When you feel the time is right, put your word on the slip of paper. Naturally, what you put on the Paper is the word “triangle”. Don’t draw a triangle, write the word. Fold this slip of paper and drop it into the cup or glass. Now, to have a record to check back against, ask the spectator to call out the name of the city he was thinking of. Another spectator will be your record keeper, and write this on a piece of paper. When this has been listed, you are ready for the second test. 10‘This is an example of thought projection. You, the mentalist, are going to control the mind of a spectator by making him think of whatever you want him to think. This is going to be an abstract thought . . . just a collection of five random numbers. Since this is your thought, there will be no delay in writing it down. Just think for a second or two, as though deciding what numbers to use, and write it on the piece of paper. Naturally, what you are really going to write is the name of the city called out by the first spectator. Fold this slip and drop it into the container with the first one. Choose your second spectator and tell him to make his mind completely blank, then name any five digit number . . . the first five figures that come to his mind. Have your record keeper enter this on his pad. ‘The third test is one of prediction. Again, you write your thought before anyone thinks of anything. Here is another chance to be dramatic. Look around at your audience as though trying to figure out what might happen. Now, you are ready to do the Geometric Prediction. On your slip of paper however, you will write the five numbers just called out by the second spectator, but reverse two of the numbers. In other words, if the spectator calls out 97364, you might put down 97634. It’s a minor mistake like this that makes the whole thing seem more realistic. Now, if the first spectator you point to names a triangle, (which will happen frequently), don’t bother with extra slips. Just have your record keeper enter this thought. If, however, it is anything else, then go to the five slips and the magician’s choice for the selection of the triangle. The selected slip, in this case, will go to the record keeper. "For the conclusion, you will have your slips read. If they are ina glass pour them out on the table. This is just im case someone has kept track of one of the slips. Pouring them out will mix them up a bit. If they are in a cup, or other opaque container a spectator can come up and remove them himself. All three items check, but the number that you sent to one of the spectators has a slight error in it. This should keep them guessing for quite a while. PSYCHOMETRIC DETECTIVE: Psychometry Here's something that I've had a lot of fun with. The detective or murder mystery theme has always fascinated me, but the ones that I have read in the past always looked very mathematical. Here again, I claim no originality in the method. It’s merely the rough and smooth principle mentioned by C. L. Boarde in both his book “Mainly Mental’ as well as in a pamphlet called “The Borrowed Brain”. All I added was a presentation which I think you will find works well. In effect, four people each become a character in a murder mystery. With the aid of psychometry you solve the crime and determine the part taken by each spectator. ‘The secret is simplicity itself. Take a large sheet of paper (letter size works well) and have a spectator tear it in half. One half is again torn in half, and one of the pieces is torn into quarters. Without doing a thing, the small pieces have been marked so that you can tell one from another. 12Diagram A: A peer teeampecamnpens (aia B ii! sala Number 1 has four rough edges. Number 2 has one long smooth edge. Number 3 has one short smooth edge. Number 4 has two smooth edges. Hand these small slips to as many spectators, remember- ing who gets each one. On the piece of paper marked (A) in the diagram, draw the following legend: Servant Victim | 13While your back is turned, the spectators decide the part each is to play, and then draw the appropriate design on their slip of paper. All the slips are folded and returned to the table, except for the victim's slip. This is given to the murderer, who in turn hides it in one of his pockets. During this time you've taken the paper marked (b) in the diagram and torn it in half. On one of these, write the word SUBPOENA. On the other, write your name as though it were a business card. Put one in each of your side pockets where you can reach them easily. Turn back to the table, open the three slips and pick up the “servant” slip. You know how the slips were handed out, so you know which spectator it belongs to. The design represents a serving tray. Do a short character reading on the person and, little by little, start to describe the person. Don’t make this too obvious . . . just give them a hint as to who the person might be. Now, reach into your pocket for the business card slip. Explain that now, that his employer is dead, he needs a new job and can use your name as a reference. Hand your business card to the correct person. Now take the “witness” slip. This represents a cigarette that was left at the scene of the crime. Again, do a short