Contemplations

[A Series of Thoughts in Action]

Sean Waters
A dedication:
To my beloved wife Jennifer,
and my two wonderful sons,
Caleb & Grant:
I thank you for all the love and
joy you give me. You are all
masterpieces.
We are friends,
so once again, I ask you; Please do not
copy, share or email this file to someone
who hasn’t paid for it. Please play fair and
refer people to “Lybrary.com” or my web-
site: “www.watersmindworks.com”
to obtain a proper copy. My wife and
two sons thank you!
© Copyright 2008
“Art is Contemplation.”
—Auguste Rodin
Table of Contents
Foreword ............................................................................. 6
Introduction ................................................................... 9
Reflexology ........................................................................ 12
An Intimate Illusion
Horseshoes & Hand-Grenades ............................... 23
Thoughts on Missing
The Sands of Time ........................................................... 28
An Experiment in Para-Conscious Awareness
The DC Technique .......................................................... 36
A Method for Improving Rapport
Elementary........................................................................... 41
An After Dinner Mystery
Landscape Architecture ............................................ 52
Use What You’ve Got
Hand Out ............................................................................. 56
A Handy Prediction
Manchurian Candidate ............................................. 60
An Experiment in Mind Control
As If .......................................................................................... 68
The Mentalist’s Tool
Illuminati ............................................................................ 71
A Delightfully Pure Effect with a Dollar Bill
Regarding Rope ............................................................... 80
A Parable
Beyond Touch ................................................................... 86
A Perfectly Structured Color Sensing Routine
The Extra Mile .................................................................. 101
Bonus Ideas
Foreword
When I was first asked to write the forward to this book I was honored
and humbled. Sitting here today, nothing has changed.
Since Ponderings, I have had my eye on Sean Waters, his work and
material. I thought his first book was exceptional and it conveyed very
strong and solid routines, thoughts and applications which really got
me thinking.

I knew immediately that Sean’s personality, talent, creativity, thought,

application and style all meshed well with my own work and I continued
to expect more great things to hail from the mind and heart of Sean
Waters.
Needless to say, his next release Ode to Ekman did NOT disappoint.
His lovely routine further cemented my first suspicions and inner
expectations that Sean was a true contender and I knew this was a man
to keep my eye on!
After reading Contemplations, I realized the community and art of
mentalism had found itself another winner. As far as eBooks go,
Sean’s are among my very favorite. The book you are now reading is
Foreword 7
no exception and that silent, inner prompting once again tells me that
more is in store for his friends, peers, fans, customers and supporters.
I, for one, could not be happier.
The most important and powerful things you will read and stand to
gain from this book is NOT in the excellent material (of which there
is plenty) but in the methods and manner in which Sean teaches you
his pet routines.
Something he wrote and quoted herein struck a chord deep within me.
“People don’t care how much you know, until they know how much you care.”
With Contemplations, we are able to see very clearly just how much
Sean truly, sincerely CARES about his fellow man, audience members,
participants, family, self and art form. We need more people like
him in the world and certainly in our small community. He’s become
a personal favorite of mine and as I’ve told him before, the gig is
up! He won’t get by, under the radar, for that much longer. His new
release, Contemplations is one further step in his journey and growing
contributions to the art of mentalism.
Sean’s work in this book certainly speaks for itself. The pre-reviews are
glowing and deservedly so. This stuff is good . . . really, REALLY good!
As food for thought, Contemplations has provided me with more than
enough. Since reading it I’ve filled an entire notebook with thoughts,
ideas, notes, approaches, subtleties, nuances, variations, applications
and other particulars worth their weight in gold to me.
I’ve also applied his recent work in my own performances with
tremendous results. This is high quality, professional, working material
and it certainly shows.
At this time I would thank Sean not for his book or the material he has
so generously shared and brought to the table, but for the man he is
Contemplations8
and what he brings to the world and our art through simply being. His
future in this field and industry is a bright one indeed.
You, the reader, are in for a special treat. It is with deep humility and
great respect I give you Sean Waters’ Contemplations.
Enjoy.
—Jerome Finley,
Las Vegas 2008
Introduction
I hope this eBook finds each of you doing well. I thank you for the
purchase and your continued support. I am honored that you have
chosen to purchase Contemplations and I hope you are pleased with what
you find. Onward and upward...
I am a person with a positive outlook concerning life and people. Life
has not always been easy for me and it probably hasn’t been for you
either. We make mistakes and there are difficult and disappointing
circumstances which require us to overcome. I am sure each of you
can probably relate to this fact of life. What does this have to do with
mentalism or mystery arts? Great question.
As entertainers, we have the ability to lift people out of their
circumstances and offer them a wonderful moment of reprieve. While
I am not suggesting seeking the lifestyle of a modern magic vagabond,
each of us certainly has many opportunities to build something
beautiful; a beautiful moment.
A case in point: I used to stop by the same spot for breakfast a couple
days a week (on my way to the office). One of the janitorial staff
was a gentleman about sixty years of age. When I came in, I often
Contemplations10
spoke to him and we exchanged the normal pleasantries. One of those
mornings, he noticed I had a book opened and stopped by my table
and asked me what I was reading. I mentioned that I was an entertainer
(and that I was reading a book regarding the methods of mindreaders)
and he was instantly primed and ready! He asked me to show him
something and I obliged. I cannot now remember what I had shown
him, but he was instantly infused with life. The next week, he stopped
me to tell me how much that moment of wonder meant to him. He
said that some looming thoughts bothered him and that our moment
helped him to cope with that circumstance. I felt pleased to be able to
help in such a small way. We both had been edified by the experience
and I was his new, twice a week, best friend. I began to look forward to
speaking with him and always tried to prepare something to show him.
It was a great exercise for both of us.

This eBook is a collection of routines and ideas that are intimate

in nature. Each of the routines could be utilized in a set or can be
demonstrated as a stand alone piece. They all have had great impact,
and if you will forgive me for saying, they all share truly magical
moments. The potential to create wonderful diversions for people you
know, or don’t know, is waiting. Why am I being so philosophical about
an eBook and some routines? Life is difficult for many people and
if you are reading this, you probably have incredible gifts to create
memorable experiences. Use them.
You are an architect of wonder. You must simply go and build. I hope
you choose to use these workable routines to offer priceless moments
for the people around you. It is easy to forget that is why we started
these studies in the first place, which was probably to build moments
of laughter, speechlessness and genuine wonder. Let us construct
monuments of mystery and intrigue, by creating experiences which
will last a lifetime.
This book is entitled, Contemplations. You now hold in your hands (or
see on your screen) my thoughts before you. These have all arisen from
a desire to create powerful but simple plots to inspire my audiences to
contemplate what is possible. However, the subtitle is just as important.
Introduction 11
These “thoughts in action” are merely the blueprints or designs. Only
you can construct the buildings. I hope these plans help you.
You will find this eBook had been divided into a number of parts. I
look forward to building something with you, my friends.
Vision: The aesthetic goal
Edifice: The performance
Design: The methods
Filigree: Relevant details
Inspiration: Credits and motivational sources
Reflexology
An Intimate Illusion
Vision:
The performer offers to demonstrate a strange discovery. He explains
that applying pressure to specific points on our hands can stimulate
thoughts or sensations within our minds. This proves to be an
interesting notion and the performer asks an attendee if she would
like to give it a try.
Before I describe this routine, I’d like to tell you an interesting
complaint a friend of mine once had. After performing a few sets,
he angrily smiled and said, “I hate you”. Of course, he meant it in the
warmest way. He continued, “I hate you because you’ve got the coolest abilities
to meet women, but you already have a great wife.” I laughed, but he was right.
As individuals, we should be interesting enough to never need our
performing powers (but they are always there).
This routine is a bit too much help in that regard, so please use with
caution. I do not give palm readings but I assure you that this provides
Reflexology 13
a wonderful alternative, which shares the features of powerful impact
and a gentle intimacy. The presentation has everything: intrigue,
personal interest and a genuinely powerful effect on the participant.
To my knowledge, this is an original presentation. Another benefit of
this routine is that it can be easily utilized in impromptu or casual
performances or in a formal setting. It is extremely versatile.
Edifice:
The performer introduces the experiment;
“Our bodies are actually living machines. We all have wires,
or so to speak, which have electric currents moving within us.
Feelings and images enter our minds when we experience different
sensations. Much like pushing a button, our brain responds to
touch”.
“If we get a hug, we feel happy, if we are kissed our heart
can race and all kinds of thoughts appear in our heads. Right?
Often, the touch does not have to be quite so full of emotion for
this to work.”
“In fact, I have discovered that by touching certain points on our
hands, the pressure can create images in our mind.”
“Our hands are like computer keyboards. On a keyboard, a
button is pressed and an image appears on a screen. Our hands
work in a very similar way. Pressure is applied to a specific
location and a sensation appears on the screen in our minds.”
The performer has a flip-style notepad already available. He obviously
writes something down but doesn’t show it. This creates interest. The
performer now places the pad back on the table and asks to borrow
the participant’s hand. Her wrist is held gently with one hand and the
performers other hand is in a comfortable position ready to touch her
palm. The performer continues…
Contemplations14
“I will now create pressure on your hand in a very specific location.
Some people experience a slightly relaxing feeling while this
occurs. That is completely normal so enjoy it, if you experience
that as well.”
The performer lightly, but confidently, presses a spot on her hand.
“I want you to tell me what color you see in your head, right now.
Name it.”
She replies and the performer now shows her what he wrote on his
pad. It is the color she has named. She is astounded!
“Shall we continue?” States the performer
The participant nods in agreement. The performer again records
something on his notepad.
“You see, these points do not only create visual images, these can
also affect other senses; like taste, for instance. Let’s try again. I
will press a specific location on your hand and I would like you
to tell me what taste sensation you have experienced. This has
nothing to do with your personality, just name the taste sensation
that you sense. Sweet, bitter or sour; which do you taste… now?
The participant names the flavor. Once again the performer shows that
the correct sensation (this time taste) has been stimulated by pressure
at the appropriate location on her hand. This has really piqued her
interest now.
The performer continues; “this is very interesting, isn’t it?”
“The mind and body has an amazing connection. That is why
it is so important that we our conscious of what we are doing
and thinking all the time. Every physical action has a mental
consequence and each thought has an effect on our bodies. It is
once said that ‘thoughts are things’ and I certainly agree.”
Reflexology 15
“Like the images that appear on our computer screen, when we press
buttons on our keypad, this pressure on one’s hand isn’t the true
source of those mental sensations. Sensations like visualization,
taste or even emotion, must come from somewhere.”
“In order to influence these different things, I had to be thinking
of them first. You see, I wrote down the color and the taste, each
time, before I pressed your hand. Each sensation first started in
my mind, then I pressed your hand and you experienced it.”
“Each thought or signal starts somewhere else and then arrives
at another destination. Since that is true of our thoughts, we can
influence each other’s minds with touch. In this case, I influenced
the color you perceived and the taste you experienced.
“I’d like you to try being the sender this time. I want you hold my
wrist with one hand and then use the other hand to press a point
on my hand that you think is most receptive, once you have the
simple item or object pictured vividly in your mind. Imagine you
are sending me that image and then press my hand.”
Within an instant, it is apparent that the performer is seeing something
in his mind. He smiles and the states:
“It is a boat. Isn’t it?”
She cannot believe it! Her silence is all the evidence you need.
