Option Four -Bruno Haber Nore than 100 years ago, itinerant gamblers employed a secret technique to identify playing cards that gave them a near-psychic edge over other players. The technique was a closely-guarded secret then. few avid researchers and professionals have regularly utilized it. Yet, the potential it offers mental- ists, as well as card technicians, makes it of inestimable worth. Here, Bruno Haber describes the tech- nique, and outlines one puzzling mental effect that can be done with it. "Psychometry," you explain, "is the ability to identify and interpret the psychic vibrations given off by otherwise inanimate objects. "The objects frequently will reflect the character of individuals who have re- cently owned or handled them." As both a test and a demonstration, you pick up a deck of cards and mix the ~face-down cards. Then, with the deck still face down, you ribbon-spread it on the table in front of a spectator. "When I turn my back," you tell the person, "I want you to place the tip of And, since that time, only a your finger on the back of ONE of the cards. Actually, it doesn't matter which card you pick, I simply want the choice to be clearly your own." When the spectator acknowledges that he, or she, has the tip of his finger on the back of one of the cards, you instruct him to slide the card from among the rest. Then, turning back toward the specta- tor, you pick up the rest of the deck, and return it to its case. ‘As an afterthought, apparently, you remove the top two cards from the pack, and, fanning them slightly, you profer them to the spectator. "T don't want to touch your selected card," you tell the person, as_you have him ‘sandwich his selection BETWEEN the two cards. "Good," you tell the spectator.("Option" — Cont'd from page 2083) carefully square up the three cards, and, holding the cards together, tear the cards into quarters. "Do this by tearing the cards in half. Then, put the pieces together, and tear them in half the other way. “I'11 turn my head." While the spectator tears the cards in quarters, following your instructions, you unfold and open a large brown-paper bag, of the type used by groceries. Keeping you head and eyes still avert- ed from the spectator, you hand the empty bag to him, and ask him to drop all the card segments into it. Only then do you turn back. "Now, close the mouth of the bag, and shake it vigorously, to thoroughly mix all the card segments. "Shake it some more, if you like. I want you convinced that the pieces are in- termingled." Then, with your eyes again averted, = — you reach into the bag, while it is held by the spectator, stir the pieces, and se- lect and remove one piece. Without looking at it or showing it to the spectator, you place the piece in the fist of your empty hand. ‘And three more times, you reach into the bag and remove additional pieces, un- til you have removed four pieces, without looking at them. Then, one at a time, you place the four pieces, face down, on the table. "What was the identity of the card you selected?" you ask the spectator, for the first time. When the spectator reveals the card's identity, you point to the four, torn, (Cont'd on page 2086) Focal Point °Dr. Juris This effect makes use of a popular dealer item. But it is guised in a manner that is completely at variance with the original instructions. If you are even moderately skillful with your hands, you can modify the device ‘into a one-of-a-kind prop. You show a small crystal ball and its clear-glass base, as you ask two persons, who are emotionally close, to assist you. The individuals might be husband and wife, or two members of the same family. "Most people are under the impression there is something mystical about a crys- tal ball," you explain, as you hand the ball to one person and the base to another to examine. "But there is not. There are no pic- tures inside the ball; no glowing lights. The crystal is merely a focal point, a place where your own impressions can be Se ie ge ae eae mind of the sensitive." You place the glass base in front of one of the two volunteers. Then, mixing a pack of playing cards, you ribbon-spread it face down in front of the second volunteer, asking him to put the tip of his finger on the back of one. You have him pull that card from the face-down spread, look at it, and put it in his pocket, without showing it. The rest of the deck is put aside. "A husband and wife, even two persons of the same family, develop an emotional closeness that others don't possess,” you continue. "Let me demonstrate." You instruct the husband to try to form a mental picture of the card he se- lected. While he does so, you place the ball on its base, and ask the wife to focus her thoughts. "ctare deep into the ball. Try to let-Mind Flight If you put three mentalists in a room and asked the question, you may receive three different answers as to which type of "nail writer" is best. One will insist it's the under-the- nail Swami gimmick, another will hold out for the Boon-type device, and the third will use only a band writer. Some performers are completely satis- fied with pencil-lead units, while others maintain it's best to use heavy-marking, crayon-type leads. In reality, the answer has to do with individual preference, and with the physi- ology of the individual. Each type of device is about as easy to use and conceal; each results in the same impact on an audience. Nentalist Ted Karmilovich uses one of the secret devices in this strong opening effect, which is both visual and star- tling. "Psychokinesis," you begin, “is the contro] of the movements of inanimate ob- cts by mental commands. Both the United Ted Karmilovich States and Russia have devoted consider- able research and a great deal of money to such studies As you talk, you fold a sheet of paper into a school boy's paper airplane. "There has been some limited success in achieving the movement of toothpicks, book matches, and even pens," you continue, "but I know no-one who can control the flight of this paper airplane. "However, I would Tike to use it to randomly select someone for an experiment not in the controlling of inanimate ob- jects, but the controlling of thought. . . mind control." You toss the paper airplane into the air above the audience, wait until it is caught by a spectator. Then, you ask the person to bring the airplane forward. "When I snap my fingers, as a signal, I want you to call out any two-digit num- ber that forms in your mind," you instruct the person. "I shall attempt to control the number you select." As you speak, you reach over and re- trieve the paper airplane. Then, suddenly, you snap your fingers, and the spectator announces his, or her, selection. "Would you describe your choice as be- ing freely made?" you ask the person. Waiting for his answer, you begin to unfold the paper airplane. No matter what his answer, you hand the unfolded paper to the spectator, and ask him to read aloud the number that has been written on it much earlier. It is the same number, of course, as the number selected by the spectator. The number is written on the paper, in the act of unfolding it, with a nail writer. You'll have ample time. Whether you use pencil or crayon-style lead is not important, since only the one spectator sees the writing. The placement of the number is not even critical, but you'll find that the folds of the airplane will allow you to write more toward the center of a letter-size piece of paper than you normally could. By writing the number when you have on- ‘et partis into ded: the oacer:- you will be(He MYS TiC WORD Published every other Friday Editor....Bascom Jones February 10, 1989 In a lifetime of reading and living with books, I have collected a consider- able library on mentalism and magic. I would not give any of the books and publications up. They are ald friends, every one. But I am often asked, if I were to start again, which books would become the basis of my library. Certainly, I would have Annemann, Co- rinda, Elliott, Becker, Webster, and a number of other authors. Those are a given. But high on my list would be the new two-volume "Encyclopedic Dictionary of Magic 1584-1988", by Dr. Bart Whaley. Published by Jeff Busby, 10329 MacAr- thur Blvd., Suites 5 & 6, Oakland, Calif. 94605, the volumes are spiral bound, total 787 pages, and more than 3000 entries. The price of the.two volumes is $89.50 plus shipping. This is not a how-to book of tricks, but it is a comprehensive reference work that defines. and explains much in the field of magic and mentalism. Want to know what a shiner is? A nail writer?, Daub? -A cull shuffle? If you have an interest in almost any trick or any sléight, you'll find it defined, along with its history. Simply look it up. Whether you have a few books or number them by the hundreds, you'll use this two- volune set as a specialized dictiomary and a magic encyclopedia. Whaley currently is reported to be working on a forthcoming "Who's Who in Magic" that is intended to be a supplement to. the encyclopedic dictionary. It will contain biographies of some 3000 magicians, past and present. Bj (“Option" — Cont'd from page 2084) face-down pieces you removed from the bag, and one-by-one you turn them face up. They are the four pieces that, when put together, form the spectator's card. Both bag and deck are-unprepared, ex- ram Som tte toe tan Carlet the eel: in the manner prpularized by Old-time gam~ blers, the two top cards are pin-pricked at each of their four corners. If you have Ray Grismer's new "Per- fected Professional Punch" (MAGICK 413), the modification is simple. The punch will precisely position a touch-identifiable blister at each corner. Without the punch, you can use a needle or a poster pin. Place the two cards face up on a hard surface, and carefully press the point of the needle or pin into the card, about a half-inch in from each corner. When done properly, you should have a small, raised blister at each corner of the back of the cards. Since the selected card is unprepared, you simply feel each of the corners, and remove from the bag the four corners that don't have the tell-tale blisters. ("Mind" — Cont'd from page 2085) positioning it near the center of the pa- per. ("Focal — Cont'd from page 2084) the image of a card appear. When it does, name that card out loud." Hesitantly, the wife names a card. It proves to be the card selected and retain- ed by her husband. The card is forced. If you like, sim- ply use a deck in which all the cards are the same. The crystal is unprepared. The base, which may be examined thoroughly, is the plastic "Majic Cup", available in most magic stores. Tt works on the Lady-of-the-Lake prin- ciple. A small card, concealed in the bottom, remains invisible until the cup, or shot glass, is filled with water. Here, the crystal ball serves as the reflecting surface. With a little force, the bottom of the cup can be removed, and the miniature card replaced with an ESP symbol design, a force number, or even a name 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL| 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308Sensitives Richard Osterlind During the hot, summer days of 1985, in a sun-drenched town in the Texas pan- handle, a small boy was discovered naked and chained in a back-yard toolshed. He was dehydrated and starving. His parents were punishing him. He professed to see things, even in darkness, that no one else could see. Less than twelve months before, in Oregon, the parents of a fourteen-year-old girl sought to have her admitted to a psy- chiatric hospital. The girl would scream for hours at a frenzy of sounds and pictures that filled her head. Only the girl could hear the sounds and see the pictures. They frightened and upset her. Parapsychologists have a term for the boy and girl. They are sensitives, able to perceive things that others can neither see nor hear. In this powerful, audience-tested blindfold routine, Richard Osterlind, the creator of the Apex Stainless Steel Blind- fold, duplicates the abilities of the sen- sitives. The routine is particularly suited to Copyright 1989 — Bascom Jones the straight-ahead-viewing capability of the Osterlind blindfold, but it can be adapted to other blindfold techniques. Prior to donning the blindfold, you invite two spectators to come forward and help you. "I'1] ask you to serve as the eyes of the other members of the audience," you tell the two volunteers, "to inspect the blindfold, and to assist me when I don the blindfold." On the table which holds the blindfold is also a deck of jumbo-size playing cards and two large drawing pads, or pieces of stiff cardboard. After donning the steel blindfold (0s- terlind additionally uses a single, large, Ace adhesive bandage over each eye), you ask both volunteers to inspect it closely. "The blindfold," you explain, "is de-eee et nS Pat signed to block sight, the strongest of the five senses. "I want to see with my mind, not my eyes." One of the volunteers is asked to ob- tain two objects that would be unknown to you from’ persons in the audience. "The selected objects might be person- al jewelry, a credit card, a photograph, or even a lucky coin. The two objects should be different. Distinctive." While the objects are being obtained, you ask the second volunteer to mix the packet of jumbo-sized cards. "Now, hold the cards face down, and, from various places within the deck, re- move a total of about six cards. "Place the cards in a pile on the ta= ble, as you select them. Face down." The two objects, borrowed from members ae ee a ee ae ee of the audience, are placed on the table, as you have one of the volunteers pick up one of the sketch pads. "Visualize some simple shape or design in your mind. See it clearly. Then, draw it, as large as you can, on the pad. But show it to no one.” The other volunteer assistant, at your request, picks up one of the two objects, and shows it to the audience. The audi- ence is asked to concentrate on it. You describe and name it. The same is done for the second object, which you also correctly identify. Next, you are handed the packet of six randomly-selected face-down cards. And, one by