character reading leading up to a sketchy description of the person. Mention that, as a witness he will be called to testify and hand the subpoena to the correct person ‘There’s just one slip left and two spectators. This slip represents the murder weapon, a knife. After a character analysis, go directly to the murderer and ask him for the jewelry box hidden in his pocket. In this way, you bring the test to a conclusion with no loose ends. 14You might want to do this whole thing blindfolded. If you do, don’t make it elaborate . . . just a pocket handkerchief will be enough. The slips can be read by glancing down the sides of your nose. Of course you will make this look as though you were determining what is on the slip just by feeling it with your fingertips. In other words, keep your head straight . . . just look down with your eyes. As for knowing which person is which, when you hand out the slips, look at their shoes. Even with the blindfold on, this is very easy to recognize. So there you have four ideas which can be done at any time with no preparation. Use any one as a spur of the moment idea, or use a combination for a completely impromptu twenty or thirty minute routine.CHAPTER 2: THREE IDEAS THAT REQUIRE A LITTLE PREPARATION I have always liked effects that can be performed with a minimum of apparatus, and which will involve a number of people sitting around in someone's living room. These first two are basically the same, but will look different to an audience. MENTAL MAIL: Psychometry and Mindreading Ten business size cards are handed out to ten people. Each one bears the name of some well-known person in history. As these are given out, each spectator mixes them up and removes one without looking at it. Another spectator has ten sealed envelopes with corresponding names in cach one. When all the cards are out and each spectator knows which important person he is to represent, the person with the sealed envelopes mixes them and hands you one. The test is two-fold . . . to determine, through psychometry, the name inside the envelope, and by reading the minds of the spectators, to deliver it to the correct person. Naturally, you always do . . . otherwise, why bring the whole thing up in the first place? So, let's start at the beginning. You have ten blank cards about the size of business cards, On each one, print the name of someone from the past . . . you know, clever ones like Washington, Columbus, and Sonny Tufts. One of these cards has a light nail-nick on the back. It's amazing how a small mark can be easily seen if you know it’s there. When 16you take these into the audience, have the first person mix them and keep one. The rest he hands back to you and you pass on to the second spectator, where the same thing is repeated. You will-be able to see who takes the one marked card. ‘The sealed envelopes are basically a one-way forcing deck. That is, all the names are the same. That way, no matter which envelope is handed to you, you know it will match the marked card. It’s psychological, but if they know that all the cards are different, (and I would have someone read them off before you begin the test) then they just assume that the slips inside the envelopes are different too. Build this up. When the envelope is handed to you, clutch it in your hands . . . turn it over . . . hold it to your forehead . . . roll your eyes . . . foam at the mouth . . . in other words, don’t make it look easy. When you think they have seen enough of this, then it’s time to read their minds. Look around the group and stare at them from time to time. Assume the look of deep concentration (number 14 in the actor's handbook) and start to walk around. After one or two false starts, finally hand the envelope to the correct spectator. Just as an afterthought, if you’re worried about not being able to see the mark, after the spectator mixes up the cards, have him cut the packet and take the one on top. That way, you can’t miss it. A second afterthought . . . you could carry a second set of sealed envelopes with the other names inside. Then, at some time in the evening, casually switch the envelopes and “accidentally” leave them behind when you go. sd 7IT’S A MATCH: Mindreading This also uses ten blank business cards with the names of famous people on them. This time however, five have male names and the other five have female names. Only one pair of names match, like Romeo and Juliet, or Anthony and Cleopatra. The other names are just single names like Washington, Columbus and Sonny Tufts. The five male cards are handed out to five male spectators and the five female cards are given to five female spectators. Again, have someone read all the names off before you begin, so that they all understand that only one pair is a match. The matched pair are, of course, nail nicked. Now for the final denouement. You have a piece of rope about six feet long which you bring into the audience . . . not just a plain piece of rope, but something like a red, silken sash cord . . . you might as well add a little glamour to your act. After the usualy amount of frowning and scowling, hand one end of the rope to the man with the marked card. Have him follow you as you look for the female with the marked card and have her stand holding the other end of the rope. Here's your chance for the big dramatic finish as you ask them what their names are. They should say Romeo and Juliet, or whatever pair you decide on, If they say Joan of Are and Sonny Tufts, you'd better get a new ball and vase, because you did something wrong. THAT'S THE WORD: Book Test Looking for a book test that would adhere to the most stringent conditions, I remembered a short paragraph written by C. L. Borde in one of his books and came up with this idea. Here it is exactly as it was written by Bascom Jones in his fine publication MAGICK. 