Design:
This routine evolved from several divergent locations. First, I am
always looking to use standard methods or effects that feel like a new
effect. This is one presentation that was born from one such effort.
“Reflexology” also originated after a series of brainstorming sessions
on how to create the illusion of a “tactile influence”. I always like
explicit presentations that allow your participants to watch the apparent
modus operandi. In this case, pressing the hand is the overt action, and is
Contemplations16
also the rationale for being able to control your participant’s senses. It
creates a wonderful experience for the sitter and those in attendance.
Methods:
There are really only two methods and a lot of window dressing.
1. Two influenced choices
2. A peek (several options suggested)
Forgive me for cheating. I left one small detail out of the text of the
presentation because the description is exactly how everything will
appear. Everything is copasetic throughout the routine, but I prefer to
get the small dirty work done before truly introducing the routine and
premise. Others may prefer doing it during the routine, either is fine.
It is my preference to first ask the spectator to draw a simple object
or write the name of that object on a piece of paper or business card.
I often have them use one sheet from a flip pad. I ask them to fold it
up or simply place it in their pocket. I tell them that they will use that
image later, but we will get to that in time.
Once they are finished and start to put it away, I begin the aforementioned
script and discuss that images and sensations can be triggered in the
mind by points of pressure on our hands. This is the introduction to
the routine, but also serves as a pattern interrupt to keep their minds
away from the object they drew/wrote for a few moments. I pretty
much want them to minimize the importance of having them write
this information down. This technique helps.
Now, in their minds, the experiment is just beginning. The performer
will behave in a manner congruent with that notion. The performer
now seems a bit more attuned and the tone of his speech becomes a
little more interested and engaged. This can either be with a slightly
more energetic or a more intimate, softened approach. Either can
work nicely.
Reflexology 17
Experiment one: Visual influence
You write down your target response.
Answer: red
This is simply a psychological force for the color red. You want them to
name the first color that pops in their heads. This should have a similar
feeling as a “Rorschach Test”. Encourage your participant to respond
to their first impressions when the pressure to their hand is applied.
As you know, when people are asked to name a color, red is the most
probable answer.
Follow the script stated and show their answer to match the prediction
(or kinesthetically influenced choice). The first response will be a lot
of fun. Enjoy the moment.
Experiment two: Taste influence
On the next page, you write down your target response (see notes
below)
Answer: sweet
We will influence this choice in the following manner:
We will make this sweet the most appealing choice psychologically. We
will accomplish this by implying that these taste options relate to their
personality. This method, The PC Principle, is fully described in Ponderings,
but will only be minimally explained here. Basically, we mention that
this has nothing to do with their personality, which actually implies
that is does. By stating the opposite, we suggest what we want them to
think. It simply works. Being either bitter or sour, does not speak well
of a person. Thus, the person will likely choose the only positive taste;
sweet. I have used this method with fantastic results. You must use this
with the slightest of emphasis. Overt use of this will not work.
Contemplations18
Another option: sour
Sometimes when I perform this (for a male specifically) I will omit
the PC Principle force and answer sour, for part two. This is a statistically
common answer. Sour seems to be the most appealing choice to my
gender. Yes gentlemen, we prefer to be tangy. You may find different
results in your experiences; please adjust to taste (pun intended).
Notes on the first two experiments:
I know some of you are now thinking; what if these methods fail? What
do I do? The frame of this presentation gives us all the wiggle room we
need. If the forces/influenced choices do not work, simply state that
some people are better at sending these thoughts and sensations, than
others are. Or you can mention that you must have slightly misjudged
the best location to press. Now you simply act as if you will now try
them as a sender. In all reality, you will most probably succeed in one
or both of the preceding receiving tests. Now, you will continue the
demonstration, with them as the sender.
Final Experiment: Spectator as thought influencer
Now you instruct them to hold your wrist (with one hand) and then
prepare to press any location they like on your hand (with their other
hand). You ask them to picture the object/word that they decided
upon and then “press” your hand to send the thought. You now do
the best you can to act like a picture has just arrived on your mental
screen. It helps to actually imagine the object appearing, as if it is
slowly materializing. Thus, you can let your real body language and
eye-placement, do the work for you. Make the image in your mind as
real as you can.
How did you know what the item was? The most congruent method
is an impression notepad. My favorite is Thom Bleasdale’s, “Tommy
Pad”. His fantastic device is quite innocent looking and is very effective.
When using this impression notepad, it is best that you have them
draw a picture. Your peek of the picture will be a reverse image so
Reflexology 19
words can be a little bit harder, but they can certainly be used. Thom’s
is especially nice because you will keep the flip pad in play to use for
your later target items/predictions. I have listed a few options, with
which, you are probably already familiar. Pick the one that best suits
your preferences.
Other options for thought acquisition:
1. Acidus Novus peek: Use a couple folded index cards for the
predictions, and have the helper write their object or word on
an index card or billet, in “Acidus Novus” fashion. Obviously,
I cannot explain the exact workings of that method, but it
provides a nice peek to a target area of a folded card. Check
it out. Any functional billet peek or switch and read method
could work here. Great literature along these lines include;
Milliard Longman’s Acidus CD-ROM (which I do not own), Peek
Performances by Richard Busch and Switchcraft by Elliot Bressler.
I have the latter two, but many have said great things about
Millard’s complete treatise on his method.
2. Peek wallet: You can use your business card to have them write
the final object and place it in the necessary peek area. You can
glimpse the information as you put it away or as you take out
another business card to record the target color and taste. My
favorites are the Outlaw peek wallets and the Stealth Wallets. I
also have used the venerable SUC wallet. Owners of these can
determine the best way to get the necessary business card peek.
3. Impression devices: There are a number of close-up impression
devices or boards. My favorite, for this routine, is the “Tommy
Pad” since it uses a flip style pad, which works perfectly for
this routine. I am also quite fond of the nearly instant read
impression device, “Brown Hornet” made John Riggs. This or
one of his smaller items could work extremely well.
Contemplations20
Filigree:
Variations:
This structure can be applied to any number of themes. For instance,
you could strike a tuning-fork and use tones to influence the
sensations/colors. If you play a string instrument, you could play a
series of cords instead. I really like the music idea, but practicality won
in the end. Hands are always available and don’t require carrying cases
and curb-side check-in on flights. You can also use any number of
psychological forces with this routine. Use any that you prefer. Also,
I tried incorporating a tactile phase; sensation of textures (rough,
smooth, etc.) as a third force phase. I opted for the rule of three and
decided on two forces and one glimpse.
Alternative ideas (and notes on congruence):
While Performer, creator and mental health professional, Dr. Bill
Cushman really liked the premise, he made an astute observation. His
thought was that having them press your hand to influence a picture
is not congruent with the two other sense influencing phases. I cannot
necessarily disagree.
One way I came up with to resolve this, would be to take turns. You
influence the color red. Then they think of a color to influence, which
would likely be blue. For taste, influence them to experience a sweet taste
(with the “The PC Principle”), and then let them try to influence you,
which will likely be sour. In each of these, you are still using statistical
and likely choices. You will just pick the most common ones when you
influence them first. Then when it is their turn, let them write down
a color and then you will name the next most common choice, blue.
Follow suit for the taste sensations. Another alternative could include
having them write down an emotion, prior to the influences choices,
and then have them try to influence your emotional state with their
touch. Obviously, they would write this down, as in the visual image.
Just some food for thought.
Reflexology 21
Disclaimer:
This routine is extremely powerful because of its interesting and nearly
believable premise. Its real impact lies in the intimacy and the proximity.
Discerning mentalists, who prefer not to perform palm readings, may
find this a great alternative that bears many of the strengths of those
demonstrations. Your palm reading friends might turn green with envy.
As my non-magic friend stated; being able to perform this routine is
an enviable ability. I cannot be held responsible for your personal use;
please use with caution.
Thanks:
Special thanks to my great friend, Charles Pecor, who helped me
shape this routine. As always, his thoughts, advice and feedback are
appreciated and valued. His knowledge is golden. Thanks Charles.
Inspiration:
Psychological Subtleties book (Banachek)
This is simply the best resource of psychological force material. Other
“force” ideas could be explored within the material he compiled and
presented in his seminal book. I have used the information for years.
His book changed my performing life.
Lifesavers book (Michael Weber)
“Just The Fax”, is an ingenious routine based upon a series of
psychological forces. It is a great effect that doesn’t even require you to
be present to mystify a group of people. Check it out.
Explicit Content book (Sean Fields)
“The Tesla Experiment” is a wonderful routine that creates a visual
frame and tactile element to the revelation of a personal thought. If
you haven’t purchased his book yet, you are in store for a great read. It
is full of creative ideas.
Contemplations22
Sigma eBook (Paolo Cavalli)
Paolo’s routine, “Shades of Mind” routine has similar structure as
“Reflexology” and was published first, so I certainly believe he is worthy
of crediting. Paolo’s routine is a fantastic way to use psychological
forces en route to a revelation. He is a brilliant guy and each of his
eBooks are worthy of the investment.
Tommy Pad eBook & DVD (Thom Bleasdale)
This excellent impression device is impeccably described in his
wonderful PDF manuscript and DVD. He was kind enough to feature
my “Reflexology” routine on his DVD. Thanks Thom, you are a
generous soul.
Barnes and Noble (book store)
This idea came together while sipping a serving of a legal (but addictive)
stimulant, walking around the ever-popular book store. I saw a book
on “Reflexology” and everything just appeared. Or maybe it all came
to me while I was sitting a chair, drinking my coffee and pressing my
bare-naked palm for no apparent reason. You decide.
Ponderings eBook (Sean Waters)
I have more fully described the method for influencing certain types
of choices, entitled “The PC Principle”. This method is very flexible
and can be used in any number of ways. I just couldn’t take the space
to fully explain this technique (again).
Horseshoes and
Hand-Grenades
Thoughts On Missing
You have probably the heard phrase, “close only counts in horseshoes and
hand-grenades.” This cliché obviously suggests that a mere proximity to
a target doesn’t quite count. In certain things, I would agree. However
in mentalism…
In the notes section of my routine “Red Handed” (from Ponderings), I
mentioned that I wouldn’t take the time to address my thoughts on
missing, instead I have done so here. We all have heard that being wrong,
in some instances can strengthen the believability of a person’s ability
or persona. There have been numerous anecdotes in print regarding
this occurrence and I agree this is often the case. In this essay, I would
like to mention three ways to help us on the path to missing successfully.
These avenues will either utilize failure, limit its effect or will keep it
from being perceived at all. I certainly do not claim to have originated
these ideas; far from it. Instead, I simply want to remind each of us of
their use in a combined locale’.
Contemplations24
I really like Greg Arce’s notion of “Six Degrees of Separation”. If you
have not read his thoughts, you are missing some powerful insights.
I agree that this is a wonderful practice, particularly with words and
other discreet information. I think the occurrences he describes are
the ideal situation (they make the connections). The notion that I am
describing here shares some aspects, but is a bit less subtle. However,
in many instances it is still a powerful tool. It is the idea of shaping.
In our performances, we should not view the occasional miss as a
problem, but instead we should help our audiences to interpret that
experience in a way that it is edificial for the performance. By helping
them view a miss in a favorable way, I believe we can shape and mould
the minds of our onlookers. This really is mind control, or at least
perceptual manipulation as Banachek and Kenton Knepper suggests.