one, you hold the cards, faces toward the audience, and name them all. Finally, you are handed the second sketch pad, along with a marking pen; and, (Cont'd on page 2092) psi-popll *Charles Adrian This startling stunt is perfect for private parties. If it is given the pro- per build-up, you'll find that it is long remembered. Best of all, it will appear that all the props are obtained from the hostess, which gives the test a spur-of-the-moment feeling that enhances the effect. You explain that you are going to at- tempt to demonstrate the awesome power po- tential of the human mind, you show a sty- rofoam cup and a tiny handful of popping corn. "T borrowed these from our hostess," you explain, "on the condition that I give them back, so follow my instructions care- fully." You ask the guests to form a semicir- cle around an eye-level bookshelf or a suitable mantel. Casually showing the cup to be clean and.empty, you carefully dump the small, > A Ro Gi wd IS ’ handful of popping corn into the bottom of it. About two-dozen kernels will prove to be more than enough. Then, placing the cup on the shelf or mantel where it is visible to all, you step back into the semicircle. "Each of you," you tell the group, “focus the energy of your mind on the corn in that cup. Focus. . .focus! FOCUS!" There is a sudden popping sound from the direction of the cup. The cup jiggles and, when you cautiously pour its contents onto a plate or tray, one of the kernels is seen to be popped. The impact of this effect depends upon your ability to marshal the concentration of the group, which is not difficult. The working depends upon a secret prop that_is never seen by the party guests. The prop is one of those thin, metal disks that is actually three metals lami- nated together. About the size of a U.S. ee ee ey ~-The CT Tantra Considerable lip-service is devoted to the importance of presentation in compar- ‘ison to method in mental effects. Although few performers disagree with its importance, not all expend the same thought and enthusiasm in the pursuit of presentation. Compare the usual presentation for the center tear with this presentation used by Canada's Rudy Hunter. It is designed for use at a private party or informal gather- ing. At the moment when you sense you can make the most dramatic impression, you pick up a pad from the coffee table and give it to a woman. You ask her to secretly jot down a name or word, something that holds parti- cular significance for her. No restric- tions are given, and no explanations. You turn away while she writes. Then, with your head still turned, you instruct her to fold her slip both ways. When she is finished, you tell her to hold the twice-folded slip in both hands, Rudy Hunter while you turn back to face her. You look deep into her eyes, as you lightly press the tips of your fingers to her temples. You appear to concentrate. "Keep the thought in your mind, and exclude everything else," you command, as you continue to look into her eyes. Suddenly, you take the paper from her and tear it into bits, tossing the pieces into an ashtray. "Do you trust me?" you ask. And, when she replies that she does, you take her hand in yours, and lead her out of the room. "Come," you command the others in the group. You go to the kitchen, the den, the dining room, up the stairs, and all over the house very quickly. As you move rapidly from room to room, you frantically appear to be searching for something. You pause before a bookshelf, and hes- itate before a jumble of toys. Your eyes dart, quickly, here and there — searching. At the same time, as you move from one room to another, you comment on her aura. "Your aura is quite distinctive,” you tell her. "It's the first thing I noticed about you. The blue and green seem to shimmer, change in brightness.” When you return to where you started, you carry a dictionary from the den, and a set of children's alphabet blocks Stil] holding her hand, you ask her to continue her trust in you and close her eyes, as you both kneel on the floor. Frantically, you arrange the blocks into a formation on the floor. You open the dictionary and mark one word. Then, you ask the person to announce the thought, or word, she has in mind. "Just say it out loud, when I snap my fingers," you tell her. Let's assume she says, "Donald". The blocks on the floor spell “Donna” and the marked word in the dictionay turns out to be "dawn". "We came close enough for me," you ex- claim, as you slump, drained. “Would youPublished every other Friday Editor....Bascom Jones March 3, 1989 Here's what others say about the shad- owy figure who has been called King of the Cold Readers: "The best in the business today," Bill Tadlock, past-president, Psychic En- tertainers Association. "He picks up where the Gypsies of old left off," Bob Haines, member, The Thirteen. "Brings fortune-telling into the twenty-first century," Scott Davis, edi- tor, Seance magazine. "The undisputed master..." Tony An- druzzi, editor and publisher of Invoca~ tion magazine. The man, himself, and the fascinating tips and techniques of modern-day cold reading that have made him a legend are the subject of a dynamic new book on pseudo-psychic techniques that has just been published. Author of the book is Bascom Jones, editor of MAGICK, and it is based upon a remarkable series of audio-tape record- ings, made over a four-month period. This invaluable guide will tell you all you need to know about launching a career, or just having fun, telling for- tunes. One advance reader described it as "chock full of lines for mentalists." The book is perfect bound, is 8 1/2 by 11 inches in size, and is entitled "King of the Cold Readers; Advanced Professional Pseudo-Psychic Techniques". The price of the book, which includes handling and mailing, is $40. Write Bascom Jones, 7107 Weldon Ave., Bakers- field, Calif. 93308. Delivery will be by firstclass mail. Bi ("Sensitives" — Cont'd from page 2090) stil] blindfolded, you sketch a crude de- sign. You remove your blindfold, ask the volunteer to show his, or her, sketch, and dramatically, then, show that your sketch matches the drawing. The two objects, borrowed from members ! placed on the table. Glancing at the ta- ble later, you'll know from the one remain ing which one the volunteer is holding. To identify the cards, you could use a Ted Lesley marked deck. You don't. The deck is not ginmicked. Many jumbo decks, such as the Victoria deck that is printed in Japan, look all right when you handle them, but if you hold them up to a strong light, you can see through them. In most performing situations, you have a strong light shining on you. If. you don't, the audience will have trouble Seeing you. The final test is the clincher, since it looks so impossible. Duplication.of the design, word, or thought-of number is achieved by approach- ing the volunteer BEFORE the show, and us- ing center tear, billet switch, or impres- sion device to secretly steal the person's mental thought. ("Psi-Pop" — Cont'd from page 2090) 25-cent piece, it is slightly convex. By rubbing it with your thunb to warm it, you can depress it, and it will stay depressed until the surface metal cools. Then, it will pop back to its original shape, with an audible snap. You simply depress it, placing it on the shelf or mantle under the plastic cup. The popped kernel of corn is secretly dropped into the cup, after the cup is casually shown to be empty. It's an easy matter, when you pour in the other corn, CT" — Cont'd from page 2091) agree that I was close to your thought?” DON'T use a direct hit. It leaves nothing to the imagination, robs you of credibility. Be close enough to rule out chance, but not too close. Each house will provide ideas for the revelation: dictionary, newspaper, photo- graph, typewriter, toys —a wealth of use- ful items. Use your imagination. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL, 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308 Pane 2002*Ted Lesley Ted Lesley is one of Germany's high- est-paid performers, where he is widely- recognized because of his many television appearances. But, in the United States, he is bet- ter known as the originator of "The Work- ing Performer's Marked Deck". The deck, as most performers know, utilizes a brilliant technique to readily identify each card from its back, with no more than a brief glance. Here, the European showman reveals a startling memory demonstration that can be performed anywhere and at any time. And it can be done with a borrowed deck. "Bring three or more mentalists to- gether," Lesley points out, "and you can get an argument as to whether or not a mental performer should employ cards. "The question should not be whether you use cards but HOW you use them. The effect shouldn't look Tike a card trick." Classic effects that don't appear to be card tricks, by his definition, would include "Out of This World", the "Tossed- Out Deck", and the brain-wave concept. This seemingly straightforward memory demonstration would seem to fall into that “back into the deck. In fact, mix the deck category, also. Use of the playing cards seems_only to make the test more valid. "It has only been in the past fifty years, or so, that the awesome potential of the human mind has been generally rec- ognized in the West," you begin. "Indeed, for years, the mental powers of Eastern mystics were thought to be fic- tion. Now, we know differently. "Now, we know the human mind can be trained to do more than we thought it was capable of doing." To demonstrate, you borrow a deck of cards, which you casually shuffle as you approach one spectator. You instruct the spectator to touch and remove one of the face-down cards. "Look at your selection," you tell the spectator. "Remember it. And shuffle iteee ee SO OT pee eke thoroughly. Then, return the deck to me." You quickly turn the shuffled deck face up, and explain that you will attempt to memorize the position of every card in the pack. You instruct the spectator to time you as you thumb through the deck, telling him that you will attempt to get through the entire deck in less than half a minute. Then, as rapidly as you can, you thumb the cards from one hand to the other. When you finish, you dramatically turn the deck face down again, placing it on the table in front of the spectator. “What was the card you selected?" you ask the spectator. And assume, for example, he says it was the Four of Diamonds. You concentrate for a moment. Then, you say, "The Four of Diamonds is the twelfth card from the top of the deck." When the spectator counts down to the twelfth card and turns it over, it proves to be. . .the Four of Diamonds. "The thirteenth card is the Nine of Hearts,” you continue. “And the twenty- first card is the King of Spades." When the spectator verifies these, you touch your finger-tips to your temples, and close your eyes. Then, opening your eyes again, you add, "Now, my mind is a blank once again." The entire effect, of course, is sheer bluff and showmanship. The card is forced. Later, when you apparently are memoriz- ing the positions of the cards, you merely count down to the position of the force card. It's an easy matter to remember the (Cont'd on page 2096) Hoy Plus X’ Richard Stride Most working mentalists, at one time or another, have performed David Hoy's di- abolic mental classic, the "Tossed-Out Deck". It's a strong effect, straightforward and direct. Many have used it as an open- ing effect, although it can be used in any routine at almost any place. In the effect, the mentalist places a heavy rubber band around a loose deck of playing cards, and tosses the deck into the audience. Following the instructions of the per- former, one or more audience members peek at a card. They use their thumb to break open the deck, just enough to glimpse a card, but virtually assuring that no one else can learn the identity of the card. Despite the fairness of the selection and the precautions, the performer cor- rectly identifies the selections. In the original version, a one-way more freedom in handling the deck. forcing deck was used. All of the cards were the same. If three persons peeked at cards, the performer simply called out three different_cards. One of the three cards called was the force card, but each spectator assumed the two remaining cards were selected by the other two individuals. In a more recent version, a three-way forcing deck was used, allowing for a bit With luck, at least two of the spectators might peek at different cards, also. Here, mentalist Richard Stride de- scribes his much-used version of the Hoy effect. The built-in subtleties used in the deck will appeal to many. You can over- hand shuffle the deck with the faces of the) cards TOWARD the audience. You'll need a Nu-Idea forcing deck, a- vailable at most magic shops. Carefully,-Dream World One of the most popular contributions of innovative Denny Laub and Gary Inglese, published in MAGICK, was their mental card concept, called "The Dream". The effect has a stunning impact on audiences, and is based upon a brilliant presentation premise. But it requires a significant amount of pre-show preparation. Here, mentalist Bruce Barnett, manu- facturer and producer of the versatile dBoon Listo writer (see "Mystic Word" in this issue), describes a variation that em- ploys a Tarot deck and requires no more than five seconds of preparation. "Psychologists tell us," you begin, "that people typically have about four dreams a night. Yet, we rarely remember any of them. "The dreams are there, but they must wait for something to trigger the memory. A word may trigger the memory, but more often it is an image that brings back the memory of the dream. “Last night, I had a dream about YOU," * Bruce Barnett you reveal, pointing to some young lady in the audience that you don't know. fe've not met before. Right? But in my dream you wore that same dress (or hair style or piece of jewelry), and it triggers my memory. “We were looking at a deck of Tarot cards..." Here, you show a deck of Tarot cards, holding them so their faces are toward the audience, and thumb them slowly from one hand to the other. "Stop me, as I