18This strange book test can be performed almost anywhere vith a minimum of preparation—and a maximum of guts! From the start, the test appears to be beyond the control of the performer. Indeed, his role seems little more than a spectator. This is the effect. You hand a spectator a batch of alphabet cards from a shuffled deck, requesting him to make up a word using as many of the cards as possible. He is to tell no one what the word is. At the same time, a second spectator is told to freely select a book from among any that might be handy. Then, you have a third spectator call out a page number—any number that he chooses. Turning back to the spectator with the book, you ask him to open it to that page. On a slate, a large pad, or a piece of cardboard, you write down the page number, asking the person with the book to verify that he is looking at that page. When he has done so, you ask a fourth spectator to stand and to listen intently, as the person with the book reads the first line on the selected page. You jot down the figure “one”, under the page number, as the spectator reads. Under the “‘one”, you put the figure “two”, as the spectator reads the second line. And you continue in this fashion, each time noting the line number, until the spectator has read a half-dozen lines or so, while the fourth spectator listens. Then, you hand the fourth spectator a small piece of paper and a pencil, with the request that he secretly write on it a number to correspond to one of the lines, followed by a dash, and then a single digit number to represent a word in the line. 19When he has done so, you ask him to roll the paper into a ball, which you hand to the spectator with the book. You ask the person with the book to silently count to the line shown on the paper and over to the indicated word. When he indicates he has the right line and word, you ask him to close the book and to print the word secretly, but in large letters, on the back of the cardboard. Now, for the first time, you ask the spectator who composed a word from the alphabet cards to show the word he made, The spectator who printed the word selected from the book shows the cardboard. The words match! Three subtleties are used. First, the alphabet cards are falsely shuffled to retain five letters on top—T-H-Q-A-T. Force these by having him cut the deck in half. While the second spectator is getting a book, you mark the cut by placing the LOWER portion crossways on the upper portion (and the force cards). Later, you lift the packet away and give him the top five cards, as the ones to which he cut. Obviously, the only word he can make is “that”, discarding the “Q”. No matter which page is selected, the odds are that the word “that” will appear in the first few lines. Simply listen until you hear it. Remember the line it is in, as well as which number it is in the line. But allow the spectator with the book to read several additional lines from the page. When you hand the spectator the small square of paper, you jot down the number of the force line and force word ‘on a DUPLICATE piece of paper in your pocket, using pencil stub. 20+. Roll your duplicate into a ball and, when you take the spectator’s pellet to hand it to the person with the book, simply switch pellets! The spectators do the rest. 21CHAPTER 3: ASSISTANTS PLEASE | realize that it is, sometimes, very difficult for a husband and wife to work on some of those very clever, but complicated, codes for two people. However, there are ways that two people can work together easily. First of all, think ‘about some of the things that you can do as a single, then figure out a way that an assistant can help you with it. The degree of difficulty, or the amount of work required can also be regulated. For example—Almost An Epic from chapter one can be utilized and the assistant has no more to do than be the record keeper. With Geometric, she’s have a little more to do and actually handle the slips of paper for you. If you teally feel ambitious, you can work out Something with the center tear. For this, she would have to steal the center piece and code the information to you. There's that word “code” again, but if you keep it simple, you shouldn't have any trouble with it. Here is one that I worked out some time ago, and have used a number of times. KEYED UP: Psychometry Ever since I came across Ted Annemann’s “Seven Keys to Baldpate”, I've been fascinated by this type of effect. Here is a method using five keys, a lock, and an assistant. 