Case in point:
Recently, I stopped in the “Little Five Points” area in Atlanta, Georgia
(which is a quirky section of the city which one might call alternative). It
bustles with an odd blend of urban hip, a free spirit and street grime.
I knew there was an interesting New Age shop that had some unique
pendulums, so I stopped in to pick up a new one. While there, the owner
asked me what I was doing with the pendulum and my explanation
ensued. He asked if I would perform something for he and employees.
I obliged by performing a couple pieces, including “Red-Handed” and
my spoon bending routine (with his spoons, of course). I explained
that our minds are much more intuitive than we would imagine and
offered to demonstrate. I wrote down a card value and then influenced
him to think of that particular card. He chose the right color and value,
but not the target suit. This was a miss… or was it?
I turned over the paper (my prediction of sorts) and then noted that
he thought red and showed him that he intuited the correct value as
well. They were speechless. He viewed this as a huge success, but I had
led them to perceive it this way. You see, he took credit for the color
and the value (as well he should have), but was not concerned about
the wrong suit, probably because I did not seem concerned. He got it
mostly right, after all. If he had named the wrong value, but the right
Horseshoes and Hand-Grenades 25
suit, I would have helped him interpret this, as well. If he had said, five
of diamonds, I would have led him to make as many connections as I
could, with that choice. Five and seven are both odd (and sequential
odd numbers), both had the same color and then same suit, etc. It is
best to let them make as many correct associations as they can, this
is what Greg so eloquently described in his words. My point is, when
people don’t make these assertions, a little nudge doesn’t hurt. My
experience shows that their memory will only record the details that
we wanted them to. This is the key: our enthusiasm and interpretation about
the outcome is a suggestion for how they should respond (to the miss).
This is shaping. For one to use this technique, one must have developed
a solid rapport, which makes people feel invested in the cooperative
outcome. Charm counts.
Done in a light, conversational manner, shaping is extremely effective.
Do not be emphatic, instead you are offering some ways that they have
been successful. The point is to be understated. You are commending
them for having done well. If you have developed a connection, they
are happy to accept the praise for being mostly correct. You are helping
them to see their own accomplishment in a more positive light.
Back to the story…
Since the particular pendulum I wanted was out of stock, they offered
to order it and give me a call when it arrived. I thought this would be a
great opportunity to see how they perceived what had happened; weeks
later. When I arrived during that next visit one of the employees who
had been there remembered me. He mentioned how freaked out he
and the owner was to meet a person like me. The gentleman expressed
his total amazement regarding the spoon bending and the fact I had
influenced the owner’s mind. He said that he too had been amazed
and said he was pleased to see me again. All they had remembered was
the incredible experience they had enjoyed. There was no discussion
(or memory) of a miss. Their mass perceptions had been shaped by the
sheer joy of the experience. Emotion is the language of the brain. By
using it, we can speak to theirs. I also got a discount… oh, the powers
of the mind.
Contemplations26
While the notion of shaping perception is valuable, I wouldn’t stop
there. This alone is merely a patch on the occasional bruise. Why
not prevent the injury? We can make nearly any miss invisible at the
blueprint (read: planning) phase of our routines. I call this “planned
proximity”. One of my favorite examples is from a Lewis Jones routine
(I don’t want to mention which one, that would be giving too much
of his routine away). In his brilliant routine, he is going to provide
proof that they chose a value/card that he wanted them to, post facto.
One of the ways he accomplishes this, is by making the closest value
to the target, the goal of the routine. In other words, getting close is
the intended goal of the experiment. For instance, if I am thinking
of three, the spectator needs to think of four. In many routines, this
would be considered a miss, but in his wonderful effect, it becomes
the target of the experiment. Though I had been performing my
routine “Avalon” (which utilizes a similar “planned proximity” ploy) for
some time before reading Jones’ routine, I was particularly excited to
see how he had made this notion work for him. I felt honored that I
had been thinking along the same lines. This is a great opportunity to
focus our creative efforts; while we are contemplating the structure
of a new routine or how to present an existing one. A little work here
pays great dividends in the denouement. Then, if you get dead-on, you
act surprised and amazed that this happy accident occurred. It is an
unexpected bonus. This is “planned proximity”.
The final avenue to consider: This is also a tool that must also be
implemented in the planning phase of a routine. This is similar to
“planned proximity” in that it is a form of anticipated missing, but
this example is less exact and relates to an undesirable miss (or a
miss where close is not the goal). Both forms share the fact that the
miss is necessary to the plot or progression of the routine. I call this
method, “foundational missing”. With this ploy, the miss (not intended),
is accounted for by making it seem necessary to continue with the
next phase of the routine. The preamble effect, which requires fate to
smile upon us, is perceived as a test phase to insure the success of the
experiment of focus. I will give two examples that I use regularly.
The first example is my use of Rick Maue’s fantastic routine, “Terasabos”.
In this routine, the performer entreats a participant to hide an object
Horseshoes and Hand-Grenades 27
under one of five cups. There is no gimmick, instead, there are a set
of brilliantly woven psychological techniques that make the routine
work. Though his method is extremely effective, there is the slightest
possibility of failure. Thus, I have structured my use of “Terasabos” in
the following manner. My use of his routine, employs the “foundational
missing” idea by structuring this as a test, prior to a dangerous monte
routine. Though, I rarely miss with his method, I am never worried
(because I am prepared). You see, if I miss, I immediately thank them
for allowing me to give it a dry run and offer to show them why I
needed to do so. Then, I very theatrically reveal the spike I am about
to use for the dangerous monte’. This accomplishes two goals. (1) they
forgive the miss and (2) they now believe I am doing this for real. For me this is
the best of both worlds. I am cloaking my final method by performing
this for real in an earlier phase. I am getting a pardon for a miss (in an
earlier phase) by trying this with a ominous looking spike directly after
doing the “hiding the object” test run. This is “foundational missing”.
I also use this idea when performing psychological forces in a formal
setting. In this case, I will attempt the triangle and circle shapes force with
an entire audience to test how receptive they will be, before I move on
to something that does not rely on any probability or suggestion. In
other words, I do this before performing a sure-fire routine. Many of
you do exactly the same thing, I have just taken the liberty of naming
this practice “foundational missing”.
I thank you all for allowing me the liberty of compiling these notions
as arrows in our quiver. These arrows help us to remain true to our
target, while entreating Sister Fortune’s goodwill upon us. With each
of these tools, we can help both to reduce the number of perceived
misses and then to control our audiences view of them. Thus, we are
providing some real mind-reading moments (with little fear of loss).
Using “Shaping”, “Planned Proximity” and “Foundational Missing” leads the
coy Madame Fate, gently to our door. It always seems that when we are
prepared, chance seems to work in our favor. I hope it does for you! It
was once said; “the harder I work, the luckier I am”. I believe this is true.
It seems that if we have planned diligently for the potential misses, we
almost never need the safety nets. Strange isn’t it?
The Sands of Time
An Experiment in Para-Conscious Awareness
Vision:
A participant accesses their internal, subconscious clock to an
astounding result
Edifice:
"Do you ever wake just before your alarm clock goes off ? Have
you ever tried to force yourself to wake at a certain time without
an alarm?"
“It worked, didn’t it?” "I have, and it really is alarming, just
how accurately this works. I know… horrible joke. Seriously, I
began to think study this and have been experimenting with the
notion of affecting our subconscious hourglasses."
"Shall we try this together?
The Sands of Time 29
Performer borrows a spectator’s wristwatch (or removes his own). He
continues to state:
"The subconscious mind keeps time long after our conscious
mind’s attention fades. This is why you often know what time it
is without ever needing to look at your watch."
“Since you are probably aware of what time it is now, I will
write down a random time and try to allow your internal eye,
which some people call a third eye, see it. I will let access your
para-consciousness by writing down a time and holding it just
outside of your vision.”
The performer writes down a time on an index or business card. He
now raises it to the side of the participants head and instructs him to
keep looking forward no matter what happens.
“With my right hand I am going to hold my palm a few feet in
front of your eyes. I just want you to focus on the lines on my
hand and let your eyes notice every line, shape and contour. I
want you to keep looking at my right hand no matter what my
left hand does.”
“With my left hand, I am now going to hold this business card
at the side of your head. Your conscious mind will not register
what is written there because your thoughts will be focused on my
other hand. Just continue to stare at my palm and let your para-
conscious mind do the rest.”
The performer holds his right hand directly in front of the participant.
His left hand holds the business card with the writing facing the side
of the helpers head. He attempts to occupy her vision with his right
hand and allow her internal eye to absorb the time on the card.
“Great! You are doing perfectly, keep looking into my palm.
In just a moment I will lower both my hands and you can just
relax.”
Contemplations30
The performer lowers his hands and picks up the wristwatch. He turns
the hands to midnight on the watch. Once this is done he holds it
towards himself and states:
"I will start the clock at midnight and will begin spinning the
hands. You and I know the starting place now, but our conscious
mind cannot keep up with the time on the hands once they
continue to move.”
The performer begins turning the crown on the watch and moving the
hands.
“By continuing to turn the hands, our rational mind must let
go and give way to our subconscious mind, which can easily
record and mark time without any involvement of our conscious
thought."
The performer continues to turn the crown and then passes the watch
(still facing downward) to the helper. He instructs her to continue to
twist the crown, while keeping the face towards the floor.
"As the hands move, I will hold up my right palm again. I
want you to imagine an hourglass with sand inside, on my palm.
Think of my hand as a projector screen and project the hourglass
with the falling sand on my hand.”
“Though neither of us can see the time,we will use visual imagery
to access our subconscious mind. As you continue to picture the
hourglass on my palm, see the sand continuing to fall. When all
of the sand has fallen, simply press in the crown and keep the
watch turned down.”
The participant does as instructed and stops suddenly and pushes in
the crown.
"You have stopped at this certain moment. Tell me what you are
feeling.”
The Sands of Time 31
The participant explains that she feels a bit odd, but cannot really
explain why.
“You feel a little strange, okay. You just stopped because you have
visualized all of the sand ending at this time. Is that right?"
She agrees
"What time is now set on the watch?"
She says, “3:37”
”Fair enough.”
Slowly the performer turns over the card with the time written on
it. She is stunned and doesn’t know what to say. There is silence; it
matches perfectly.
Design:
While I realize that coincidence effects can be impressive, I am never
sure exactly what ability the performer is demonstrating. Is it fate? Is
it the performer’s ability to affect random appearing actions, or is it
something else?
I feel most effects of this genre suffer because the audience is never
given a reason for why this amazing event has transpired. This routine
is an outgrowth of trying to make the time prediction effect plausible
and meaningful. I really don’t think an audience cares deeply that a
watch set to a random time matches a prediction (or that at least that
doesn’t speak to them). Is this effect precognition on the part of the
performer, or something more?
“Sands of Time” is my attempt to give the standard watch prediction
effect an explanation that transcends the routine itself. I also wanted
to attach genuine occurrences (the fact that we wake up just before
our alarm clocks go off or that we can somehow know what time it
Contemplations32
is without looking at clock) as psychological convincers. These give
credence to the fact that what I am describing actually works. I believe
it does, just not to the amplified degree that we will suggest.
I am certainly taking artistic liberty to explain the thinking behind
the structure of this routine, because this building depends on the
foundations formed with these thoughts. Here are some points to
consider:
1. The routine demonstrates an amplified, but real effect
2. If you picture how this routine would look to perform, you
imagine that all these actions work much like the “Witch
Doctor effect” discussed in Banachek’s Psychological Subtleties.