thumb the cards," you conmand the jady. And, when she does, you add, "Just as you did in my dream." The card is immediately placed face-up ‘on top of the face-down deck. "In my dream, you picked a specific card. There is no logical reason for me to dream about a Tarot card. Or about you. "Nor was there any logical reason for me to get up and write a name on the back of the card I dreamed you chose. But I did get out of bed and write the name. "ay I call you by your first name?" you ask the woman. "And it is?” Let's say the woman replies, "Laura." "Thank you, Laura. As you can see, we did share a brief dream. And about the same card, which has the name. . .Laura." You turn the card she chose face down. Written across its back is the name Laura. The secret, in this version, relies on a double-back card, which is on top of the deck. Prior to performing, learn the first name of the lady you elect to call upon, a person who doesn't know you, and write it across one side of the double-back card. Place the card on top of the Tarot deck, with the writing-side down. Then, on the side that is uppermost, place tiny smears of magician's wax in each of the four corners. When she stops you, as you thumb the cards from hand to hand, you remove her selection, showing it. Then, turning it face up, you place it oe rs Pace eePublished every other Friday Editor. ...Bascom Jones March 24, 1989 One of the most-asked questions, each year, that I get in the mail has to do with the availability, or source, of the Listo-type lead Boon writers. Bruce Barnett, whose provocative "Dream World" in this issue will appeal to those who use Tarot cards, produces and sells one of the best writers I've seen. The writer ‘sells for $6, plus $2 for postage and-handling..The writer-comes with a supply of Blu Tack (the real stuff), and extra red, black, and white leads. Barnett calls his device the dBoon writer. The lead is easily replaced. A unique feature of the dBoon are four small "tangs" that help grip the thumb and keep the writer from rocking. Write Bruce Barnett at P.0. Box 1167, Clifton Park, New York 12065. When Orville Meyer was stil] in his twenties he corresponded regularly with Ted Annemann, and his name appeared fre- quently as a contributor to the JINX. Indeed, the method used by Annemann in performing the legendary bullet catch was suggested to him by Meyer. Today, Meyer is as active in mentalism as ever. And he's no stranger to readers of MAGICK, where his Ideas appear regular- ly. Therefore, I-was both honored and in- ordinately pleased to be asked to substi- tute for the touring Larry Becker, and to present this year's prestigious Psychic Entertainers Association Outstanding Achievement Award to the Colorado mental~ ist. Few individuals, in a lifetime of ac- tivity, have done more for mentalism, and None are more deserving of the award. Harry Anderson and Craig Karges have much in common. They both are young. They are. full of enthusiasm. And they both: do a delightful presentation of the floating table. T've watched them both. The two pre- sentations are different, but I know no one else that does it so well. Although I would be hard-pressed to_ PGi wee eo eee = ARE Eos S would lean toward the Karges approach. I saw his presentation again at the Psychic Entertainers Convention in Wash- ington, D.C., where the youthful profes- sional was honored as the P.E.A.'s Mental- ist of the Year for 1989. Good choice! Bj ("Memory" — Cont'd from page 2094) position of two other cards, also. After you reveal them, you pretend to erase your memory bank — before the spec- tator can ask the position of some other card. If you have not mastered a particular- ly clean force, you can use the "Working Performer's Marked Deck", identifying the card as the spectator selects it. (“Hoy"-= cont'd: from page 2094) trim about 1/32 inch from the length of the 26 indifferent, rough-backed cards that make up the forcing deck. Then, pair the shortened, indifferent cards with the standard-length, rough-faced force cards. The short cards make it possible for you to riffle shuffle the deck, without separating the pairs. The roughing fluid will allow you to overhand shuffle the pack with the faces of the cards toward the audience. The indifferent cards will be seen, and the pairs will not be disturbed. But with the rubber-band around the pack, the short cards assure that each spectator will peek at a force card. ("Dream" — Cont'd from page 2095) on top of the waxed card that is on top of the deck. The two cards, then, are secret- ly aligned and pressed together. When the spectator reveals her name, you turn the two cards, as one, and appar- ently show her name written on the back of the card she selected. You can immediately spread the pack to show that none of the remaining cards have names written on then. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-t BY REGULAR MAIL; 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308MAGICK + Phil Goldstein Sooner or later, most mental perform- ers are questioned about the role played by extra-sensory perception in gambling. Here, Phil Goldstein reveals a near- impromptu presentation, which you'll dis- cover is well-suited to such occasions. "Professional gamblers," you explain, “tell us that success in gambling depends on three factors. The first of these fac- tors, of course, is luck. "The second is skillful strategy. And the third is rather hard to define, being a combination of the first two. It's best described as a gambler's instinct." You propose a simple test to see if the spectator possesses this potentially- valuable quality Proposing an “instinctive” version of the popular game of blackjack, you search for and remove the Jack of Spades from a deck of cards. The rest of the cards are placed face down in front of the specta- tor. You ask the spectator to cut_the pack into three side-by-side piles. Then, act- ing purely on instinct, the spectator is instructed to place the Jack in front of ‘any one of the three groups of cards that Copyright 1989 — Bascom Jones els attracted to. Before we see how your instinct guid- ed you," you continue, "let's examine the ‘outcomes you DIDN'T feel drawn to." The top card of one unchosen pile is turned face up, revealing, say, the Nine of Diamonds. "This card, along with your Jack of Spades, would have given your a total of nineteen, a strong set hand," you explain. "Perhaps this is the pile your gambler's instinct should have selected." The top card of the other unchosen pile is turned over. It could be, for ex- ample, the Four of Spades. “The Four, with your Jack, would have given you a total of fourteen. It's a dangerous total. It's likely to bust." Finally, the top card of the chosen pile is turned over. It proves to be the("Beat" — Cont'd from page 2099) Ace of Clubs, forming a perfect blackjack hand. You congratulate the spectator for having a well-developed gambler's instinct and wish him good fortune in any future trips to the gaming tables. The method is simple. It's a varia- tion on a multiple-out concept Goldstein employed in "Ninth Dimension” (MAGICK 252, 1980). K set-up is required. But it requires but a moment of time. Place two aces on top of the pack. Another ace is reversed at the center of the deck. The final ace is placed on the bottom of the deck. And the Jack of Spades is positioned about ten cards from the face of the pack At the start of the routine, discuss the concept of a "gamler's instinct", as a prerequisite to success in gambling. As you speak, run through the cards with the faces toward yourself, being careful to conceal the presence of the ace at the face of the pack. Locate and remove the Jack of Spades, as you thumb through the cards, but don't expose the reversed card at the center of the pack. With the Jack of Spades removed, put the remainder of the pack face down on the table, directing the spectator to cut the cards into three approximately equal piles. Pay attention as this is done. You must note and remember which is the former top-third of the pack, which the center, and which the bottom. The spectator, now, is told to place the face-up dack in front of any of the (Cont'd on page 2102) Nuts and Bolts *David Altman Here's an easy-to-assemble psychoki- netic pocket effect that will fool even performers familiar with the more widely- known "invisible-thread" method. Use it in conjunction with the thread technique, and it will provide you with a mind-boggling amount of freedom in the handling of the props. This is the effect. A small nut and bolt are removed from an amber-colored medicine vial, or a 35nm film canister. You hand the nut and, bolt to a specta- tor, asking the spectator to thread them together. The spectator drops them into the vial and the snap-cap is put in place. You hold the vial at eye-level, and shake it gently. "Psychokinesis, sometimes called PK, is the mind-over-matter control of an in- animate object," you explain. "It's the force that some use to bend spoons and metal objects, or. . . You remove the cap from the vial and pour the nut and bolt onto the table. The two have become separated. From a well-stocked hardware store, obtain a 4-40x1/2 stainless-steel nut and bolt, AND a 4-40x1/2 zinc-plated nut and bolt. (The 4 indicates the diameter, the 40 is the number of threads per inch, and the 1/2 represents the length.) You'll also need a small button magnet of the type found in super markets, or at Radio Shack stores. The stainless-steel nut and bolt will be non-magnetic, but use the button magnet to verify this before you purchase it. Not all are. The zinc-plated nut and bolt, on the other hand, IS magnetic. Use a drop of one of the miracle glues to fasten the button magnet to the inside-Dust to If you want to exploit the drama and theater that is part of the potential of a personal reading, give this presentation a try. The audience-tested routine is one much-used by New Zealand's Richard Web- ster, whose books on psychic-reading tech- niques have garnered an army of fans. "Possibly the oldest forms of divina- tion," you begin, "are astrology, the I Ching, and geomancy. Geomancy is divina- tion by the earth. “Many people are familiar with astro- logy. And I Ching is much used in the East. But geomancy is not so widely- known. “There are many ways of exploring geo- mancy, ranging from blowing dust off a smooth surface to making random marks in the ground with a stick. "1'11 try to demonstrate a technique with which I have had some success." From a small pad, you tear off a sin- gle piece of paper, which you idly fold in hal €.- cece ack wad.cc5 See talk ee Dust Richard Webster unfolding it at the appropriate moment, you use a pen or pencil to draw a penta- gram, or five-pointed star, on the paper. Around the pentagram, you draw a cir- cle. Pentagram and circle should be as large as possible, and limited only by the smal] size of the slip. Turning to a spectator, or sitter, you continue, "Think of a question that is im- portant to you at this moment. Something about your life or relationships. "Write down a word or two that relates to the question, in the middle of the star. Then fold the paper, so no one can see what you have written." You turn away, as the person writes, making no effort to see what she puts on the paper. ‘Then, when she has double-folded the slip, you turn and hand her a large piece of paper. It should be letter-size or even larger. “Draw a giant pentagram, surrounded by a circle, on the paper," you tell the per- son. ‘As she does so, you retrieve the fold- ed slip and, glancing at it no more than is absolutely necessary, tear it into tiny shreds. "T'11 return your original slip to dust, back to earth, from where it came." You hand the torn pieces to the person with the request that she sprinkle then over the large drawing. “The areas of the drawing, in which the individual shreds fall, are important," you tell the person, as you again turn your back, “but turn over any pieces that show writing on them." Then, spreading your outstretched hands several inches above the surface of the large piece of paper, you move them about, as though seeking vibrations. You apparently gain information, for you soon begin to talk about the person's past, present, and future. During the course of your remarks, you identify and answer the person's question. The routine, of course, is simply win- dow dressing for the center tear, in which dali. cheat: Shir Ah dated tok ankeeen. on the:(he MYSTIC WORD Published every other Friday Editor. ...Bascom Jones April 14, 1989 This is a particularly good issue, with strong, easy-to-use ideas from names like Phil Goldstein, David Altman, and Richard Webster. Use the Goldstein routine next time you're asked about ESP and gambling. You can do it with a borrowed deck. The Altman idea is a puzzler when worked alone. Use it in conjunction with the monofilament thread to fool even know- Tedgeable performers. Tf you've wanted to try personal read- ings but didn't know how to start, experi- ment with Webster's bit of theater. You can build on it with any of the cold-read- ing books. Fans of Webster, incidentally, will want his new book, "Cashing in on Past Lives." His latest tells you all you need to know about channelling, regression, and reincarnation — the current buzz words in psychic phenomena. He provides a step-by-step technique for exploring a person's past life. . .and capitalizing on it. The book sells for $35. Write him at 22 Marriott Road, Pakuranga, Auckland, New Zealand. It's highly recommended. ‘And, speaking of books, several astute readers have correctly identified the pro- fessional psychic who served as the source for much of the material in my newly-pub- lished book, "King of the Cold Readers”. I've asked them NOT to speculate about his identity in print, since he continues to earn a significant income doing psychic readings. He wants a low profile. The book, which sells for $40 and is available through me, explains many of his never-before-published cold-reading tech- niques (see address at right). In the manner of golfers, who strive for a perfect par round, or bowlers, who seek the elusive 300 game, I have already achieved one sales benchmark. Along with sales to readers in more than a dozen countries, I've had orders from readers in all 50 states. Hawaii was peas cat aed ae Soe ("Beat" — Cont a trom page ci) piles. The outcome will differ, according to which pile he chooses. If the top portion is chosen, you turn — up the top card of each pile, saving the chosen pile for last. Comment on the re- Jative strength of the various combina- tions, then show that the chosen pile pro- duces a perfect blackjack. The procedure is similar, if the bot- tom portion is chosen. Simply turn over the entire pile, revealing indifferent cards on the faces of the unchosen ones and an ace on the face of the selected one. For the center portion, the presenta- tion differs. Ribbon-spread each pile in a face-down display. The chosen center section will be seen to contain a face-up ace. "Somehow your gambler's instinct Ted you to know that this was the ONLY pile with a reversed card," you comment. "It's the ace you need to win." By positioning the fourth ace second from the top, it cannot accidentally be discovered in any of the null locations. ("Nuts" — Cont'd from page 2100) bottom of the vial. Prior to performing, place the sepa- rated non-magnetic nut and bolt in the vial. Put the magnetic nut and bolt in ‘one of your pockets. You give the magnetic set to the spec- tator, ask him to thread them together, and have him drop then into the vial. They'll be captured and held by the magnet, and the separated non-magnetic set will be poured out. (“Dust — Cont'd from page 2101) smal1 slip by the spectator. Webster uses the Richard Stride technique, explained in Stride's book. You may also use the Richard Osterlind, Ray Hyman, or Mag-eye method, or any of the center-tear techniques explained in MAGICK. Indeed, you'll find ANY center-tear method will work well. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL} —~ 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308-Test- condition telepathy *Ted Karmilovich From time to time, a concept surfaces that may be used in many different ways, and in many different guises. The principle suggested here by Ted Karmilovich is such a concept. Use it to make possible a two-person ~ "En Rapport"-type presentation. Or, if you outwardly profess to work alone, use it with a secret confederate. The success of the principle depends upon two people secretly working in con- cert. “Test-condition telepathy usually en- tails the projection of a word or an im- age where sender and receiver are other than face to face," you begin. "This physical separation by distance and walls makes the task more difficult, and the result less certain." As an illustration, in the form of a test, you propose that you leave the room, while the individuals that remain, acting as a group, select and attempt to mentally project to you a multiple-digit number. Before leaving the room, you see that the group has a sheet of paper and a pen- cil or pen, and you ask one individual, who is above suspicion, to randomly form a Page 2103 three-digit number and write that number on the sheet of paper. “While I am out of the room," you tell the group, "I want each of you to silently visualize and try to project the number. "See each digit in your mind. But project them as a whole." Taking a second piece of paper with you, along with a pencil or pen, you leave the room. And, although there is no rea- son for you to be gone for long, you may be shut away in a distant closet or room, while you concentrate. Then, moments after the number is se- lected and the group begins its projec- tion, you return. On your paper, in giant digits, you have correctly written the projected num- ber. The effect, of course, if you elect to (Cont'd on page 2104)("Test" — Cont'd from page 2103) do it as a two-person routine is much the same. One member of the team acts as the transmitter and remains with the group. The other menber of the team isolates himself, or herself, in another part of the house, and serves as the receiver. The outcome is the same. The sender silently concentrates on the selected num- ber, which is successfully jotted down on a piece of paper, in another part of the house, by the receiver. Whether the sender is identified as part of a two-person team or serves only as a secret confederate, his, or her, role is just as important as that of the re- ceiver. The sender literally transmits the se- lected number to the receiver. To accom- plish this, both individuals must wear quartz-type wristwatches that have a sweep second hand. The second hand of the two watches must be synchronized. This is a simple task, particularly with the quartz watch. In addition to the quartz watches, and even the most inexpensive ones will serve, you will need a miniature electronic re- -ceiver and transmitter. Many mentalists already have the John Cornelius' "Time Contro1" radio device, which is being marketed and sold through magic dealers for about $50. The button-activated sender is not much bigger than a thick silver dollars the receiver, when activated, emits a small sound. Each is easily concealed, and both are operated by small batteries. To transmit the number 239, for exan- ple, the sender secretly depresses the (Cont'd on page 2106) imprinting *Rich Bloch Here's a "different" presentation for a long-ago concept. It is a favorite of Rich Bloch, who uses it often. "Imprinting," you explain, "is a pro- cess well-known in the world of psycho- biological studies. “It's the means by which a newborn duckling, for example, will respond to the most immediate source of affection follow- ing its birth. “Less well known is the interesting phenomena between particularly gifted hu- mans and. . .inanimate objects." To illustrate, you hand a deck of playing cards to a spectator, requesting the spectator to shuffle it, select a specific card, and sign the face of it. "Your actions," you continue, "in ef- fect, have both recorded the selection and ‘imprinted’ the event in your sub-con- scious mind." The card is returned to the deck, and Page 2104 the deck is quickly cut several you and returned to the case. The flap of the case is left open, and the backs of the cards are closest to the small, half-moon-shaped cut-out at the mouth of the case. Now, slowly and methodically, you withdraw one card at a time from the case, placing each face down in a pile on the table. You continue to do this, until the spectator stops you. ‘At that point, you immediately hand the cased cards to the spectator, who is instructed to remove the very next card. It proves to be his selected card, bearing his signature. The card case is gimmicked. Place the empty case on the table, with the small, semi-circular thumb groove facing upward. Then, with a razor blade, cut a slit along the bottom width of the case, just (Cont'd on page 2106)Mind Bender Give attention to its presentation, and this off-beat party stunt will be long remembered and much talked about. There's a toss-away element that will give spectators the eerie suspicion they have witnessed something that is real. “The mind-over-matter control of an object," kinesis. "Hollywood motion pictures would have you believe it's a force as difficult to control as a rogue elephant, as indiscrim- inate as a shotgun biast. "But studies indicate otherwise. Psy- chokinesis can be as precise as laser sur- gery." You ask to borrow two quarters, get- ting them from two different people. So that each person will be able to get his, or her, own quarter back, you read off the date, as you borrow the coins. Then, shaking the two quarters in your Fist, you ask to borrow several dimes and several pennies. These you get from other spectators. With these coins, too, you you explain, "is called psycho- Page 2105 Neal Rider casually read off the dates, as you place them in the fist that holds the quarters. “Now, I need someone with some nursing skills. ‘Someone who has some experience in locating and monitoring a pulse," you continue, as you sit down at a table. If you can't find a nurse, any volun- teer will do. You seat the individual at the table beside you, asking her to put her fingers on your wrist and feel your pulse. If you are holding the coins in your left hand, you have her monitor the pulse in your left wrist. Your arm would extend toward the center of the table. As soon as the volunteer locates your pulse, you have her mark its beat, by tap- ping with her free hand on the table, ina metronome-like beat. "I shall concentrate on the quarters," you announce. "The two quarters. Not the pennies. Not the dimes. The quarters.” Then, turning to the volunteer who is monitoring your pulse beat, you tell her: “I will use a great deal of energy. Don't be alarmed in my pulse slows. Or even beats erratically. Just continue to mark out the time with your tapping." With that, you close your eyes and ap- pear to concentrate. The only sound is the tap-tap-tap of the volunteer's hand on the table. Gradually, you clenched fist begins to tremble. As it does so, the tapping of the spectator's hand slows. And suddenly stops. Your heart seemingly has stopped. Ten seconds pass. Twenty seconds. Thirty seconds. And the volunteer's hand erratically begins to pick up the beat once more. You open your fist and pour the coins onto the table. The pennies and dimes, are all right. The quarters are bent. To stop your pulse, tape a ball of cloth to the underside of your arm, up near your armpit. Squeeze it against the the side of your body at the proper time. The borrowed quarters are substituted for two bent quarters, as you casually shift them from hand to hand, while you are waiting to collect the dimes and the (Cont'd on page 2106){Ne MYSTIC WORD Published every other Friday Editor....Bascom Jones May 5, 1989 Remember the old wooden billet pencil? They were hollowed at one end, to accom modate a tightly-rolled billet. A stud on the side of the pencil would allow you to force the billet out. You simply inserted the end of the pencil under the flap of a sealed envelope in the act of opening it, and pressed the stud, leaving the message in the envelope. There was one problem. Pencils are not widely used anymore. Now, along comes Martin Grams, a Penn- sylvania craftsman of considerable pa- tience and skill. He is making and mar- keting a billet pen. The billet pen works much like the old billet pencil, but it matches the standard Bic white-barreled pen that can be found everywhere. The billet pen will even write, but it can't be used by a spectator, because of the stud that releases the billet. For $10, plus postage and handling, you receive the billet pen AND a matching, unginmicked Bic pen. Interested? Write Grams at 48 Poplar Road, Delta, Pennsylvania 17314. Larry Becker, back from a two-month lecture tour through seven countries, had a case containing the act he used for his lecture stolen, at one stop-over. His story about how he got it back reads like a James Bond thriller. Wonder. what the thief thought when he saw the pistols Becker uses in his Russian Rou- Jette routine? Friend Tony "Doc" Shiels is slated to be the guest of honor at madman Tony An- druzzi's forthcoming Invocational-89. ‘Andruzzi expects another sell-out af- fair. It will be held at the Allerton Ho- tel in downtown Chicago's Gold Coast area, Nov. 9-12. I'1 attend. I wouldn't miss the op- portunity to spend time with the Mad Hat- ter from Ponsanooth, Truro, and Cornwall. But in one area I'11 be disappointed. I don't suppose Kate, Witch Hazel, and the rest of the coven will fly in. ("Test" — Cont'd from page 2104) button on the transmitter as the second hand of his watch touches the two, three, and nine numerals on the watch. Since your watch is synchronized with that of the sender, you merely watch the second hand and note which numeral is in- cated, when you receive a signal from the transmitter. And those are the numbers you write on the piece of paper. Use the numeral 10 to indicate a zero, and ignore the numerals 11 and 12. Any three-digit number can be trans- mitted in two minutes or less. Imprinting" — Cont'd from page 2104) below the front panel of the card case. After the card is selected and signed, it is returned to the deck and controlled to the top. The simplest way to do this is to cut the card into the deck, placing a locator ‘card (a long card or a crimped card) ABOVE it. Then, cut it to the top. When the deck is returned to the case, the top, or signed, card is jogged forward so it slides partially through the slit at the bottom of the case. The protrusion need not be more than a half-inch, just enough to allow the card to drop below the half-moon cut-out. If you hold the case by its sides, at the bottom, the card won't be seen, and the others can be removed one at a time, without disturbing the top card. Once the spectator halts you, you sim- ply push the selected card back into the case, and allow the spectator to remove it. ("Mind" — Cont'd from page 2105) pennies from the other spectators. You don't have to make a move of the substitu- tion. And you'll have ample tine. Bend the two quarters with a vise or a pair of padded pliers. Remember their dates. Later, misread the dates on the two borrowed quarters, calling out, in- stead, the dates from the bent coins. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL ‘7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308 oOTIPS & TECHNIQUES BONUS INSERT May 5, 1989 THE "LOGICAL' CENTER TEAR By Dr. V. Robert Allen (NOTE: A wag once observed that if God wanted mentalists to use a one-handed center tear He would have given them only one hand. "Not so," the author of this Bonus Insert would argue. "The one~ handed center tear," he feels, “offers a number of attractive ad- vantages." Well-known to readers of MAGICK, from his earlier writings, here the Southern California author explains the logic of the tear, along with his distinctive handling.) Some fifteen years ago, T. A. Waters published in MAGICK 93, 95, and 97 an excel- lent three-part Bonus Insert, entitled "Some Notes on the Use of Billets". He included ‘in his insert a clear explanation of the one-handed center tear. I have modified the actions and handling, over the years, so the technique seems more logical, hence the title I have used here. THE VARIATION The one-handed center tear circumvents the much-too-well-known tradi- tional center tear, in which the folded piece of paper is openly shred- ded by the performer, while he secretly steals the center of the slip. After all, if, the performer could actually read a person's thoughts, why would he ask the individual to write his thought on paper, then immediately take the paper and tear it up? The ac- tion is not logical. In this variation, the paper is torn up AFTER the thought is re- vealed and the slip is no longer needed as a focus for concentration. That not only is logical, but it will cause those who know the standard center tear to sit up. USE CHEAP PAPER The technique is impromptu. I'1l describe it in a one-on-one situa- tion, such as when performing for a reporter or giving a private read- ing, with the spectator sitting at a table across from you. But the technique can be used in other circumstances. Use cheap paper that tears easily. An easy-to-find source are the small, spiral-bound memo books that are sold in drug and novelty stores. Use the kind that open like a book, with blue-lined paper, the cheapest you can find. DON'T PRE-FOLD PAPER Usually, center tears are done with pre-folded squares of paper. But why would you carry pre-folded slips in your pocket? Again, it's not logical. When ready to perform, tear out a sheet and draw a Tine in the cen- ter of the sheet over one of the ruled lines. Ask the spectator to PRINT a word, name, or number on the paper, while you turn away. Then, you instruct the spectator to fold the paper in half, turn it, and fold it in half the other way. This is all done before you turn back, and casually take the folded slip. THE MOVES If you are right-handed, orient the paper with the folded edges at the top and the left sides (Fig. 1); if left-handed, reverse all instructions. Now, press both index fingers against the BACK of the upper half of the billet, and fold it toward yourself (Fig. 2). Crease the fold sharply at the top edge by running your Page 2107 (Cont'd on page 2108)(“Logical" — Cont'd from page 2107) thumbnails along it. Now comes the first secret move. Bring the thumbs and index fin- gers together across the sharpened crease, as if to sharpen it further. The left thumb covers the left third of the paper, and the right thumb is next to it (Fig. 3). As the thumbs meet, secretly tear the paper from the top crease down two-thirds of the way. Immediately move the left thumb and index finger over the tear to hide it, and let go with your right hand. Let the portion of the paper below the tear show, so the billet appears intact. MARK IT With your left thumb, press the billet against the tabletop, apparently hold- ing it in place so you can initial it. Your thumb hides the tear. With your right hand, initial the end of the billet. Then, with your left index finger and thumb, turn the billet over toward yourself, so the hidden tear is at the bottom. At the same time hand the pencil to the spectator, asking him to initial the other side of the bil- let. Your left index finger, quite naturally, holds the billet down, to steady it AND conceal the tear. THE TEAR With the billet marked on both sides, you are ready to complete the tear. To do this, the left hand picks up the billet, as the right hand reaches for the memo book. In a continuing motion, the partially-torn lower third of the billet is grasped between the left middle and ring fingers. At the same time, the larger section of the folded slip is grasped between the left thumb and index finger. Then, under cover of movement of the left hand, the middle and ring fingers contract, tearing off the lower portion of the billet and pressing it into the left palm. If you can handle chopsticks, you can make the tear. The move is completely hidden, and the upper two- thirds of the billet always remains in view. Now, with the left fingertips, place the larger portion of the billet between the pages of the memo book, so the spectator's initials remain in view. THE GLIMPSE The lower third of the billet, which contains the information written by the spectator, remains concealed in your left hand. As you instruct the spectator to stare at the billet and try to visualize his thought, you place both hands beneath the table, where you can silently and leisurely open the torn center. A glance through half-closed eyes, while you appear to concentrate, will reveal the contents. Both hands them silently tear the stolen center into little bits, keeping them in the right hand. You gradually reveal the thought. Afterward, the right hand reaches for the billet portion sticking out of the memo book, removing it without revealing its shortened state. Both hands now tear up the billet, without further comment, adding the hidden pieces in the process. The disposed of pieces can be examined later by any curious spectator, with nothing unusual to be found. Page 2108T Party Graphologists, when analyzing hand- writing samples, assign great importan to the formation of the small letter "t". Indeed, some experts believe it-to be the most revealing small letter in the alphabet, and look for it immediately. The small "t" contains the index of will power and procrastination, of sensi- tivity and emotions. It will reveal bru- tality, impatience, anger, love, and many other things. This provocative routine by Cicardi, played against the attention-holding back- drop of handwriting analysis, can be a mini-feature suitable for private party, club, or stage use. The concept is well-thought-out, and woven within it are a number of subtle- ties that can be used in other ways. "T would like to invite you all toa 't' party," you explain, as you quickly hand out lined 3x5 index. cards, to audi- ence members. You instruct the individuals holding the cards to write on them the words, "The timid fox jumped over the tall tree.” "Don't sign the cards," you caution the participants, "and write, don't print, Page 2109 MAGICK Copyright 1989 — Bascom Jones the sentence. I want a handwri ple. "Handwriting," you continue, "is some times called ‘brain writing’. In subtle changes, day by day, it reflects the myri- ad emotions, personality, and character of the writer." You have the index cards passed for- ward, where they are collected by a volun- teer, mixed, and handed to you. While this is being done, you position a portable easel, which holds an artist's pad or erasable white-plastic board, so it can be seen by the audience. “In recent years," you continue, “the science of graphology has gained in re- spectabi lity. “The personnel departments of a number of Fortune-500 companies have employed it to evaluate present and prospective en- (Cont'd on page 2110) ing samope ployees. It has been used by medical doc- tors and psychiatrists as an index to the physical and mental health of their pa- tients." Explaining that you will use the easel and the writing samples, you state that you will demonstrate some of the types of data that handwriting can reveal. “Time is a factor. I can analyze only a few samples," you explain, as you riffle through the index cards, and pick five or six of the more interesting ones. "The small 't' is considered to be the most significant and revealing of the small letters. I've selected several handwriting samples that reveal much." You study the first: of your selected index cards for a moment. Then, with a wide-tipped felt-nibbed marking pen, you reproduce an oversize copy of a small "t" Cont'd from page 2109) from the selected writing sample. You make the reproduction on the large easel pad, so it's easily seen. "The forward slant of the stem," you point out, "indicates an outward going in- dividual, warm and sensitive. "From other indications in the writing sample, I would judge the person to be a woman.” A young woman. “The upward slant of the 't’ bar, like the flight of an arrow into the air, shows ambition, the targeting of a goal. The hook at the end of the 't' bar is an indi- cation of persistence." Following a few more statements, you turn, study the audience for a moment, and hand’the writing sample to a young woman. “Is this your handwriting?" you ask, and she acknowledges that it is. In the same manner, you go through the (Cont'd on page 2112) Italian Princess *Dan Alessini A favorite effect of the legendary Al Koran, and one that he used often, was his version of the Princess Card Trick. Individuals within the audience were each allowed to view separate batches of playing cards, and each person was told to mentally select and remember one card from the batch he viewed. The participants later were told which cards they had mentally selected. Two decks were used, although the au- dience was aware of only one. Both decks required an elaborate set-up, one of them serving as the matrix for the other. Here, Dan Alessini reveals a simpli- fied version, which can be used as a near- impromptu substitute for the Koran presen- tation. You casually give a deck of cards a series of overhand shuffles, as you ap- proach a member of your audience. The shuffle can be done with the faces of the Page 2110 cards toward the spectators, which shows that the cards are all different, all mix- ed. "Will you help me?" you ask the spec- tator. "Study this batch of cards. Men- tally select ONE. And remember it." So saying, you take a bunch of cards from the top of the deck, and hand it to the individual, turning your head away as he studies them. Once the person has made his mental selection, you place his batch of cards on the bottom of the deck. Again, you over- hand shuffle the deck, as you approach an- other audience member. In this manner, you repeat the proce- dure, until five or six spectators have made mental selections. ‘At this point, the deck is put aside, and you ask the individuals who have made mental selections to stand. “Each one of you is thinking of a card (Cont'd on page 2112)This easy-to-make mental utility prop suggested by Delaware's Tom Fitzgerald (he has reserved marketing rights) can be used to create a variety of effects. This is one of those effects. You remove a deck of cards from its case, show the faces, and begin to shuffle the deck. "These are special cards," you explain to your audience. "They are alphabet cards, and are used in a number of word games. "Instead of games, let's try an exper- iment in mind reading, using the deck." You spread the mixed cards face up on the table, and ask a member of the audi- ence to think of a relatively-familiar word. “Think of a word," you continue, “with four or five letters. A word you can easily visualize. Perhaps a first name, a color, or an object.” When the spectator indicates he, or she, has such a word in mind, you turn your back and instruct the person to find Page 2111 p Search *Tom’ Fitzgerald and remove the letters that will spell out the selected word. "Hold the selected cards so only you can see their faces. Have you done this? Good." You turn back, quickly gather the rest of the deck, and turn it face down, and give the cards an overhand shuffle. Then, still holding the pack face down, you have the selected cards returned at separate places in the pack. Following a final casual shuffle, you drop the pack into your pocket. "You've mentally selected a word. And only you know the identity of that word. Now, I want you to randomly think of ONE letter in that word. "It can be the first letter. last. Or any letter in between. thinking of a letter?” When the spectator nods, you appear to concentrate for a moment. Then, you reach into your pocket and quickly withdraw a single card, which you hold with its back toward the audience. In a like manner, one by one, you re- move a number of other cards, while the spectator concentrates on mentally-select- ed letters that only he knows. Or she. "T have a number of cards," you final- ly conment; "for the first time, now, will you reveal your mentally-selected word." The spectator does, and you show that those are the letters you removed from your pocket. The secret is in the deck. The alpha- bet deck is trimmed along its long edge to make it a stripper deck, with one end nar- rower than the other. The wedge-like shape of the cards, even though it's minuscule, means that cards would have their wide ends at the narrow end of the deck, if either the se- lected cards OR the deck were turned end- for-end. This means it is possible to pull, or "strip", these end-for-end cards from the rest of the deck. ; ‘And that is exactly what you do to the four or five cards selected by the person (Cont'd on page 2112) Or the Are youPublished every other Friday Editor....Bascom Jones May 26, 1989 I promised to tell you what's hot and what's not among the latest books and ef- fects to be offered on the market. I also have news on the 1990 Psychic Entertainers Association meeting. Plan- ning is moving rapidly. But it will have to be another issue. I'm out of space. Bj (°T" = Cont'd from page 2110) five or six handwriting samples you se- lected, illustrating the interesting traits, and returning the sample to the person who wrote it. ‘Any inexpensive handwriting book will provide you with more than enough useful information about the small "t". Or re- view the Psi-Graphic Analysis section of Cicardi's "Psi-Grafico", in MAGICK #412. To be able to return the cards to the proper individuals, trim a sixteenth of an inch off the end of five or six index cards. Even when these special cards are Tater mixed into the packet, you can find them by rifling the end of the packet. Your sense of feel will alert you when you arrive at a short card. To know which short card was given to which spectator, the fronts of the cards are secretly marked. Mark them with a fine-line pen, with ink the same color as the blue lines of the index card. Place a blue dot, as though it were a printing flaw, on the right edge of the FIRST line of one index card. The second card is marked with a blue dot on the SECOND line. In this way, each of the five cards can be identified. ‘As a memory-jogger to recall which of the five index cards was written by which person, Cicardi uses the color spectrum: Red, Orange, Yellow, Green, Blue. Thus, the first card might go to a wo- man with red, or reddish colored, hair. Or a red blouse. The fifth might go to a man in a blue shirt or suit. This is easier than trying to recall faces. Or specific positions. And, of course, knowing WHO the hand- writing belongs to allows you to further age shape your "analysis" of the writing. ("Italian" — Cont'd from page 2110) that you MENTALLY selected, and that is known only to you. "As T point, in turn, to each of you, I want you to concentrate on your card. Try to visualize it clearly." In rapid order, you point to each of the participants. With each, you appear to concentrate, then nod your head, before pointing to the next person. “Thank you. I THINK.I know the iden- tity of all five cards. wrong about one. *I'IT call out your cards. If I iden- tify yours, please clap. Four would be fantastic," you explain to the rest of the audience. "Five, a miracle." Pausing for a deep breath, you call, “Nine of Spades. Four of Hearts. Six of Clubs. Seven of Diamonds. Two of Spades." As you finish calling out the cards, all five participants begin to clap. The deck is ordinary. The five named cards include no face cards or aces, and are relatively inconspicuous. During each shuffle they are retained as a bunch, and are controlled to the top. Thus, each participant sees and makes his mental selection from the SAME batch of cards. No matter which card each se- lects,- it will be one you name. A’ simple means to control the cards to the top is to crimp the top card of the batch. Cut the crimped card to the top, as you mix the deck each time. But I may be ("Strip" — Cont'd: from page 2111) to spell out his word. In gathering up the rest of the cards, you turn them end- for-end, before allowing the spectator to push his cards into separate parts of the deck. Then, in shuffling the deck prior to placing it into your pocket, you strip the spectator's cards to the top, where you can remove them, one by one, apparently as the individual concentrates. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL. 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308 aie &*Ted Karmilovich In 1969, at the Maimonides Hospital Dream Laboratory in Brooklyn, six adults and two children from a Colorado commune were locked in a soundproof room. The eight individuals had shown spe- cial psychic ability, and they had volun- teered to participate in a series of thought-projection experiments. In another room, down the hall, a laboratory staff-assistant concentrated on projecting a mental image to members of the group. The assistant picked a desktop calcu- lating machine that happened to be handy, and tried to visualize it clearly. The group described the mental image they received as that of a "machine with buttons". Here, mentalist Ted Karmilovich re- veals a puzzling two-person mind-reading effect that you can quickly master. Work it with your spouse, a friend, or an associate. The principle is based upon a long-ago party stunt, but it will fool even those who have used it under the oth- er guise. Tt can be used as a press stunt, at a party, or in an informal situation. The Page 2113 MAGICK Copyright 1989 — Bascom Jones 423 only requirement is that the person parti- cipating in the effect with you must be alerted and near a telephone. "Telepathy," you explain, "is mind-to- mind conmunication. distances. “The success factor depends upon the ability of the transmitter as well as the skill of the receiver. The distance be- tween the two individuals is not as impor- tant as the rapport between the two." Opening a current copy of a magazine, such as "Time" or "Newsweek", you show the number of pages it contains, and hand the magazine to a spectator. "There is one person with whom I have been able to develop an exceptional rap- port. Amental closeness. A mental clar- ity," you continue. ‘And you offer to attempt a demonstra- (Cont'd on page 2114) Sometimes over great("Person — Cont'd from page 2113) tion of long-distance telepathy, in con- junction with that person. “Provided that we can reach the indi- vidual by telephone," you quickly add, “since nothing has been prearranged." To guard against the suspicion of any trickery, you insist that the spectator determine the image that you are to pro- ject. "Select a prominent picture or adver- tisement in the magazine. Even a signif- icant headline," you tell the spectator, as you allow the person to open the pub- lication wherever he or she chooses. At the same time, you pick up the tel- ephone and place a call to your friend. Once you get the person on the Tine, however, you immediately hand the tele- phone to the spectator, instructing the spectator to do all the talking, so as to rule out the possibility that you might attempt to use some sort of code. "Explain that I will attempt to men- tally transmit an image. Ask the person to concentrate and try to receive my thoughts,” you tell the spectator. You concentrate on the selected image, and, after 4 few moments, the person at the other end of the telephone begins to accurately describe your thoughts. Any current magazine can be used, but you will need two copies. One copy is used by you and is the one you hand to the spectator. ‘The other copy is used by your tele- pathic partner, and -is retained by the telephone, in anticipation of your call. ‘As soon as the spectator selects a magazine page for the test, you secretly cue that information to your distant part- (Cont'd on page 2116) Strip Tarot *Tom’ Fitzgerald Want an additional edge the next time you do a personal reading? Something that will eerily support your psychic comments and predictions? Here's a practical idea that_uses the twenty-two picture cards of the Tarot's Major Arcana. Long a favorite with Gypsy readers, the Tarot picture cards hold an eerie fas- cination for spectators, and a history that extends into the mists of long ago. One writer described them as windows onto another world, but still hauntingly familiar, like snapshots from your dreams. And, indeed, you might use that thought, as you briefly show the cards and explain their long-time use in fortune- telling, as you prepare for a reading. Once you have shown the faces of the cards, you turn the cards face down, and shuffle and cut them several times. Now, you begin your personal reading Page arama ae for a friend, client, or sitter. Each time you make a major point in the reading, you slowly turn a card from the top of the deck face up. And each card stresses and reenforces the point just made As in Tom Fitzgerald's earlier "Strip Search" (MAGICK #422), the secret is in ‘the cards themselves. The Tarot cards are trimmed along their long edge to create a stripper pack- et. The wedge-like shape of the cards, in- visible to the eye, means that any cards turned end-for-end, so their wide ends are at the narrow end of the rest of the pack- et, can be stripped easily from the others. The cards that are turned end-for-end are carefully selected to illustrate the points of your reading. Tf you don't know the meanings of the cards, you'll find a smal] pamphlet in 24 (Cont'd on page 2116)Card-matching effects, wherein one or more cards freely selected by a spectator are found to match cards previously se- lected by the performer, are popular with audiences everywhere. Here, long-time performer Orville Meyer reveals his method for accomplish- ing the effect, without gimmicked cards or a _ginmicked wallet. It's described here using a regular _ pack of playing cards, but the effect can be done just as easily with Tarot or ESP symbol cards. "Synchronicity," you explain, "is the concept that coincidence of events in time and space is more than mere chance." From your pocket, you remove a deck of blue-backed playing cards, and a secretary-style wallet. You place the cards on the table, open the wallet and remove a sealed, letter- size envelope. "Earlier today," you continue, "I made a random selection of three cards from the red-backed, companion pack to this blue- xX Page 2115 , The Meyer Match “Orville Meyer backed deck, and I sealed those cards in this envelope." Tucking the envelope back into the wallet, which you drop on the table, you pick up the blue-backed deck and hand it to a spectator. You'have the spectator shuffle the cards several times. Then, you have him spread them about on the table, with their faces. down. The spectator makes a random selection of three of the face-down cards, and push- es each of the three cards to one side, away from the others. When the sealed envelope is removed from the wallet and opened, the three cards it contains are found to match the three randomly-selected face-down cards. The preparation is minimal. Remove three cards from a red-backed deck, and seal them into a letter-size envelope. Then, from the blue-backed deck that you use in the effect, remove the SAME ‘three cards. Place these cards, faces down, in the secretary-style wallet, and place the sealed envelope on top of them. When performing, you remove the wallet and the blue-backed deck of cards from your pockets. Open the wallet, without letting anyone see the three cards it con- tains, and remove the sealed envelope. Explain that the envelope contains three cards from a red-backed deck. Then, return it to the wallet. The wallet may be left open on the table, since the en- velope will conceal the three blue-backed cards. , After the three randomly-selected cards are selected and pushed to one side by the spectator, you reassemble the pack, but do so rather loosely. Next, place the three selected cards loosely on top of the reassembled deck. Finally, as you remove the sealed en- velope from the wallet, you pick up the three, concealed, red-backed cards, at the same time. Drop the envelope and the three con- cealed cards on top of the reassembled (Cont'd on page 2116) EsePublished every other Friday Editor. ...Bascom Jones June 16, 1989 How would you Tike to toss out four unprepared books to four different specta- tors and have them just THINK of'a few words chosen randomly, and reveal them? Or. . .how about allowing a spectator to remove a dozen cards at random from a genuinely-shuffled deck and mentally se- lect three, which you are able to instant- ly reveal. You use no pumping, fishing, or WORDS. These are several of the stunning ‘ideas in Leo Boudreau's new book, "Skull- duggery". Boudreau is one of the most creative thinkers in the mental field today, and this book is by far his best yet. The book is manuscript size, numbers 127 pages, is spiral bound, and sells for $35. There are no sleights, no gimmicks. To order, write Boudreau at P.0. Box 16472, Arlington, Va. 22215. The ideas are as close to real mind-reading as you can get, and not be psychic. Dozens, perhaps hundreds, of mental performers in the western part of the United States have hesitated to join the Psychic Entertainers Association, arguing that the organization's annual convention has been held on the east coast. Bob Bluemle, ring-master for the 1990 “Meeting of the Minds", which will be held in Phoenix (Scottsdale), Ariz., is causing many to reconsider. He not only has a resort hotel at bud- get prices, but a confidential look at his planning and program leaves no doubt that it will be one of the best events yet. If you're not a menber of the P.E.A., there is still time to get your membership and its growing benefits. “Write for in- formation to Ken Chandler, P.0. Box 7256, Bradenton, Fla. 33507. The P.E.A. convention, unlike the big mega-meetings, remains intimate, personal, friendly — a source for tips and ideas, and a place to make and renew friendships. The 100 to 150 attendees experience the friendly houseparty atmosphere of the long-ago magic societies. Today. Bj eRe + BS Page 2116 ("Person" = Cont'd from page 2114) ner, using a technique similar to the one used in the old "Mr. Wizard" card trick. The technique relies on the fact that only you, once you have dialed the tele- phone, initially can hear the person at the other end of the line. And your audience, whether it numbers one or many, can hear only YOUR words. When your partner answers, you pretend to still be listening to the ringing, but alerting her, or him, to the test by say- ing, in an aside to the spectator, "When I reach my partner, I'I1 have YOU do all of the talking." Aware that you want to code the number of a specific page in the selected maga- zine, your partner immediately begins to count SLOWLY into the receiver, in incre- ments of ten and starting with zero. "Zero. . .ten. . .twenty. . .thirty..." Assuming the selected page is thirty- three, you interrupt the count at this point with your second statement. “Hello. May I speak to (the name of your partner)?" Your partner now realizes the selected number is in the thirties, and slowly con- tinues, "Thirty. . .thirty-ONE. . .thirty- TWO... .thirty-THREE,.." You stop her, or him, at this point by saying, "Would you hold?! Immediately, hand the phone to the spectator to explain the test. The work is done. Your partner, open- ing the ‘duplicate magazine, now describes the "images" she pretends to receive. ("Strip" — Cont'd from page 2114) with each Tarot deck that provides all you need to know. Work out a brief psychological reading in advance, selecting four or five Tarot cards whose meanings enhance it. ‘Match" — Cont'd from page 2115) pack, stressing that you don't want to ‘open the envelope or touch the selected cards, but want the spectator to do it. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL! 