22‘The lock and keys are unprepared and no duplicates are used. You will also need five small envelopes and, as these are ordinary, you can perform this as an impromptu trick by borrowing the items required. Invite six people up on the stage or, if performing for a private group, have them stand in one part of the room. Your assistant hands the envelopes to one of the spectators to be mixed and then takes them back. The keys are mixed by someone else, and for this I would put them in a small bag or box. A third spectator holds the lock and, one by one, test each key. As each key is tried, your assistant holds out an envelope so that the key can be dropped into it and the envelope is sealed. When the correct key is reached, your assistant not only seals it in the envelope, but marks the envelope with a nail-nick. This is very simple for her to do. It only takes a second and she can put the mark anywhere that she can spot it easily. When all the keys have been tested and all the envelopes are sealed, they are given to another spectator to be mixed. Once again, your assistant takes them back, spreads them out, and has the five spectators each select one. During all of this, you have your back turned, but your assistant sees who gets the marked envelope. The problem now is for you to know who has the key. Both you and your assistant think of the spectators numerically from one to five. While your back is still turned, you ask, “Have all the envelopes been passed out?” Your assistant will answer with from one to five words . . . “Yes.” “They have.” “Yes they have.” “They're all passed out.” “Yes, they're all passed out.” 23This is your cue to turn around and, in your most dramatic way, find the only key to open the lock. ‘There are a few ideas for two person telepathy. AS long as you keep it simple, T expect to see a Jot of wives and girlfriends who, unlike the old days of just sitting and Biiehing, will now join in the fun and actually participate.CHAPTER 4: STAGE STUFF Mentalism on stage, unlike close-up or parlor perform- ances, can use interesting looking props. This is not to say that props can not be used at other times. They are fine as long as everyone knows that this is a show, and you brought these things along to help you display your abilities . . . but in an impromptu situation, I wouldn't walk in with a four foot slate, or six gold plated thing-a-ma-bobs given to me by an Egyptian priest that I “just happened” to have in my pocket. Here are two ideas that will work in a big show, but the cost is practically nothing to make up. ORIENTAL PROPHECY: Prediction This was based on an old card trick by Stewart James called Mitaskill. This appeared in my GENII column a few years ago and shortly afterward I received a letter from Glenn Gravatt in which he mentioned having a very similar routine in the same magazine ten years earlier. His was called “The Rybolt Ball Prophecy” and appeared in March of 1959. You might want to look it up and compare the two routines. For mine, I used three small rice bowls. You can get plastic ones very reasonably priced in many Oriental stores. You will also need a leather bag or pouch (it doesn’t have to be leather, I just think it looks better this way) and 50 Go stones .. . 25 of each color. These are very pretty smooth stones in black and white that are used in the game of Go. ‘Actually, it doesn’t have to be 50, other number combina- tions will work, but this always seemed to be a good number to work with. 25Tve also found that people are usually interested in fortune telling, and so the story I weave is about 8 old Oriental form of reading the future through the use of pebbles. ‘The three bowls are in a row on the table, and the bag of stones is behind them. Just a little bit of stage setting Hand 2 sealed envelope to one of the spectators to hold, and have another spectator, a gitl preferrably, come up to the table. She takes the bag, and after mixing the stones, removes them two at a time. If both stones are of the same color, She puts them into one of the end bowls Two of the opposite color go into the other end bowl, and if she has ene of each color, they are placed into the center bowl. When the bag is empty, take the center bowl and by looking at the arrangement of the stones, tell her what the foture holds for her. Any kind of a cold reading will work here, You can go dramatic, ot play it for laughs, depending on your own personality. When you've done this, pour the stones from the bow! ack into the bag. Now, have her count the stone” from one of the end bowls into the center bowl. At this point, stop her and have your prediction read. Tt will say that there are more of one color than the other. Have her count the contents of the other bowl to see if your prediction is correct. When the applause finally dies down, you make some comment about doing it again to see if you welt right. Hand a second sealed envelope to the same mat, and have the girl go through the same procedure, When she’s 26through, read the stones again, only this time, embellish on wliat you have already told her. Again, have one of the end bowls counted and have your prediction read. The strong point here is that the answer will be different from the first, but of course, you're right. The working is automatic. It is based on a mathematical principle