This refers to the fact that when a participant observes you
performing seemingly important acts, they will imbue them with
meaning. They will know that these actions must be necessary
to successfully perform the feat. In this case, the fact that they
must stare into your palm and then visualize the hourglass must
have a genuine purpose. Right? These actions will help sell the
pseudo explanation.
3. Question: What is the rationale for them stopping a time that
matches what you have written down? In this routine, the ability
of the mind’s eye to first see the written time and then the ability of
the subconscious mind to keep track of time, answers this question.
One doesn’t have to agree with my premise, but it is a worthy
exercise to put yourself in the place of the audience and answer
what questions you would have, if you were one of them.
4. I like what this effect communicates. Although you are giving them
credit for their para-conscious awareness (which demonstrates
your comfort in letting them take center-stage), they also must
feel, under the surface, that you are leading the way. You become
the tour-guide to the world of their unknown abilities. Not a bad
role.
The Sands of Time 33
Prerequisites:
1. A business card
2. A pen
3. Analog watch that has a separate setting for the dates, day of the week
or lunar cycle
Methods:
1. A miscall: The beauty of this presentation is that the script
actually covers all the necessary work, so it can all be done right
out in the open. You will set the time to two minutes before
your written/predicted time, while you explain that you will set
the time to midnight. You set this time, two minutes earlier, so
while you are having them set the time (or so they will believe);
it will match the time they stop on. Two minutes seems to fit
perfectly for my speed, experiment to determine how far behind
you will near to set your watch to arrive at the predicted time.

The reason for telling them that you are setting the time to
midnight is to provide an anchor or starting point from where,
their internal clock can start. It makes sense that you would
do this, so the subconscious mind can do its work. Again, this
provides the plausible rationale, but it also makes our dirty work
invisible. Basically, you set the time to the desired time (two
minutes before the predicted time) and miscall it as midnight. Half
of the work is done. If you are bold, hold the watch face up
to them, just before you mention the time. This is important
because it seems fair, but it doesn’t really give them time to think
about the reason why you are holding up the watch face. Finally,
you must set the stem to now change the date, lunar cycle or day
of the week, not the actual time.
2. Ungimmicked watch prediction method:
Required: an analog watch (one with hands), with: date, day of the
week or lunar cycle function.
Contemplations34
Since the crown/stem has been pulled out, to now set the date
(or other setting that does not affect the watch hands), the
hands will not turn. I am sure most of you must be aware of
this method.
Once you have set the watch to a couple minutes prior to your
predicted time, then miscall the time as midnight. When you
have done this, pull the stem to the date/day/lunar cycle setting.
Now you start turning the crown (see script), while the watch
face is down. Then let them continue to do the same, with the
face of the watch still down. They will actually be changing the
date (or other similar function), but this will go unnoticed later,
as all of their attention will be focused on the time. As you
know, they will believe that they are setting the time when they
push in the stem. Finis.
Filigree:
I truly believe methods are banal; perception is everything (thanks Bruce
Bernstein). The belief you are trying to convey and the congruence
of all actions leading to the denouement, are all that matter. This
presentation answered a lot of personal questions regarding this type
of effect. While this routine can be read quickly, it is the result of years
of thinking about this effect. I have worked diligently to make this
effect meaningful, plausible and powerful.
The premise of “Sands of Time” is impossible to ignore. What’s
more, this routine serves as a double bind. Either your onlookers will be
entranced by the presentation and invest belief in the “subconscious
clock” or they will give you credit for influencing the participant’s
subconscious mind. Either way, you are guiding them through the deep
waters of the subconscious. Interesting stuff.
Inspiration:
“Stuck in a moment” Building Blocks (Luke Jermay)
The Sands of Time 35
Though the effect, method and presentation differ completely, Luke’s
presentation served as a springboard to thinking about time effects in
a different way. His presentation of a classic time effect is perfect.
“Miracle Time II” Peek Performances (Richard Busch)
Richard’s book is a modern classic, full of wonderful information. Buy
a copy, while you can.
“Temporal Anomaly” Seven (Patrik Kuffs)
The DC Technique
A Method for Improving Rapport
Countless books and essays have been written on performance styles,
theatrical staging and developing one’s unique style. My great friend
and mentor, Charles Pecor penned several himself. There have also
been a number of books that challenge us to infuse our routines with
power through meaningful presentations and plots. I agree with and
have learned from these great works. I could never add to the oracle
of wisdom that these writers and performers have shared regarding
performance and theatrical technique. While I consider myself an
educated amateur (if that’s okay to say), I would humbly like to propose
a practice technique that never gets dull or laborious. In fact, the more
you use it, the more you will like it.
The technique I suggest is extremely practical and real-world. This
method does not require the intellectual prowess of those brilliant
thinkers and it can be applied instantly.
Our cultures have grown detached and technology certainly hasn’t
aided many of us. As I write this, I can hear a mental echo of the
opening lines of the film, About a Boy (starring Hugh Grant). “Each
The DC Technique 37
man is an island, and this is an island age”. Obviously, this is a humorous
response to the philosophy of John Donne, the renaissance poet and
clergyman. Sadly, it demonstrates an interesting current trend. Hugh’s
character ironically personifies a callous and id reckless bachelor. This
character seemed a humorous exaggeration, but I am not so sure.
There is a troubling backdrop in our current cultural climate. If the
behavior of many magicians who post on forums are an indication,
more and more people seem unable to regard others and treat them
with a simple (but maybe not common) decency. In fact, I think the
kind and gracious person now stands out like neon. As the shadowed
and dark, forgettable background of a beautiful piece of art directs our
view to the foreground, so do these impersonal times illumine those
who genuinely care about others; so please do not mock this simple
idea….
This may be the most important, yet most practical,
performance technique you may ever read:
As you go about your everyday activities, you have the greatest
opportunity to enhance your performance abilities in the easiest way
imaginable. Simply smile at others and ask about their day. Allow each
moment to be an opportunity to shine, while others around you sleepwalk
through life. If you look around, you can see that they are (sleepwalking).
I certainly don’t want to sound preachy. I merely want to inspire us all
to be conscious of our interactions with those around us.
This technique will increase the power of your
performances ten-fold!
Do you know why this is so powerful?
It has been said;
“People don’t care how much you know, until they know how
much you care!”
Contemplations38
So it is with our performances. Our audience members don’t care
how impressive we are until they feel how special they are. They have
invested their time (and hopefully money) to witness our performance,
it is the least we can offer them in return. This will be intuited by the
manner in which we speak and by how we treat those who are asked
to join us on stage.
It is easy for our performances to become self-centered opportunities
to show our impressive skills. However, if we are genuinely used
to caring about those around us (because we have practiced), then
when it is time to be on stage, our enthusiasm for others is primed
and ready. We do not have to put on our masks and try to reach our
audiences with purely theatrical techniques (though these are necessary
and recommended). We can use the baseline occurrences from our
everyday lives and continue in like form on stage.
Think about it this way. This is the least intrusive performance technique
and it is already attuned to who you are. You don’t have to make a new
character that is more appealing. This is simply a way to adhere to the
advice to be yourself; just the best version of you.
A personal experience:
While I was in Manhattan a few years ago, I attended the famed,
“Monday Night Magic”. There were several excellent performers and
I truly enjoyed myself. During one of the performances, I was asked
to join the magician on stage to help with his routine. The apparent
contract between performer and participant (which is that the performer
will treat the participant with respect) was instantly abandoned. He
immediately made remarks that were funny, but directed at me. It was
his shtick.
I am a person who is pretty comfortable in his own skin, but this
experience certainly made me think about this on a much more
personal level. While I have never made sport of an audience member
during a part of my act, I certainly now know how this feels. I was
saddened that this capable entertainer could not use his brilliant mind
The DC Technique 39
to provide more edificial entertainment. His performance became a
“look at what I can do” show. It didn’t make me appreciate him. He
could have been so much more. This experience helped solidify the
ideas I already had…
Love people and let them be the stars too. In return, they will love you
for it. To find excellent examples, one needs to look no further than
Richard Osterlind (on any of his videos) or Derren Brown, on his
televised performances. These guys love their audiences and it shows.
While I can only surmise what these two gentlemen are like, I imagine
you will never find them being anything less than endearing to their
crowds for the evening. Love the one(s) you’re with.
This is the “DC Technique”
If you really want to connect with your audience:
Refrain from saying something negative, encourage instead
Seek other people’s best interests, not merely your own
Smile at the lady behind the counter at the grocery store
Tell the clerk that you hope he has a great day
Get the door for someone with their hands full (or empty)
Ask if someone had a good weekend
This will not only change your performance, it will change your life.
You’ve been the star of your own life for a few seasons now, why not let
someone else guest star for an episode. Be kind to those around you in
your own life and think of others. I promise your ratings will improve.
There is only one catch. You knew that was coming, didn’t you?
You Have To Mean It.
If you haven’t deduced yet, the DC Technique is simply a name: “Dale
Carnegie”. Need I say more? If one feels that this type of reminder is
redundant, just listen to other conversations in a public place or peek-
in on a thread, in a magic forum. It seems that this is a timely reminder
Contemplations40
for all of us. We should put others before ourselves. Not as ploy, but
as a way of life. If you do, you will feel the magnetic force that your
personality can have. It works in life, it works in performance. The best
part is the fact that each day is a new one. We all make mistakes but we
can try again tomorrow.
Post note: After writing this essay, I had an interesting discussion with
a full time mentalist from Europe, concerning the thoughts discussed
here. This accomplished entertainer disagreed with the notion that
performers needed to be personable to be effective. I wholeheartedly
disagree. I realize that some entertainers can be extremely skillful
and effective, as far as their self-promoting displays are concerned.
However, I do not believe that these performers can ever inspire the
kind of synergy that is created when a performer and an audience
both desire to respect each other and enjoy a shared experience. A
pinnacle experience cannot be reached with a mere display. There is no
substitute for genuine and honest interaction.
“A gentle tongue will have the ear of kings.”
—A Proverb
ELEMENTARY
An After Dinner Mystery
Vision:
A mystery is solved by normal and paranormal means (and your dinner
guests are genuinely entertained).
Edifice:
The performer is asked to perform after an intimate social gathering.
He has refused several times (but his adoring audience insists), so he
decides to acquiesce. It is nearly midnight and everyone has been nearly
well-behaved.
The entertainer begins…
“I am intrigued by the public’s fascination with the criminal
mind. If you don’t agree that this is true, you can simply observe
the overwhelming number of television programs devoted to true
Contemplations42
crime, unsolved mysteries and crime scene investigation. I must
admit that I am a bit ensnared as well. Not surprisingly, we
seem to be more intrigued when these events involve celebrities or
public figures with whom we are familiar. We have an obsession
with fame and crime… it’s a sad commentary.”
“It also seems we are intrigued by the tormented souls who have
devoted themselves to solving these heinous acts. They sacrifice
their lives by learning to think like criminals to predict their
behaviors and actions. It is a heavy price to pay.
“I will also admit that I have truly enjoyed watching the crime
shows with a slightly psychic bent. The television program “The
Mentalist”, features a performer who uses psychological skills to
breakdown alibis, confound liars and to solve mysteries. You may
also remember other psychic themed crime shows, like “Medium”
or “Profiler”. In each of these programs, the protagonist uses
either psychic insights or heightened observational skills to save
the day.”