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308TIPS & TECHNIQUES BONUS INSERT June 16, 1989 VARIATIONS ON A NUMBER FORCE By Walter Webb (NOTE: The author, in an effort to simplify the presentation of a book test by Al Mann, developed several variations on a three- digit number force, suggested by Mann. Each variation has its own merit. Together, they offer added insight to number-forcing methods available to psychic entertainers. Their application in conjunction with book-test effects are obvious. But there are a variety of other applications, too.) Methods for forcing numbers are useful in many types of mentalism routines, most Notably book tests. The suggestions, here, are the outgrowth of the extension of a three-digit number forcing method described by Al Mann. The variations all focus on limiting the number of choices available to spectators. Mann, upon learning of these variations, offered additional suggestions. His thoughts have been included. THE 84-POSSIBILITY CHOICE The method used by Mann has been described in his booklet, "OF Words and Wizards," pages 22-23, and in issue #307 of MAGICK ("The Siva Source"). In essence, the digits 1 through 9 are listed in sequence ona pad. Three spectators each name one of the digits, and you circle the appropriate digits as they name them. No digit is used more than once, and the final, three-digit number is read in sequence, no matter in what order the digits were named. In the listing shown here, for example, the final number is read as 369, regard- less of the order in which the digits 12@45@67 38:80 were named and circled. Using this technique, only 84 three-digit numbers are possible. Mann's method, when applied to a book test, requires memorizing or in- dexing key words from only 84 pages. The method obviously also requires use of a large book, since a number as high as 789 could be selected. THE 28-POSSIBILITY CHOICE Of the 84 three-digit possible numbers in Mann's method, any one digit appears 28 times. Thus, if you can assure that a given digit, "7", for example, will be named by one of the spectators, only 28 possible three-digit numbers can be selected. This is 56 fewer possibilities than with the orig- inal method. The listing below makes this reduction quite graphic. 123,134 Ya 234-246 = 259 345 358389 3 124-135 4D 67) 235 & ® & 6, G5) 8 125 (136 «4868236 PAB 268 oD 269 «348368. 571 126, 149169 249 GD Gp q 2D 138 156 7 238 5 349 69 GeD 79 128 13957 B 239 ay) SB 356 G78) aw 1294145158. 245 258 «289 (357) C37) H6B 569 789 7 Page 21 (Cont'd on page 2118)("Variations" — Cont'd from page 2117) ONE-QUT-OF-28 FORCE While a certain element of risk is involved, a force of one of the circled numbers containing "7" is enhanced by encouraging the spectators to pick a lucky number or to cast imaginary dice for a lucky toss. A con- federate can stand ready to name "7" as the third choice if neither of the first two spectators freely chooses "7". If, however, "7" IS freely chosen by either of the first two spectators, then the third spectator, too, may be freely selected and given a free choice of the digits. 27-POSSIBILITY CHOICE Now, here's how the choices may be limited to 27, allowing a completely free choice of each digit. Since three spectators will participate in selecting from nine digits, it would seem logical and fair to allow each to choose from a THIRD of the list. "Since three of you will be participating in our experiment with these nine digits,” you might say, “let's divide them equally so each gets to choose from three numbers. The first three, sir, will be yours. Please select any number you would like from.1 through 3. . .” With different digits, you of- fer the other two volunteers the same option. The explanation sounds both logical and straightforward. The procedure will result in the following 27 possibilities: 147° («157 (167-247-257 267 347-357 367 148 158 168 248 258 268 348 «4358 «368 149° 159 169249 «259-269-359 «359369 Q-POSSIBILITY CHOICE The final variation limits the choices to nine. The method de- scribed above, allowing each spectator to select from only three digits, can limit the possibilities to nine three-digit numbers by having one of the digits supplied by a confederate. If, for example, a confederate supplies "7" as the final digit, the nine possibilities are: 147° 157-167 247/257 267 «347-357 367 Al Mann, in commenting on the variations that divide the nine digits into a choice of three for each spectator, noted that the digits could be on number cards that are false shuffled and given to the spectators in groups of three (1-3, 4-6, and 7-9). The audi- ence won't know from which three digits each spectator makes his choice. PATTER DECEPTION As with the comments suggested earlier, the effectiveness of each of the methods described depends on offering the audience explanations that seem logical. In each method, for example, you legitimately can say that the three-digit number arrived at was "freely chosen from among any one of numbers in the hundreds". Note that it's "any one of ‘numbers in the hundreds”, and NOT "any one of hundreds of numbers". Actually, of course, it's any one of 84 (or 28, 27, or 9) numbers in the hundreds. The phrasing is accurate, but it implies much more than is stated. ADVANTAGES OF THE VARIATIONS Starting from the original free-choice method for select- ing 84 "force" numbers, we have useful variations that reduce the possibilities to 28 (using a confederate if necessary), 27 (free choices of three digits out of nine), and 9 (requiring a confederate). Each method has merits. All have the advantage of requiring less indexing or memorizing than with the original method. AND USES Al Mann's original method, as applied to a book test, used but one book. The variations make possible the use of several books, with the expenditure of less effort. That, in itself, is useful. But, in discussing the 9-Possibility Choice with Mann, he suggested that it could be used in a dictionary test, without asking the spectators to announce the number. You can tell the number by watching where the dic- tionary is opened, and pump for the exact word. The 9-Possibility Choice, also, could be used to’ body- index nine sealed-envelope predictions, allowing you, for example, to produce an “invoice” made out to equal a "freely-selected” three-digit amount. Page 2118-In2ition °T. A. Waters You'll find few effects in mental ism that can pack the wallop made possible by this inexpensive easy-to-make device. When used as described in this care- fully-routined presentation, you'll have a thought-provoking, easily-personal ized bit of "little" theater. It can be used one-on-one or as the highlight of an informal routine for a smal] group. This is the effect. You open a small business card case. One side of the case holds your business — cards; the other side shows, through a clear, plastic window, a plain white card bearing the words DESTINY CARD. Then, from a well-shuffled deck of playing cards, you have your spectator se- lect a card, using a random-cutting pro- cedure. "Don't show me the face of the card,” you caution the spectator, as you hand her a pencil, "but think of some problem or question important to you now. “While I turn my back, write a word or phrase that is representative of the question on the FACE of the card.” When the spectator has complied with Page 2119 AGICK Copyright 1989 — Bascom Jones your request, you open the business card case and slide the playing card under the “destiny” card, making it clear that you do not see the writing. "T always like to do a preliminary test to establish that we truly are en rapport," you explain. "What was the Ydentity of the card you chose?" "A red two. The Two of Hearts," the spectator responds, whereupon ‘you immedi - ately remove the "destiny" card and hand it to her. When she turns it over, she finds the message: Your Destiny Card Is The Two Of Hearts. Puttina away the business card case, you smile and comment that it is clear your mind is, indeed, linked with hers, and you can proceed with a reading. You proceed to do just that, using the (Cont'd on page 2120)("In2ition" — Cont'd from page 2119) playing cards to divine her question with considerable accuracy. The sécret is based upon a simple mod- ification of the case. With a sharp X-Acto knife or razor blade, carefully cut a rectangular hole, or window, in the back of the clear-pocket side of the case. The hole is easily concealed from the spectator, by your handling, when you re- move the case from your pocket. Then, when you open the case, .the "destiny" card in the transparent pocket conceals the hole. All seems fair. Selection of the Two of Hearts, to match the prediction, is forced by using the venerable "cut-deeper" force. With the Two of Hearts on top of the pack, you instruct the spectator to cut a small portion, and turn it face up on the deck. At your instruction, she cuts again and deeper, turning this second cut face up, too. She is told to remove and look at the first face-DOWN card. It will be the original top card, the Two of Hearts. After the spectator has written a word or phrase relating to her question, you slide the playing card into the case's clear pocket. Push the playing card UNDER the white card already there. Later, when you re- move the white card, the playing card will conceal the hole. In putting the case away, you glimpse the writing through the hole, and are able to answer the spectator's question from a layout of the playing cards. Most stationery counters sell suitable vinyl card cases for less than a dollar. Dark Mirror Jonathan Cooke This secret device is widely-known among mentalists, but only a handful of working performers routinely carry and use it. Those who do and who have mastered its subtleties can perform apparent miracles ‘on demand. The device, called by some the "X" factor, is better known as the shiner, and was first used, in one form or another, by professional card gamblers. As its name implies, the shiner is a miniature reflective device, which can be used to secretly identify a playing card, a design or drawing, or even a name, a number or word. Mirrored glass shiners are difficult to find, and, too often, are easily broken when carried. They also can be expensive. The device used by Jonathan Cooke is sturdy, easily found, and won't break. And, unlike the flat-surfaced dental mir- Page 2120 ror used by some performers, it is slight- ly convex, which provides the best viewing surface They are called Gliders, and they can be found in most hardware and variety stores, where they are sold in packages of four. They range in diameter from about a quarter of an inch up to several inches. They are metal and chrome-plated, and are used on furniture legs. Small prongs at the back make them easy to hold and handle. To secretly peek at a design, which has been drawn on a pad by a spectator, Finger-palm one of the Gliders in your right hand. Then, instructing the spectator to hold his pad at eye-level, you reach around with the fingers of your right hand to point at the drawing. “Focus your attention on the drawing," (Cont'd on page 2122)Forethought — __ Frederick Braue is a name more famil- iar to card manipulators than to mental- ists, yet this modification of an old — Braue effect works well as a prediction. The prediction can be written on the back of your business card, or, as de- scribed here, you can use a folded slip of paper. From a deck that has been shuffled and cut, you allow a spectator to freely se- — lect a card. Once the spectator has looked at the card, and committed it to memory, you — have him replace it in the deck, which you again shuffle and cut. Then, in almost the same motion, you spread the cards face up on the table in front of the spectator. “Look for your card," you instruct the spectator, as you remove a folded slip of —\ paper, or one of your business cards, from your wallet. Slowly, you, too, scan the row of — face-up cards. ‘Deliberately, you place the folded prediction slip next to one Page 2121 *Douglas Whitman particular card in the spread. The spectator acknowledges that it is the card he freely selected moments be- fore. And, when he examines the predic- tion, he finds that it correctly identi- fies the selected card. The deck is prepared in advance by placing the thirteen Hearts on TOP of the pack. Arrange the Hearts in sequence, with the Ace at the top of the pack and contin- uing down through the King. The prediction is partially prepared at the same time. On a slip of paper (or on the back of one of your business cards), draw a heart shape. The drawing should occupy the right side of the slip or card. Place the business card, writing side down, in your wallet. If you use the paper, fold it into thirds. Then, refold it so the area where you later will write the SPECIFIC Heart is uppermost. The specially-folded slip, when used, would be placed in the wallet instead of the business card. Finally, you will need a nail, or boon, writer, containing a pencil lead similar to the one with which you drew the heart shape. During the trick, you use a false shuffle, and then cut the deck, completing the cut. This places the thirteen Hearts in the center of the deck. With a block of thirteen cards from which to choose, it is not difficult to see that the spectator makes his choice from among the Hearts. Have him remove the card. While he commits it to memory, you reassemble the deck, cutting it to bring the remaining Hearts back to the top. Now, put the deck on the table, and instruct the spectator to cut it in half. replace his card, and complete the cut. Either you or the spectator shuffles the deck, which you then spread face up. The only Heart out of sequence in the spread will be the spectator's card You'll have time to complete the pre- diction, using the nail writer, while the (Cont'd on page 2122)ME MYSTIC WORD Published every other Friday Editor. ...Bascom Jones June af 26, 1989 Many years ago, between monthly col- unns for GENIT magazine, I seriously toyed with the idea of writing a booklet on the use of the shiner. Although it was one of those secret devices widely known among performers even then, few used it. And fewer still used it effectively. Yet, properly used, the device could fool some of the most knowledgeable indi- viduals in the field. ‘At that time, one of the major thumb- tack manufacturers produced and marketed a metal, convex-headed thumbtack that was finished in a brightly-polished chromium. The convex head gave it a wide field of view, and the polished chromium gave it a mirror-like surface. By using pliers to break off the wire point and adding, in its place,’ a small dab of magicians’ wax, it could be donned. and worn