which T haven't sat down to figure out yet. All T know is that it works. Before you begin, secretly remove an even number of one color stone . . . I usually remove four . . . and your prediction will read that there will be four more stones of the other color. In other words, if you remove four black stones, your prediction will state that there will be four more white stones than black ones. As Tong as she takes them out two at a time, your answer will always be right. When you repeat the effect, put the four missing stones back into the bag. This is very easily done as you're pouring the stones back in. With all SO stones in the bag, the number of black and white stones in the end bowls will be exactly the same. Naturally, this is what you predict the second time. 1 always have the girl count the contents of one of the bowls first and then have the prediction read. This is just a bit of showmanship . . . the audience will know one of the numbers and they can watch with more interest to see if the other number is correct. You might make up a very pretty version of this with brass bowls and a little ornamental box to hold the prediction, to keep on a table in your home. It’s just the thing to have on hand for those occasions when guests come to visit. 27YOUR CHOICE: Prediction One of the most difficult things to find for a mental act is novelty in presentation. Another problem is humor. This drfeet is a bit different, and can be made as humorous 28 you like. [A spectator is chosen at random and is given an envelope to hold. He now selects one of six identical gift packages. ‘The other five packages are opened to show what he MIGHT have chosen. Then, he opens his selected package. It ig the only one that matches the item in the envelope, proving that you knew in advance which one would be selected. There’s nothing involved here. It's just the magician’s force again, but it's the presentation that’s important. In ue of the packages is a deck of cards with the Ace of Spades missing. This card is placed into an envelope, and the envelope is sealed. In the other five packages, put anything you like, This can be as silly or as funny as you want to make them... this is where your comedy will ene in. You might use them as crazy inventions, such ce. . a mouse trap that doesn’t work, for the office of the Society for Prevention of Cruelty to Animals.” Just be sure that your force package is marked in some way that you can recognize easily. If they're tied with ribbon, just a pencil dot on one of the ribbons will work. ‘Toss the envelope into the audience, and whoever catches it, brings it back onto the stage. Have the person mix up the packages on the table. Now, comes the ‘magician’s force, put it can't be a. . . “Well, you took those so that leaves these”... kind of thing. I think this handling solves the problem: 28Line the boxes up at one of the table, and ask the spectator to move three of the packages to the other side of the table, He has either selected the ones he wants, or eliminated the ones he didn’t want, depending upon which group has the marked package. Now, have him put his hands on two of those boxes. If the marked one is not touched, have him put the others with the rest of the discards. However, if he is touching the force package, YOU move the other one to the discard pile. Now, ask him to pick up either one that he's touching. He is instructed to put it with the discards or keep holding it, depending on Which one it is. In the simplest, and seemingly fairest way, he is left with the deck of cards. Now is your chance to be a comic. Open all the discarded packages and get your laughs. When he opens the one that he selected, tell him that it’s . . . “a deck of cards for superstitious people. The Ace of Spaces has been removed.” Have him open the envelope to find the missing card, proving that you knew he would select the deck of cards. CHAPTER 5: ONE ON ONE Sometimes, you'll find yourself in a situation where you are only with one other person, In this case, you are probably doing a private reading where you will answer their question or tell them their fortune. Here are two ideas along these lines that you might find useful. 29OKITO BOX: Question Reading ‘There have been many methods for getting the slip of paper on which the spectator has written the question. Probably two of the best are a simple billet switch or the center tear. One day, however, I was looking for something a little different . . . a little more dramatic and theatrical. I came up with the idea of using an Okito Coin Box. Have the spectator write their question on a small slip of paper and fold it. Now, casually look around your table for someplace to put the paper. You notice the little box on the table, take off the cover and dump out the asparin tablets or vitamin pills that are in it. This is where the spectator puts the slip of paper. You put the cover back on and start to put the box back on the table, but as an afterthought, take the cover off, dump the paper back on the table, and have the spectator initial it on the outside. You now have the box in one hand and the cover in the other. Ask the spectator to put the paper back in the box. You are now in a perfect position to do a turnover move. I'm not going to bother explaining the move here, because there have been many books with coin box moves in them. The main idea is to get the slip of paper in your hand and put the box back on the table so that it doesn’t look as though you have the slip of paper in your hand. Now, it’s a simple matter to get the slip into your lap, open it, read it, and refold it while you are staring into your crystal ball, ot whatever means you use to answer questions. To clean it all up at the end, get the slip from your lap with one hand, and pick up the box with the other. Place the box into the opposite hand right over the slip of paper. 