One of my other favorite shows of that genre is Stephen King’s
DEAD ZONE. The hero touches a person and he can see
visions of what has happened. I really like that the character has
to use both his rational mind and intuitive abilities to sort out the
pictures he sees in his mind.”
“A couple of you will get to help this evening. One of you will
be a witness to the crime, but I do not want to know which one
of you will play this role. Unfortunately witnesses are typically
concerned for their safety, so they never immediately come forward.
You all will decide for yourselves who will be the witness. Another
of you will play the detective.”
One of you will also serve as the police officer who will collect the
evidence in a few moments. The evidence will be the paper that the
witness will use to write down the name of the celebrity. Jennifer,
Elementary 43
will you mind being the police officer? Now, the rest of you will
decide which one of you will be the witness.
(While this is completed the performer will turn his back away)
“Now that you have decided, the witness will write down the
name of a celebrity or generally familiar person. You will write
down this person’s name on this piece of paper. Since no will
blame you, you can decide on any celebrity you like. Keep in
mind; it is your chance to finally get back at them for your sadly
unrequited love or that shameful movie of late. It’s not your fault
that you witnessed the crime. The person selected must write down
the name of the popular figure, but tell no one who it is”.
The performer turns away from the group as they determine who the
witness will be. That person writes the name of the victim/celebrity
on the paper. The performer instructs the witness to either completely
tear up or crush the paper into a ball, writing side in. Either way, they
do not stop their task until they are sure no information could be
obtained by simply looking at the paper.
With his back still turned, the performer mentions that the piece of
paper, which will now be referred as the “evidence”, should be handed
to the officer.
“If you will Jennifer, please place the paper in the evidence bag
that I have left for you on the table”.
As stated, the performer previously left a clear sandwich bag, which
has the word “Evidence” written on it. Thus the evidence will not be
spoiled, nor can the use of tricky fingers be accused later.
The officer completes her task and places the paper into the evidence
bag. The performer asks her to leave it on the table for now. It is placed
in plain view, but out of the way. The performer looks at each of them
with a knowing smile.
Contemplations44
“The most important thing for the intuitive sleuth is to quickly
question the crowds to determine if anyone has seen anything.”
The performer explains that he will ask each group member the same
question, which is:
“Did you see anything?”
All are instructed to answer, “NO” to this question. Obviously, the
witness does not want to be involved with a criminal investigation, so
they must lie. The performer asks each participant, while scrutinizing
each hesitation, smile and smirk. Suddenly he turns to one group
member:
“You”; he states.
“It seemed like you were a bit too self-controlled… it’s like you
are trying to hide something. Don’t worry. If you saw something,
we can protect you.”
“You witnessed the crime didn’t you?”
The group members agree and are impressed with his body language
reading.
“It seemed like you saw who this happened to, didn’t you. I will
now have to use more than my powers of observation to determine
who the celebrity is. Simply let me touch your hand and I will see
what you saw.”
“Wait, I see it… you saw ALEC BALDWIN, didn’t you?”
The helper is amazed and confirms that you are correct. Our psychic
hero has (once again) uncovered the crime.
Elementary 45
Design:
This routine is an amalgam of a thought revelation and a lie-detector
test. The methods are so easy, you will shed a tear.
The two methods are listed in the order by which the secret work
will be done, not in the order of each revelation. This will become
apparent as you continue to read.
Method One: The thought-of victim
Close up impression device (with a real time read):
1. Impression Pads
2. Gimmicked impression books
1. Impression Pads
“Son of Mindscan”
While any will do, I really like the “Son of Mindscan” pad for this
routine. All of the necessary actions seem logical and justified. There
are certain caveats to using the S.O.M. (that any owner knows). In this
case, the names should be instantly recognizable (they are celebrities,
after all). This makes the use of this device well suited for this routine.
The caveat is that one must get a firm enough impression. This is now
available from Rick at outlaw-effects.com
“Tommy Pad”
As I have stated elsewhere, I am a great fan of the brilliant Tommy Pad.
While I prefer the S.O.M. for this particular routine, Thom’s excellent
tool can certainly be used for this as well.
Regardless of the specific device, I justify holding the pad (and getting
the glimpse) by taking the pad and tearing off a sheet to write down
the goals of the demonstration.
Contemplations46
This is done after the celebrity name has been written by the witness.
To the group it will be apparent that I am just trying to make sure the
experiment is clear. I write the following goals of the demonstration:
A. Determine the witness
B. Determine the celebrity victim
2. Gimmicked book impression device
As you know, there are a number of books on the market that are
covert impression devices. Any of these would work nicely with this
routine, especially if the titles could be built into the presentation. A
gimmicked copy of Dead Zone would be quite nice. There are a number
of gimmicked books on the market (One made by John Riggs, the
other based upon the work of Al Koran).
To use an impression book just ask the witness to (silently) take the
copy of book and turn away from the group, so no one can see.
Then have them hand the crumpled paper to the officer. The witness
can now either place the book on the table themselves or hand it to
someone to place down for them. This should be explained while you
are turned away.
Right after this, the performer should then pick up the book and read
the impression while making comments regarding the book.
To make the peek invisible perform the following actions:
Store post-it notes inside the book and remove one of them and place it
on the outside of the book (in the correct location) for them to write
down the name. Later, when you are holding the book, start to take one
of the post-it notes out. While making the comments about the book,
get your peek and close the book (as if you lost your train of thought).
Now, reopen the book to where the post-it notes are stored and get
one out. This parenthetical comment ruse, which is a pattern-interrupt,
combined with the repetitive actions of opening the book, will serve
to make the glimpse psychologically invisible.
Elementary 47
Regardless of the method, the performer will know the name of the
celebrity. This will be revealed after the performer uncovers the identity
of the witness (the person who wrote down the celebrity). Determining
the identity of this person is explained in the following page.
3. A billet peek
While less appealing to me, I also feel a well placed billet peek can be
used. For those who prefer a peek, rather than an impression device
do this. Pre-fold the paper (as in typical Acidus style) and ask that the
celebrities name be written in the Designated area. Then ask that this
be placed in the center of the table. While speaking, you pick up the
billet and hand the paper to the officer. You gesture with your finger,
to write “Evidence” on outside of the paper, while motioning where to
write. Those familiar with any Acidus variations will know this is when
you get your glimpse. Now just proceed as previously described.
Method Two: Determining the witness
How do you know which person is the witness?
It is a code from your assistant.
Yes, but what a code it is. You do not look at your accomplice and they
never have to do any acting (or non-acting). Read on. I think this will
make you smile.
A code:
Your covert assistant (the officer) will code to you which person is the
witness. The clue to this person’s identity is hidden in plain sight. The
second you turn around, you will instantly know which person it is.
The other group members could carefully scrutinize your every action
and find no evidence of your complicity. All you must do is contain
your shame for having to work so little and have so much fun.
Contemplations48
I would first like to say that this idea was inspired by the brilliant work
of Timothy Hyde. His Ziplock Psychometry is a wonderful routine (and
method) which I highly recommend. I had been thinking along the
lines of Max Maven’s clever routine, Burnt Offerings, when suddenly
the picture of having the evidence put in a bag was all the inspiration
I needed. My method is certainly different from Timothy’s, but the
proverbial light came on after reading his.
Part of this method depends on using a certain type of Ziplock bag.
You will find that better Ziplock bags will feature a plastic fastener/
zipper that moves across the seal, which facilitates closing the bag. We
will use the fastening zipper’s position along the seal to secretly tell you
which of the group members the witness is.
In order to determine the identity of witness, without leaving a clue
(sorry, pun intended), you will consider two pieces of information
which will instantly reveal the person in question.
1. Which side of the bag is facing uppermost
2. The position of the plastic fastener
To perform this effect you must obtain a clear plastic sandwich bag
that has the plastic sliding fastener. Once found, use a permanent
marker and write EVIDENCE on one side only. Now, you have an up
position (writing side up) and a down position (writing side down). When
you turn around, you can easily see whether the accomplice has placed
the bag writing side up or down. This gives you half the information
you need. You can instantly notice this without having to look at it
directly at the bag.

Now the evidence bag’s fastener will be used in one of two positions;
either completely opened or completely closed. Both of these positions
will seem completely innocuous to your audience. If the fastener is all
the way to the left or to the right, the group will be none the wiser to
your code.
Elementary 49
When you turn around, you will notice whether the writing is facing
up or down and which side of the zippered seal the fastener is resting,
far left or far right. With this knowledge, you will know which person
is the witness. The code below will tell you how.
Writing side up (persons 1 or 2):
Person one: Far left fastener, writing side up
Person two: Far right fastener, writing side up
Writing side down (persons 3 or 4):
Person three: Far left fastener, writing side down
Person four: Far right fastener, writing side down
Note:
I always have my officer sit or stand to my far left. Then, the other
people will be numbered, one through four, from her direction, though
never referred to as such out loud. Closest to her will be one, and so
on. If you do likewise, your code will also work left (person one) to
the far right (person four). Doing the same thing every time will make
this second nature.
This is an easy code that doesn’t require your accomplice to act normal.
Once learned, there is no pressure on either party and this will be a joy
to perform.
Thus the entire methodology only requires you to turn around and
discreetly look at the bag on the table. At once, you can determine the
side of the bag which is facing up and then which side of the bag’s seal
the fastener/zipper is located. That’s it.
Then make a mental note of the person the position that matches the
coded value. Then, retrieve the pad from the table and then remove a
sheet. If you are using the note-pad glimpse or an impression book,
justify your peek by taking the pad or book and then write down the
Contemplations50
two goals of the demonstration. As you show these written goals,
you have justified making your glimpse and now all the dirty work is
done and the routine hasn’t even started yet. Nice, isn’t it? The rest is
enjoying the presentation and helping them to do the same… acting.
Filigree:
This routine was formed during a creative exercise, which was trying to
make a full presentation from a simple word revelation. I wanted the
structure to allow the covert work and the impression read to be fully
covered by the natural actions associated with giving the demonstration.
In essence, I wanted to make an interesting and compelling mini-play,
from simple means. I hope you enjoy the result.
I also find that this theme is once again apropos (especially in the
United States) as there continues to be new television shows that are
based around these psychological and psychic skills, which help people
to solve crimes.
Real mind reading option:
If you are the proud owner of Jerome Finley’s manuscript, Thought
Channel, you may already know where I am going here. You can omit
the entire code and use his purely psychological method, with my
presentations and routine. Thus, you can determine which person is
the witness, using the method described in his iconoclastic work. My
method could also serve as a great confidence builder (or safety net)
to use while you are developing the skill to use his wonderful method.
Just a thought!
Elementary, (my dear Watson)…
As you have may deduced (ahem), the title has a double meaning. It
is, of course, a homage to the deductive sleuth, “Sherlock Homes”,
created by Sir Arthur Conan Doyle (who has a fascinating connection
to the world of the paranormal). The name also refers to the straight-
forward and no-nonsense methodological approach. I own a number
Elementary 51
of expensive electronic tools and don’t mind using them. This rivals
them in effectiveness and function with the caveat that you have a
partner in crime. Pun intended.