on the tip of your finger, Tike a boon writer. Unfortunately, that particular thumb- tack was edged out of the marketplace by brightly-colored plastic-coated competi- tors. And somewhere along the way my proposed booklet on mental applications for the de- vice was folded back into GENII columns. Readers, today, who periodically write to ask about a source for shiners will want to experiment with some of the devices that Jonathan Cooke describes in "Dark Mirror" in this issue. Those not afraid to handle something a little larger might want to visit an auto- supply outlet. Most stock a round, convex mirror, about two inches in diameter, ‘that is designed to stick to the side mirror of your automobile. Want a flat-surfaced quality mirror that is smaller? Look in your local tele- phone book for a well-stocked bead store, the type that supplies unusual individual beads for clothing and craft projects. The better-stocked stores can supply coin-sized mirrors, designed to be sewn on clothing. In addition to the mirrors, you can obtain milled-edged metal holders for the small mirrors. The always effusive Larry Becker has just published the latest catalogue of his ~ mental effects. It's called (what else?) "Professional Mentalism from the Mind of Larry Becker" and describes more than twenty effects he currently is offering. If you haven't seen the catalogue and are one of Becker's many fans, you can write to him at 4450 Harbor Bivd., Port Charlotte, Fla. 33952. Better send money for stamps and hand- ling. You say there is no such thing as syn- chronicity, that coincidence is nothing more than just that? In a two-part Bonus Insert in the late December and early January issues of MAGICK, Richard Webster described the less-well- known “witch's casting stone: Two sources, a continent apart,” now are marketing them. Details nest issue. Bj (“Dark" — Cont'd from page 2120) tell the spectator, as the extended fore- finger of your cupped right hand points at the design. The Secret is to lock your eyes onto {~ the eyes of the spectator. Don't make the ~ mistake of looking at the shiner at this point. Wait for him to focus his eyes on the drawing. Then, peek quickly at the shiner for ONLY the amount of time required to identify the design. ‘As soon as you identify it, look back at the eyes of the spectator, until your right hand is back at your side. The spectator should NOT see your eyes Took at your hand. (“Forethought" — Cont'd from page 2121) spectator is searching for his card. Take your time as your eyes search along the spread of cards. Then, place the prediction adjacent to the spectator's unnamed selection. 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL| 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308 Page 2122)sations! *Ted Karmilovich The subtlety used in this spectator- divination effect is both bold and ingen- ious. You'll find the feat is remembered, however, because of its unusual theme and concept. “Every individual," you begin, “pos- sesses some degree of extrasensory percep- tion, or ESP. "It's not a special gift. et of every individual mind, "Some individuals try to ignore it. Some deny it. Only a very FEW work to de- velop it.” Picking up a packet of six 9X12-inch, sealed, manila envelopes, you mix the envelopes several times; then, you hand them to a spectator to continue to mix. “Each of these sealed envelopes con- tains a single photograph," you explain. "Each photograph is different. “In a moment, I'1] tell you more about the photographs. But, first, I'11 ask this gentleman to help me mix them." ‘As the spectator mixes the envelopes, you deliberately turn back to the rest of ‘the audience. "There is one person here who has an It's a fac- Page 2123 extremely strong, but undeveloped, psychic ability. "Even with her mind at rest, the psy- chic force that she projects is almost physical, as she subconsciously probes and senses. Questing. . protecting!" Suddenly, you smile, as you move among the spectators, continuing, “Even now, she is aware that I am talking about her. Her senses have quickened. Are focused." You pause and look directly at one young woman, who will seem almost to draw back from your stare. "You have a very strong, undeveloped psychic sense," you tell her. "To prove this, I am going to ask you to participate in a test. You don't have to leave your seat. And I pledge my word that the test will not hurt you." With that, you ask the gentleman, who (Cont'd on page 2124)("Sense" — Cont'd from page 2123) has mixed the envelopes, to pass the pack- et to the woman. You don't touch them. "Five of the envelopes contain photos of benign places, friendly pictures. One envelope contains a picture of the site of a tragedy,” you continue. "Touch the envelopes individually; see if you can detect a difference in the vi- brations of one. "Don't try to PICK an envelope. dust listen to your senses. It may be a sensa~ tion of sadness. Or a momentary chill. "Go with your first impression. You usually will find it's the right one." You step back to allow the woman to search through the envelopes. Then, when she separates one from the others, you in- struct her to return the other five to the gentleman who mixed them. ‘She retains the selected envelope, and POINT BLANK Dan Alessini. Here's a practical way to secretly switch a folded bill or billet, while the bill or billet is in full view of the audience. It's described here as a number divi- nation, but it may be used in other ways. The handling would be pretty much the same. “I would like to borrow a dollar bi11, from one of you affluent gentlemen," you begin hat one will do fine. dust fold it in half, with the president's picture on the inside. Now, fold it in half again, but the opposite way. While the donor folds the bill, you pick up one of the oversized pushpins that may be in found in stationery and novelty stores. Holding the pin so the point extends away from you, Tike a sword, you have the spectator impale the folded bill on the Page 2124 you instruct her to hold it sandwiched be- ‘tween the palms of her hands. "Several years ago, on May 16, a six- year-old boy managed to open the gate to his back yard. His mother had entered the house to answer the telephone. “Tommy, the little boy, toddled across the street to the playground, where his father had taken him the day before. He apparently went straight to the swings. "Tt was determined later that he had climbed up onto one of the swings. Per- haps he was even able to swing. But, in the process, he fell. “Probably, the fall didn't hurt him, but as he sat up, the heavy wooden seat swung back down and struck him on the head. Doctors said he was killed instantly. “One of the six envelopes contains a picture of those swings, the site of his {cont'd on page 2126) Hess — Fig. PULL SCALE. (aeTOAL SIZE) on the oversize point of the pushpin. Then, turning from the spectator, you return to the stage or the front of the audience, holding the impaled bill so that it can be seen. ‘Once you are back on stage, you thrust the pushpin into a wooden stand or easel, where the bill remains in sight. Yet, despite the fact that the borrow- ed bill apparently has never ‘been out of the audience's view, you are able to re- veal its serial number. You'll need TWO of the giant pushpins. Put a thin smear of magician's wax on the head of both pins, and press the pins to- gether, head to head. On’ the point of one of the pins, place a folded dollar bill, after noting or mem- orizing its serial number. You handle the two pins as one, ex- tending the naked point of the second for the spectator to impale his bill. The du- (Cont'd on page 2126)‘Double Dead This is Cicardi's favorite living-and- dead test, and one that he always carries with him, The methodology used in it is not new, but the presentation makes a powerful im pact on a spectator. From pocket, wallet, or card-case, you remove four white cards. Each card meas- ures about 2 3/8 inches by 3 1/2 inches in size. They are identical in appearance. All are blank on one side. Each has a line, made with pencil or pen, across the middle of the width of the other side. “The human mind, when activated by emotion, whether it's Jove, hate, anger... or sorrow, can establish long-lasting vi brations," you explain. You push one of the white. cards across to the spectator, and turn away. "While my back is turned,” you contin- ue, “write or print the name of someone who is dead, whom I could not have known. "Then, turn the card, so the writing is underneath, and place it on the table. Page 2125 NBA + Cicardi The blank side of the card should be up." When the spectator acknowledges that she has complied with your instructions, you turn, hand her the remaining three cards, and turn away again. “Now, clear your mind of the image of the person whose name you just wrote," you instruct the spectator. "Instead, think of the names of three friends, who are still alive. “Write the names of those individuals on the remaining cards. A different name would go on each card." Once the names have been written, she assembles the four cards, so the names are underneath, and thoroughly mixes them, be- fore returning the face-down packet to you. You quickly deal the cards, with their blank sides up, into a row. Then, explain- ing that you are trying to sense the vibra- tions, you hold your hand, palm down, above each card, in turn, in the row. "The vibrations from this card are the strongest," you say, as you turn the card over to show it bears the name of the de- ceased person. Quickly, you reassemble the cards, mix them thoroughly, and deal them, again, in- to a face-down row on the table. This time, the spectator, herself, eliminates ali but one of the face-down cards. And, again, it proves to be the card with the name of the deceased on it. ‘And it is this second climax that gives the effect such memorable spectator impact. Two principles are used. The cards, which are about the thickness of file- folder stock, must be cut by a printer froma large piece of cardboard. Several hundred cards can be provided by a printer at very little cost. . But the cards must be cut on the bias, so the grain of the card stock runs, diag- onally, from the lower LEFT corner to the upper RIGHT corner of each card. (Card and paper stock is always cut so the grain runs vertically.) The diagonally-cut card stock is the basis, in mentalism, of what is widely (Cont'd on page 2126)Published every other Friday Editor... Bascom Jones duly 14, 1989 Other than the most recent subscribers will know that Richard Webster, in the late December and early January issues of MAGICK, authored a two-part Bonus Insert on the less-well-known witch's casting stones. Two reputable sources now are market- ing sets of the stones for use by inter- ested mentalists. Many mentalists already have one of Carl Herron's distinctive, glyph-decorated stone pendulums. And, if you DON'T have one, you may want to ask Herron for price information. They create talk. Using the same techniques and skills, Herron is marketing a set of witch's stones, along with a pendulum stone. The set includes the eight stones de- scribed by Webster in MAGICK, plus a blank stone the same size as the Black stone, and an additional four, representing the seasons. And the pendulum. The set includes a soft, drawstring bag, and a number of ideas for using the stones in mental effects. Write to Herron at 140 Primrose Dr., New Hyde Park, New York 11040, for costs. In Canada, Robert Farrell, a long-time subscriber and working mentalist, has been making the witch's runes for local occult shops. His are made up in the form of plaques and etched with the colored symbols. He will also provide double blanks, double faces, and any number of duplicates that you may require. Even metal inserts. Write to Farrell at #1 - 95, East 17th Ave., Vancouver, B.C., V5V TAls Canada. A basic set, including bag, is $22. ("Sense” — Cont'd from page 2124) tragic accident." You insrtuct the gentleman to open the five envelopes that were returned to him, to reveal the pictures they contain. They show a bridge over a sleepy river or stream, a sun-splashed boat dock, the warm oasis of a brightly-lighted telephone booth at night,.the regal sweep of stairs: Page rising from an entry hall, and a rural railroad crossing backed by rolling hills. The envelope picked by the woman con- tains a picture of a pair of playground swings, abandoned and motionless. The envelopes are neither gimmicked nor forced. But each is secretly marked so you can tell which photo it contains. = — Simply nail-nick the bottom edge of each envelope at a different spot. Then, memorize a suitable "tragedy" story for EACH photograph. And tell the appropriate story, AFTER the spectator se- lects an envelope. i) ("Point" — Cont'd from page 2124) plicate will be positioned in your palm, where it's easily concealed. = As you turn back to the stage, you drop your hand, REVERSE the two push pins, and then raise your hand above your head. It is the duplicate bill and pin that are put on display. The other bill and pin are separated and disposed of. ("Double" — Cont'd from page 2125) known as the Fillman Principle, since you can tell by touch which side of a card is uppermost, A-B or B-A (see Fig. 1). First, use feel to position all four cards, so the grain runs toward the upper right-hand corner. On three cards, draw a line, for the name, across the width of ‘the card at the middle. But on the fourth card, turn it over, = — and draw the line on the REVERSE side. It is this card that's given out for the name of the deceased. With the cards face down, you later can identify the card by touch, as you are dealing them into a row. Where the grain runs INTO the corner, the card will seem stiffer. When it runs ACROSS the corner, it will bend easier. Knowing the position of the card, you can pick it. Later, you use the equivoke principle (magician's choice), to force the spectator to select it again (see the Bonus Insert in MAGICK #409 and #411). 26 ISSUES — YEAR — $25.00 13 ISSUES FOR $13.00 $1.00 PER ISSUE (EUROPE-FAR EAST $30-U.S. BY REGULAR MAIL! 7107 WELDON AVENUE BAKERSFIELD, CALIF. 93308 Cc 2126