30Move your hands to the center of the table and take hold of the cover—but don't take the cover off. Just hold the cover and take the other hand away so the box will drop to the table. At the same time, casually toss the cover to the table. This way, they can see four things . . . the box, the cover, the slip of paper, and your empty hands. It's bold, but it works. Spectators are funny. If you bring out a coin box and some coins, they'll stare at your hands to look for a move, but if you dump pills out of a pill box on your table and put a slip of paper in it, they'll ignore it completely. This might give you some other ideas to think about. Take @ good look at all your props and see if you can work them into your mental routine. INSTANT FORTUNE TELLER: Fortune Telling In a one on one situation, you will very often be asked if you can tell fortunes. This doesn’t have to take months of study learning the meanings of the various cards . . . in fact, the whole thing is practically impromptu. Any deck of cards can be used, and if you like the idea of a Tarot deck, use it. Usually, I just borrow any deck that might be handy at the time. The effect is simply this—you tell the spectator about his past, present and future from the cards on the table, and then, as a capper, you answer a question that is sealed in an envelope. This is really very simple. In your pocket, you have a small pay envelope with two slips of paper folded in exactly 31the same way. That's all the advance preparation you need When you are ready to begin, remove the envelope, reach into it, and take out one of the slips. Have the spectator write a question on this and refold the paper. Now, take the slip and apparently put it back in the envelope. I say apparently, because all you do is place the finger tips into the envelope and never let go of the slip of paper. Then remove your fingers. from the envelope taking the slip of paper away at the same time. Don’t try to do any fancy palming, just hold the paper behind your fingers. Almost as an afterthought, dump the duplicate slip from the envelope onto the table and have the spectator put her initials on it. This goes back into the envelope which is then sealed. During this, the real slip is dropped into your lap where you can open it and read it later. Now do all the stuff that Turhan Bey does on the late night movies. You know, the deck is shuffled while concentrating on the question, then it’s cut three times with the left hand because that hand is closer to the heart, and all the time, you're talking about being raised by gypsies as a child. Laying out the cards is no problem either. Deal a row of seven cards face up on the table. These will represent the past. At the end of this deal, place one card FACE DOWN on top of the envelope. Above this, deal a second row of seven cards to represent the present, and again, one more face down on the envelope. Finally, you deal a third row of seven cards to represent the future, and one last face down on the envelope. (Don’t ask me why I use seven cards, except that I think I saw Turhen Bey do it in one of those movies.) 32Now, for the reading. This is so simple, you're not going o believe it until you try it. Just tell them, in generalities of course, about your own past, your own present, and your ‘own hopes for the future, Let's fact it . . . everybody is really pretty much the same, and what happened to you probably happened to me . . . and what I hope for my future is probably very similar to what you hope for yours. So far, so good, but now to really make them believe. During the reading of the cards you've had time to read the slip of paper which you deftly dropped into your lap some time earlier. Open the envelope remove the initialed slip, have the initial verified, and burn the slip so that no trace of trickery is left. Turn over the last three face down cards ‘and, as dramatically as possible, answer their unknown question T've used this often, and I know how strong an effect it can be. JCHAPTER 6: PREPARATION NEEDED “These ideas require some advance preparation, but I have found the effects worth the little effort involved in making them up. EASY S. P.: Mind Control This appears to be a mental control of a spectator’s mind. You will need two sets of E.S.P. cards. One set is made up of double faced cards of which both sides are the same symbol. The other set is normal except for one double backed card. The double faced set is placed in a row on the table in front of the spectator. This is the person who you will control mentally. The other set has the one double backed card on top of the four normal ones. This set can be fanned casually to show the faces, but be careful not to expose the other back of the top card. Shuffle this packet face down, but keep track of the double back, and spread these in a face down row in front of spectator number two. Explain that, through a process of elimination, you will leave one card on the table. Now, by a magician’s choice, you force the double backed card. Have him push three cards forward. If the card is not in this group, remove them from the table. Now, have him point to one of the remaining cards. If he points to the correct card, remove the other one. If he points to the other one, ask him to pick it up and hand it to you, leaving the correct card on the table. 