Inspiration:
Alias, Sherlock Holmes, Worlds Beyond (Paul Curry)
Burnt Offerings, Prism-Color Series of Mentalism (Max Maven)
Ziplock Psychometry, The Secret Notebooks of Timothy Hyde
(Timothy Hyde)
Thought Channel (Jerome Finley)
Landscape Architecture
Use What You’ve Got
…Leading Them Down the Garden Path
I know that this is a strange title for an essay regarding Mentalism.
However, the contents of the essay will be applicable to any
performance medium where a lecturer, entertainer or speaker must
interact and engage an audience directly.
Until a year or so ago, I had never tried to articulate this simple, but
effective method for energizing an audience. The essay speaks to
the use of using plants in our audiences. I am not talking about the
confederates that we are used to hearing about in our mental-corner
of the world. That term is typically reserved for the clandestine use of
secret helpers placed in the audience to accomplish a particular illusion.
Those confederates are used because they can make an effect look
“Clorox” clean or they may be the only way to accomplish a particular
illusion. I am not writing about what you add to the environment (by
placing your helpers there), on the contrary…
Landscape Architecture 53
I am talking about using the landscape you inherit when you arrive to
perform, entertain and bewilder. One of the real challenges and thrills
of performing is that each audience is different. They have different
backgrounds, interests and educational levels. This technique will prove
to be effective regardless of those differences. This ordinary method
can be used at anytime or anywhere. I learned it honestly.
Have you ever performed for a nursing or retirement home? Tough
crowd. If are a performer who needs animated responses from your
audience to help you get your momentum going, you are in for a long
night. As you probably know, retirement home residents are some of
the most appreciative groups, but they are not the most responsive. A
friend of mine told an activity director about my show and told her
that he thought the residents would enjoy it. Within a few weeks, she
called to book me for an event. I learned a valuable lesson that I have
now applied to every other performance venue.
When the event arrived, I asked the director which of the residents
had the best cognitive and social skills, so I could plan to use them
in the show. Although this knowledge is an absolute must, it was not
enough. You see, these residents could understand the routines but I
was not prepared for to the blunted affect of the group. It felt a bit like
drowning. I had routinely performed the material before, so I knew
that the routines had impact but something was missing.
I finished the show and was greeted with warm, genuine appreciation,
but vowed that the next show there would be better. The residents
showered me with glowing praise, but I was not satisfied. I looked
forward to the next time.
My time soon came and the facility was having another event and
asked if I would perform again. I arrived early (which I always do)
and began speaking with the staff and residents as I set up. I asked the
activity director the names of the staff that would be joining us for the
performance. I tried to speak to as many as I could, before the show, to
look for a particular trait; a genuinely friendly and outgoing personality.
These “plants” would be the keys.
Contemplations54
I performed the show and carefully planned to incorporate as many
of the employees as I could. During the performance, the staff-to-
resident involvement ratio was probably 1 to 1. It produced the desired
result. These staff members responded with animation and enthusiasm.
The group was absolutely energized by watching their favorite staff
members being involved and getting so excited about the presentation
and routines. It worked perfectly.
These residents really loved their daily care-givers. In their minds,
they were the best of friends. While they watched their friends bubble
with excitement, the group felt comfortable about responding with
enthusiasm. It was group psychology. We all tend to mirror the emotions
and responses of people with whom we have rapport. In this case,
the residents subconsciously mimicked the enthusiasm and joy that
the staff experienced during the performance. The response was
immediate and I have used the technique ever since. This is Landscape
Architecture.
With this method, we will “plant” particular types of people during
crucial moments in our show. During the routines that really need
enthusiasm and energy (the crescendos), we will use animated
personalities, who will send waves of enthusiasm throughout the
group. When an intimate and slower paced moment is needed, I used
the residents who were not as naturally animated, but were genuinely
glad to help. This helped the performance from being flat, but still
acknowledged that each personality has a benefit that can be used for
the entirety of the group. This is my point.
I have performed on numerously occasions for audiences of age.
However, the first experience years ago, really taught me a valuable
technique that has been applicable wherever I perform. By thinking
through this process and utilizing the appropriate types of people,
at the appropriate moments, we are utilizing the natural resources
we inherit. When we have a plan, we can always shape it to yield the
desired result. The most important point is: this can be applied to any
type of audience.
Landscape Architecture 55

Every person has value and can contribute something to the

performance. Being willing to step back and analyze what differing
types of personalities can offer, we can improve our shows. When we
observe the intrinsic qualities of the locale’ and then make use of its
natural beauty in our performance, we are implementing Landscape
Architecture. By controlling the tempo and enthusiasm, we are leading
the entire audience in the manner we would like them to respond; the
proverbial garden path.
Some of my favorite performance memories have occurred
spontaneously because someone else’s personality was allowed to
shine. If we can encourage these moments to occur when they can be
most helpful, with Landscape Architecture, we are giving nature a nudge
(by being conscious of the personalities who surround us). This could
be just what we need to breathe new life into our performances.
Hand Out
A Handy Prediction
Vision:
A playful moment turns into a handy prediction.
Edifice:
The performer looks impishly at his guests and then takes his napkin
off his lap and places it over his hand. He says that he is sure that she
can read minds too. She is doubtful.
“Try it.”
He obviously holds up an unknown number with his fingers, under
cover of the cloth. He smiles and says…
“Go ahead, name a number.”
Hand Out 57
She reluctantly answers:
“Three.
He responds by saying;
“Three” (in an emphatic tone)
He takes away the napkin and reveals three fingers that were previously
hidden under the cloth. No one is impressed or even amused (since
the performer could have been holding any number up. under the
handkerchief).
He lets the boo-ing subside and argues that he really was thinking of
three, though he is sure no one will believe him. He says he can prove
it.
Slowly he turns his hand around the reveal a large “3” drawn on the
palm of his hand. No one is moaning now.
Design:
As the name would imply, this is my simple take on a multiple out
effect. I realize that a one-out-of-five effect is hardly a blockbuster, but
I think you and your friends will have a delightful moment if you give
this a try. This also shows them that you are secure enough to have a
laugh at your own expense. If you re-read the barely existing script,
you will know most of what you need to know.
1. The joke:
I hope this doesn’t need a lengthy explanation. Just hold up two or
three fingers hidden under the napkin. Just change the number of
fingers to match the named number. Play it straight and get the moans.
Cheesy, yes, but you are setting them up for the prediction. Let the joke
play out and then perform the prediction described in the script, using
these following outs.
Contemplations58
2. The outs:
One finger: Nothing, they can tell through the napkin that there is more
than one finger held up.
Two fingers: With my cellular phone, I have taken a picture of my hand
with two fingers held up. I have this picture set as my internal screen-
wallpaper (please refer to the instructions of your own cell phone
make and model). In other words, they must open my phone to see the
image. If this is chosen, I tell them that I knew they would choose two
and then have them open my phone and watch them laugh. Obviously
you “luddites” (non-tech users), will have to think of some other out.
Your phone must also have a built in camera.
Three fingers: You have previously written, tattooed or otherwise engraved
the number three on your palm. Obviously, when you hold your fingers
out during the joke, you keep the back of your hand towards them.
Then, reveal the written number if they choose three. If they name
another number, you never show the written number. Simple.
Four fingers: After arriving at the restaurant or gathering, you will have
surreptitiously taken out a business card with a (previously drawn)
hand drawn with four fingers held up. Just do not make mention of it,
unless you need to.
Five fingers: Nothing, refer to number one. If they happen to name
one or five, just laugh it off as a silly joke. Don’t take yourself so
seriously.
Filigree:
This is a light and fun mental effect. It also serves as a great introduction
to psychological influence (if you choose to explain this that way). If
so, do the effect and transition to a more serious piece. Have fun; carpe
diem.
Hand Out 59
Inspiration:
“Equifinique” Mitox (Phill Smiff)
An unpublished routine (Dave Moses)
Thank you both, gentlemen, for allowing me to publish my simple
routine.
MANCHURIAN
CANDIDATE
An experiment in mind control
Vision:
Control people’s minds by saying three words.
Edifice:
The performer selects an audience member to come up on stage. He
suggests an experiment and thanks the gentleman for assisting.
Performance and script:
The performer begins:
“Thanks so much for helping me this evening. You are very kind
to volunteer.”
Manchurian Candidate 61
…delivered tongue in cheek, as he is directed to the front of the
group.
“First, I would like for you to take a few deep breaths and
hold them for a couple seconds and then release them. Clear your
mind.”
This is done as described.
“Now, I am going to say a few words and a picture should
appear in your mind. Don’t resist it; just see in it black and
white first, then in full color and detail, as well.”
The performer states…
“Red”
“Dismay”
“Square”
“Now record the picture that you now see in your mind.”
The performer hands the helper a large pad to record the drawing
and image. It almost seems that the participant enters a trance and
then begins to complete a picture. The helper reveals his picture to the
performer and the audience.
The performer smiles, but says nothing. He picks up a large dry erase
board which has a picture already on it.
“There is no way that I could have influenced you, is there?”
The picture is shown to all and the details are amazing similar. There is
a set of waves, a sailboat and a smiling sun. It is staggering.
There is a pregnant pause.
Contemplations62
“Obviously you feel that I have somehow planted these thoughts
in your mind; don’t you?”
That picture you just drew just popped into your mind just then?
He replies “yes”.
“In fact, you haven’t volunteered at all, have you?”
The performer continues…
“In all honestly, I asked you to help me prior to the beginning of
the show. Is that completely honest?”
The participant answers;
“Yes, that is true.”
The performer states;
“In actual fact, nothing has been set up, but I asked you to
participate in a very strange experiment, haven’t I?
“I put you in a relaxed state and said that I was going to say
three words and then I wanted you to forget them.
Correct?” asks the performer.
“Yes” states the helper.
“I stated those three words and then asked you to picture
whatever felt right in your mind and lock that image in your
mind. Then I asked you to forget both the words and the picture
that appeared.”
The spectator agrees to each of the points made. The performer
continues to explain:
Manchurian Candidate 63
“It’s a strange feeling isn’t it? What is disturbing is that fact that
you were asked to forget both the words and the image, weren’t
you. You couldn’t do that could you? Like the first time I spoke
those three words, this picture just leaped into your mind again.
Correct?”
“It was unavoidable; right?”
“Yes!” He says
“Perfect”
Design:
Please indulge the follow theoretical comments before continuing to
the explanation of the effect. While these few sentences are brief, they
are extremely important in following the thinking behind this idea.
Imagine:
Saying three words and creating a picture in someone’s mind
Saying three words and filling the entire audience with a captivating
sense of mystery.
A digression:
Mystery and intrigue are two of the most powerful tools of the
mentalist. In this presentation, mystery abounds. Three words are
spoken and a picture appears in the person’s mind, ipso facto. Words are
powerful.
Three words can change everything: “I love you”, “now or never”, “I
hate you” or “ashes to ashes”. Each phrase holds a world of meaning
for the listener. Language is influence. This is the current flowing
beneath the cresting waters above, which lends strength to the premise
Contemplations64
and routine. It is not stated, it is felt. What is filled-in by the participant’s
and the audience’s imaginations is what creates the mystery.
The questions in their collective minds are:
“How can those words create pictures in someone’s mind?”
“What else did he do to cause that?”
“What did he do his mind; hypnotize him?”
It will appear that you have some hidden powers or ability to control
their thoughts, with some esoteric knowledge. To steal a line from
the celebrated Russell Crowe film, Gladiator, “Fear and wonder are a
powerful combination”. This looks like, and is, real mind control.
Let me give you an analogy from the world of sleight of hand. When
a magician performs a retention vanish, a coin is seemingly placed in
the other hand. While this action should be done with some logical
motivation for doing so (to free the other hand for some other
action, typically), the real source of the sleight’s effectiveness is not
what is completely seen, but rather what is filled-in or intuited, by the
imagination. There is a visible flash which attracts the eye, but the rest
of the movement is created by the viewer’s mind. This is the mind’s
capacity to interpret and generalize based on the information is it given.
It is a powerful, automatic function.
“Manchurian Candidate” is a mentalism correlate of this same function
of the mind.
Methods:
1. Pre-show impression device (of any kind)
2. Powerful psychological manipulation
Basically the method is the psychology behind saying the words, not the particular
words themselves. By giving them something to see (in this case, saying
Manchurian Candidate 65
three words that have no justification), they have to interpret your
actions. This creates a feeling of anticipation and mystery. However,
the reasons are different for the participant and the audience.
The participant:
First you will ask him to relax and take several deep breaths and tell
them that you will count backwards from ten. Once you have counted
backwards, you will say the three words and then tell him to forget
them. Instead, this will cause them to think about the words; it is an
embedded command. The reason why you would say these three particular
words is driving them crazy (with curiosity). There is a psychological
tension created by asking them to forget and then giving no reason for
saying those three words. For the participant, this tension will feel that
you have entered their mind by some hidden passage. It will unnerve
them a little. This is what we want. Finally, you will explain to them that
when you say those three words again, that same picture will appear in
their mind. You now tell them to forget all of this for now. However,
they cannot because they will long for a resolution that makes sense of
what has transpired. This builds a great anticipation and impact, in the
mind of the participant. When they are in front of the audience and
you speak those words, that picture will appear in their minds. Why?
Because you said it would. It cannot, not happen (the double negative
was intentional). Definition is creation. You have controlled their thoughts,
and as a result their mind. You scare me.
The audience:
For them, they see that you have spoken a few words and a picture has
appeared in the participants mind. This is true. This is the reason why
the routine is entitled, “Manchurian Candidate”. As in the movie, in
which a word is spoken, and now the person’s mind in now under the
control of another, so it is with this routine. The helper’s subconscious
mind awaits the figurative button to be pushed to create the desired
result. Strangely, this is really what is happening, but the result of
stating those words (for both the participant and the audience) is the
Contemplations66
emotional and psychological states we want to provoke. In this sense,
the picture is inconsequential. The emotional anticipation and the
psychological tension is the focus of our effort. We are forcing them
to care about the routine. They are heavily invested.
The picture itself:
Nothing could be simpler. As stated before, this is just the use of any
impression device. Have them draw the picture. Then go somewhere
and view the picture (captured by the impression device) and copy it.
It is wise to change some of the positions or details of some of the
items or things pictured. No-brainer. Just keep this on a poster board,
or a dry erase board until performing the routine. That’s it.
Filigree:
Keep the effect in mind: you are demonstrating mind control and influence.
This is not a drawing duplication. This is an important distinction.
This notion must be clear to you or speaking the three words makes
no sense.
I hope you have surmised that it doesn’t matter what those three words
are. If it is some kind of call-back (a reoccurring message or theme),
that is certainly fine. The point is the action of speaking the words,
not the words themselves. If the picture actually has some correlation,
then you are in the bonus round. If you can deduce a connection, ask
them if they can figure out how those words affected them. This just
adds reality to the premise, but it is by no means necessary.
This routine provokes an unsettling tension. This is great. If you do
not try to make connections between the words and the drawing, that
sense of mystery and intrigue will endure. I have been asked about this
after the show. It still lingers. This fact itself can be a great call-back.
Just randomly look at the helper throughout the show and say those
three words. Now everyone has that picture (whatever it was) popping
up in their heads. Toy with them. This will constantly communicate
that you are having fun, but you can tamper with their minds.
Manchurian Candidate 67
That last phrase is exactly how this routine emerged. I have a sadistic
thrill of creating that playfully disconcerting state, which this routine
invokes. I actually was getting a pre-show drawing from someone, for a
standard design duplication, and I just blurted out some words to mess
with the young lady’s mind. I knew she would feel that I was trying to
influence her, by speaking some words that didn’t seem to have any
relevance. I enjoyed the result, I think you will too. This routine is the
logical extension of that idea.
If it doesn’t suit your artistic needs to leave the tension lingering, and
you have made no connection between the words and the picture, let
me propose an idea. Perform the psychological (and statistical) shapes
forces of the triangle and the circle (see Psychological Subtleties). As
Banachek suggests, I draw the shapes in the air as I am describing
what I want them to do. When I reveal the shapes, they are again
unnerved. This time, I tell them and show them, what I did. I explain
that I drew the shapes in the air and this becomes the explanation.
You explain that this is the same type of idea (as the words influencing
their thoughts), but you won’t tell them any more. After all, you don’t
want to be responsible for some serial mind-controllers running around.
I like this because it ties the themes together and resolves the tension,
while giving them something to satisfy their curiosity… though not
completely. The choice is yours.
Inspiration:
Wonder Words CDs, Kentonism (Kenton Knepper)
Psychological Subtleties (Banachek)
Pure Effect (Derren Brown)
AS IF
A Mentalist’s Tool
I often hear new mentalists asking about methods to practicing
mentalism. Since this craft is a contact sport, a safe way to practice is
hard to find. There is no substitute for practicing routines and then
performing them for real audiences. None (read that again before we
continue). That said, I would like to mention an additional tool. It is a
technique called Acting as if. In actual fact, I would like to suggest two
methods which are akin. The first is a therapeutic method, the other
complimentary technique.
While I cannot claim originality for these methods, since I have stolen
them from other professional disciplines, I am confident they work.
These other crafts include: professional sports, sales, public speaking
and acting, among numerous others. So what is this other method? It
is visualization. Why do I think this is valuable?
You are probably aware that visualization is commonly used to increase
confidence and proficiency for one simple reason…It works. I have
used this technique to aid my performance in numerous aspects of
my life. This technique works because our subconscious mind cannot
As If 69
tell the difference between a real memory and vivid fabricated image.
It’s true! If we picture ourselves delivering a perfect performance and
relive that performance in our minds (over and over), we are actually
shaping our subconscious mind to replay that scenario in real life. As
we experience our real successes and combine them with our visualized
performance, we are strengthening our confidence.
How do you use this method? You picture a real performance and
then “overlay” improvements (that you can think of after the real
performance). In other words, walk through the presentation with the
sounds, images and people in your mind and visualize them with the
improvements and changes. The more detail you infuse in your session,
the better. However, this is not yet complete. You need to add emotion.
Emotion is the language of the brain. Add your enthusiasm (not your stage
fright) and your excitement. As you “walk through the image”, realize
how the performance makes you feel… honored, proud, and engaged?
To help this technique work, you must include this element. As you use
this method, you must repeat this “positive imagery” again and again.
To your subconscious mind, you have performed perfectly every time.
Try it, this works (it does for every other profession). This is great, but
we are only half done.
What about real performances? How does this help (since our practice
efforts and preparation can only be proven by the fire of reality)? This
is why we use the common therapeutic tool acting as if. In counseling, a
therapist often instructs someone with a perceived deficiency to act as
if they were not bothered by the troubling concern.
Example: A reserved, self-conscious person is asked to act as if they are
out-going and confident. With this technique, they imagine that they
are already the confident person that they want to be. The result is
that they behave in a manner consistent with the person they pictured
themselves to be. Thus, each new confident experience is positively
reinforced by the successful interaction they desired. This in turn,
provides the real confidence they needed all along. The subject simply
needed to believe that they could be that “better” person, first. Then,
the behaviors and the results follow.
Contemplations70
This is a great way for performers to gain confidence, as well. Feeling
follows fact. Act like a confident and effervescent performer and
you will behave like one. Then, you will begin to feel like one. Your
confidence will grow. The visualization and the belief go hand in hand.
As we imagine ourselves as the performers (and people) we would like
to be, we are giving our subconscious minds the blueprints we need
to act as if. Since some may scoff at this method, I would like to refer
the reader to the esteemed Magician, Eugene Burger for confirmation.
In his essay, Negative Thoughts, he suggests that our problem with
confidence is the over-whelming number of negative self-statements
(or “negative mental rehearsal”). Since the subconscious mind doesn’t
care whether our self statements are real or imagined, the replaying of
negative experiences or visualized potential failures are both serious
obstacles. Defended our thoughts with visualized positive rehearsal
techniques instead, will counteract this destructive habit.
Though nothing can replace real, successful performances and
interaction, I honestly believe this technique has helped me in both
my professional career and in my performances. Give it a try. It is free
and it’s fun!
Illuminati
A delightfully pure effect with a dollar bill
Vision:
As you may know, “Washington Deceived”, from Ponderings, is a quirky
effect that seems to have a polaric response from readers. Either people
are smitten with the strange structure and the uncanny revelation or
they are entirely disinterested. I am confident that “Illuminati” will
garner a similar response. This too has a similar two-phase structure
and shares half of the methodology, thought the gestalt is entirely
different. The result is a purist’s approach to a mind reading effect with
dollar bill.
Edifice:
The performer addresses his onlookers:
“I really enjoy performing effects with common, everyday items.
Unlike magicians, a mind-reader takes pride is his ability to use
simple, uninteresting items to perform his experiments. Mind
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reading requires that one hone intuition, instead of sleight of
hand.”
The group seems genuinely interested in hearing about the methods of
the mind reader, so he continues on.
“Each of you remove a dollar bill, but keep it hidden from me
for now. Fantastic. It is wonderful to see that some people still
have good-ole’ paper in these days of plastic.”
The performer addresses one woman. “Would you mind helping me
today?”
She obliges him and agrees.
“I am going ask to you to take a leap of faith and just give this
a try. I want you to read the serial number from your bill and
then we’ll continue.”
She responds; “F12301787B”.
“Thank you for doing that. I would like to attempt an experiment
with your intuition. I am confident that you will do well. If not,
it’s okay. Just give it a try.”
The performer explains that he is going to write down one of those
numbers. He does so and then sets the piece of paper on the table,
writing side down. It is apparent that this is meaningful and that a
decision has been made.
“I have just written one of those numbers down. I do not want
you to try to logically figure out which number I have written, just
let your mind settle on a number that feels right. It should pop
right into your mind. Now; do you have it?”
She nods her head in agreement.
Illuminati 73
“What number popped into your mind?”
She responds, “Three”
The performer just smiles and asks her to turn over the paper. The
number three is written there. She and the group-members are
obviously pleased with the result.
“See, I told you not to worry. As you use your intuition, you
will be amazed at what you can accomplish. In fact, you can
develop this skill to envision much more elaborate ideas; like
people, places or things. Since you still have your dollar bill out,
let’s use that.”
“Somewhere on the bill, there is a blackish-green circle. Inside the
circle I think you will find the name of a city. Please read that
now. If you have been there, please picture this location in your
mind. If not, just imagine what you think it would look like.”
She does as instructed and pictures the location in her mind. The
performer obviously is focusing his intuition and remains silent. After
a moment, his face appears as though a light has just come on in his
mind. He starts to explain…
“I see large buildings, a lot of cars and a stadium. This could be
anywhere though. However, there are many smiling faces and I
see people walking around on a warm day. This must be a kind,
southern city like Atlanta, GA, isn’t it?”