34If it is in the set of three that he pushes forward, take away the other two. Tell him to place his hands on two of the cards on the table. If he covers the two normal cards, have him hand them to you. If he covers the force card and one other, remove the remaining card. Now, have him take away his hands, and point as before. Four cards have been put away, one is face down and five are face up. Take the face down card and stare at it intently for a few seconds. You are really looking at another back, but apparently you are sending a strong mental impression. Place this card back on the center of the table and ask the spectator with the face up set to run his finger over the cards slowly. Whenever he feels the impulse, he is to lower hic hand and touch one card. As soon as he does, take away the other four cards and drop his choice on top of the card on the table, Take a few seconds here for a re-cap of what hhas taken place, then pick up the two cards, turn them over, and show that they match. I think you'll find this to be a strong effect, and one which will appeal to any audience. ASTROLOGICAL FORECAST: Prediction Here's an off-beat bit of business that I've used ftom time to time. The original idea for this was a number force that I read some years ago in the Phoenix Magazine. As I remember, five blank cards were used which were numbered consecutively from one to ten. That is, number one is on the front of a card, and number two is on the reverse side. The same holds true for each card. If you put the cards on the table with all the odd numbers facing up, and any card is 35turned over, the total of the numbers showing willbe 26. If all the even numbers are face up, and you turn. one to the ‘odd side, it will force the number 29. I simply expanded on the idea, and use six cards numbered from one to twelve. The cards are also marked with the signs of the Zodiac (see figure). @@@. ARIES GEMINI LEO The Ram The Twins The Lion @ GD “ LIBRA SAGITTARIUS _ AQUARIUS The Scales The Archer The Water Bearer TAURUS CANCER virco The Bull The Crab The Virgin @-@'e SCORPIO CAPRICORN PISCES The Scorpion The Goat The FishNow, rather than have them turn over one card, I ask the spectator to put the cards on the table so that any three odd, and any three even numbers show. This would appear to be a perfectly free choice, but it actually forces the number 39. You'll also notice that card number three is the sign of Gemini, The Twins, and card number nine is that of Sagitarius, The Archer. As to the performance of the effect, I do a little talk about whether or not there is anything valid in Astrology. Then, I have one of the more interested spectators, usually a female, take the cards, and very carefully decide on the ones that she will place face up. When she has done this, I have her add the numbers, which of course total 39, and I remove all the cards EXCEPT card number three and card number nine. Now I ask her if either of these signs mean anything to her. Whether they do or not isn’t important. It's just a way to kill a little time before you hit them with the climax. I also have a newspaper with me. In the morning, I place an ad in the personal column, and I circle the ad in red ink before I get to the place where I'm going to perform. Remember, to two forced signs are The Twins and The Archer. The ad reads, “Twin sons were born today to Mr. and Mrs. Thomas W. Archer.” It sometimes takes a few seconds for this to sink in, but when it does and they realize the connection, they'll talk about it for the rest of the evening. In place of the ad, you might want to send a telegram to yourself with the same message. In that case, I'd carry the cards in the envelope with the telegram, so that the telegram can be on the table during the entire effect. 37So there you have some ideas on mental L presentations. Props are either kept to a minimum, or else are Completely non existent. None of the ideas are original . . . they are al based on thoughts that have been around for many years. AIL did was to add a twist, a bit of psychology. or a new presentation. a I know these are practical . . . I've used them. Some Hog heen done in people's homes for private parties, others hae been seen from time to time at The Magic Castle's Hoydini Seance. Earlier in the book I said that mentalism is a money maker. I have made money with some of the things that are tn these pages. All I can say to you is, “go forth and do likewise." JL 38