She covers her mouth as she laughs. It’s correct.
Design:
This effect is the first cousin (once removed) of my routine in Ponderings.
I still use the memory effect version, “Washington Deceived”, but I
really like this as well for a number of reasons. Sometimes, you really
don’t want to have to memorize a set of numbers (sometimes we all
Contemplations74
are lazy) is one. I also prefer this version for an over the phone effect.
Both this and my “K?NT” routine are effects that really feel like real
mind reading.
What’s more, neither of them requires much work on the part of the
performer. The caveat: there are psychological games afoot. However, the
odds of success are much better than what they would seem at first
glance. Like “Reflexology”, this routine will end with a powerful punch,
even when things do not go as we would wish.
The next few sentences are going to sound strange. I did not write this
up and include it in Ponderings, because it was kind of hard for me to
explain what I was doing. It just seemed to work. I was aware of the
ideas at play here, but I guess I had absorbed these principles prior to
really thinking about them. I just intuitively knew what numbers people
were going to choose. I know this seems coy, but I am being honest.
A number of people, including some magician friends, witnessed this
effect and really didn’t know how I did it. I wanted to work backwards
and explain the process that was going on in my mind. It works far more
often than you would imagine. I also didn’t know if I wanted to ever
publish this either (for the reasons mentioned above). However…
Here is the full explanation:
There are two effects (and methods) in play in the routine.
1. The spectator can intuit your thoughts.
2. You can visualize, therefore name, a location envisioned by your
participant
Effect One: They read your mind.
Method:
When they read the eight numbers out loud, just pick the one that stands
out in your mind, and most often, it will be the one that stands out to
Illuminati 75
them as well. In other words, you pick the one that they will probably
pick. Then, you will say that is the one that you are thinking of (which
you are). This really does work. I have shared this with only a few
friends and they have found similar results. I did not publish this prior
to now because it took me some time to articulate the mental process
behind its effectiveness. So here’s a look under the proverbial hood:
A purists approach: Several psychological “rules”.
I have regular success with this technique, which is not truly one
method, but several psychological probabilities working together. This
allows them read your mind. That point is key. Basically, you will use
these following guidelines to genuinely predict what number they will
think of. In essence, you are guessing what they are going to guess.
Here is how:
As you may know, a US dollar bill has eight numbers. For the time
being, consider these “X’s” below as numbers. For the moment,
the numbers themselves don’t matter, just the positions they hold:
X-X-X-X-X-X-X-X
We know that when a set of five items are lined up, people will tend to
choose items in the 2 and 4 positions, statistically speaking. Yes? We will
apply that same spatial preference to the serial numbers. This results in
certain numbers being chosen because of their position, as well as the
appeal of the numbers themselves. In other words, numbers appearing
in positions 2 & 3 or 6 & 7 will tend to be chosen most often. I have
found this to be true. In other words, these positions (shown in red
below) are the most psychologically appealing positions:
x-X-X-x-x-X-X-x
To test this, just ask people to name any number on a serial number
and see if their answer falls in line with what I have said here. I am
confident that, statistically speaking, you will find the same result. We
are not yet concerned with the values of the numbers falling at those
four positions just yet, just the positions themselves. Nice isn’t it? We
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have already reduced the number of choices by 50% without even
trying. Now we will add two more rules that will help us select which
number they will likely choose. Here they are:
1. Never choose a repeating number
2. Never choose a zero.
Our example was: “F12301787B”, which really means 1-2-3-0-1-7-8-7
Thus our probable choices are the numbers: 2, 3, 7, and 8 (due to
the probability of them choosing a number from our four target
positions)
Now reduce those using the rules above and we are left with probable
choices of: 2,3,8
How?
Remember, we do not choose 7 because is repeated elsewhere in the
serial number.
So how do we get to the final number? After the process above reduces
the eight numbers down to the most likely choices (in this example,
three), you now choose the number that stands out to you. If it stands
out to you, it will probably stand out to them. If you have toyed with
probable choices among digits from one through nine, you will find that
odd digits are typically preferred (like three, five or seven). However,
we have one more nuance, a suggestive technique, in our favor.
A written suggestion:
When you write out your number, do not be overt, but just write
down the number in front of them. You don’t allow them to see what
you are actually writing, but allow them to pencil read your answer (by
the movement of your writing utensil). While they should not be
consciously aware of this, it should help them zero-in on the number
you wrote down. The probabilities of choosing numbers at certain
Illuminati 77
positions, the rules above and then this subconscious pencil reading,
all work together to help you (read: them) to be successful. While any
one of these may not be sufficient on its own, combined with the
other ideas, this really helps.
If all has worked optimally, you congratulate them on being brave and
offer to try something yourself and move on to Effect Two.
Notes on Effect One:
If you want to hedge your bets when you write your chosen number,
choose another number from your final group first and then cross it
out. This way, you can express you enthusiasm for either response,
since they picked up on either your first answer or your final selection.
They will just remember being correct later.
Obviously, serial number sequences will not always work out to be
exactly like the process above. Just use those rules to reduce the
numbers to as small a group as you can. Then let your genuine intuitive
ability work. They take the credit for the success or failure either way.
This has been a personal favorite, but it requires a little courage the first
couple of times to give it a try. It just feels like mind-reading should.
Effect Two: You Politely Return the Favor
(and read their mind).
This methodology is the same as the one featured in “Washington
Deceived”. Succinctly put, the first letter in the sequence of letters and
numbers tells you what city is listed in the Greenish-Black seal. They
are as follows:
A - Boston
B - New York City
C - Philadelphia
D - Cleveland
E - Richmond
F - Atlanta
G - Chicago
H - St. Louis
I - Minneapolis
J - Kansas City
K - Dallas
L - San Francisco
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Either carry a cheat sheet or create your own mnemonic associations
to help these be stored in your long term memory, to be ready at any
time.
In the example in the script the serial number was: F12301787B
The first letter is “F”, so the city will be Atlanta.
The rest is visualizing the city you have determined and then describing
what you see in your mind. It is certainly better if you have been to
these places, but if not, don’t fear. A few Google searches and you will
have a mental image of each location. Isn’t the internet beautiful? Just
take your time feeding back some of your mental image to conclude
with the name of the city. Mind reading could not be easier.
Filigree:
You will find that “Illuminati” shares a favored structure of mine.
This blueprint ensures that you will have concluded successfully, but
welcomes the opportunity for perfect mind reading moments. These
moments will allow you to share the glory with your participants, but
there will be no explanations. Even if the first effect does not go as
planned, you will still always successfully demonstrate your abilities.
Of course, the first phase could be done by letting them write down
the number they think you are thinking of, then use Pencil Reading
yourself to after-fact your answer. If you are not familiar with the
technique, the Old Testament of Mentalism is the place to go (Thirteen
Steps to Mentalism, by Corinda). There is also a number of comments
regarding this technique in the works of Annemann. This really is a
secure routine to improve pencil reading techniques. One could also
use a swami or nail-writer as well.
You could also use either of these techniques for an intermediate phase,
if they do not get the first phase correct. In other words, if the first
part doesn’t work, you can say that you will try it on them. You will just
pencil read or use a nail-writer to cheat. This will lengthen the effect
Illuminati 79
and let you demonstrate the ability that they just tried (only you will
succeed). I honestly don’t do this, but it is an option that I am sure will
appeal to some.
If you decide to use “Illuminati”, you will always have a mind reading
effect within a wallets reach. I really like knowing that I am always
prepared for the moment. In this routine, each nuance improves your
chance for a successful outcome. Though each may not be sufficient
on its own, they all work together to great result. In this routine, these
small advantages are; the preferred spatial positions, the trend of preferring
some numbers over others (like 3 or 7), and the fact that they can subtly
observe what you are writing, all work together. This occurrence will happen
much more often than statistics would suggest. Try it.
Inspiration:
Psychological Subtleties (Banachek)
“A Darker Dai” 7 Deceptions (Luke Jermay)
“Terasabos” Haunted Magic/ Psychological Subtleties II (Rick Maue)
“$” (Bryn Reynolds)
This is an excellent presentation which uses similar features of
American currency. It is still available from Bryn. Check it out.
“Divine Number”, Triangle (Patrick Redford)
Patrick’s wonderful routine is an impressive routine which I am sure
would have an astounding effect on the audience. Triangle is a wonderful
bok in function and form.
REGARDING ROPE
A Parable
Once upon a time, there was a kind and gentle soul who traveled
the vast wilderness in search of an inexorable wonder. Though his
heart was heavy from the disappointments of life, he set out to find
what mystery might await him in the great and wonderful outdoors.
He trekked beyond mountain chains, witnessed majestic sunrises and
labored though black forests, but never found a true enigma.
After years of travel, his heart wearied and he began to feel he would
never uncover what he had set out to find. As he traveled over yet
another hill and forest, he came across a lush and verdant expanse.
He expected nothing unusual for he had seen many fields before.
Nonetheless, he found that his heart was gladdened by the waves of
green grass and the aroma of a sunny day after a fresh rain. But then,
he saw it in the distance.
At first, it appeared to sway and glisten as a silky web in the sun or
maybe a fishing line dancing over the water. As he stepped closer, he
could now clearly see that what he had found was a rope hanging from the
sky. It was a true mystery.
Regarding Rope 81
He could not repress his wonder. He could not be sure how much time
had passed as he stared up the seemingly endless rope. The traveler’s
thoughts eventually fell on the origin of the rope itself. Had anyone
else discovered it? Who had put it there and how had they done it? The
now sun drenched and intrigued traveler contemplated the mysterious
nature of the rope. It had so engrossed his thoughts; the obvious
question had escaped him. What should he do? Hours passed by with
no other thought.
Then, at once, an epiphany. He reflected on the span of his travels
and the purpose of his quest. He smiled and then peacefully decided
that he was perfectly content to return home, satisfied that he had now
seen a true miracle. His heart was gladdened.
Summer Turns to Fall
Unknown to the previous traveler, a young woman had also set out on
a similar journey only to find the rope months later. She too, in spite
of her young age, was weary from the musings of a mundane world.
She felt nothing in her small life offered her the thrill of the unknown.
She too resolved to find something more. While traveling through the
bright and wonderful shades of Fall, her heart smiled as she passed the
burnt orange, golden yellow and earthen hues.
The maiden traveler also happened upon the meadow and in the
distance she saw something clinging from the clouds above. It was a
rope hanging from the sky. She too contemplated the nature of the
rope. How could this be possible? Stepping closer to the rope, she
quickly realized that she now must make a decision. Unlike the first
traveler, who simply looked at the rope, surmised its existence and
then traveled on, she wanted more.
She decided she would risk uncertainty. She set down her backpack and
all her remaining earthly goods. At first, she gently touched the rope,
acting as if might respond in kind. Nothing happened. After a few
minutes had passed, she grasped the rope and felt a quiver inside. She
didn’t know what to expect. She galvanized her will and then pulled
Contemplations82
the rope with all the strength she could muster. The rope barely moved
nor did it fall. In fact, she didn’t even hear a sound. Even the silence
felt a mystery. While nothing had happened, a warmth grew inside her.
Somehow, this small, but brave action gave her a quiet joy. She paused
for a few more moments and then suddenly picked up her possessions
and began the journey home, gladdened that she had found something
beyond a full explanation.
Fall Begets Winter
Finally, a third traveler with a young and intent soul, passed through
the snowy wood. He too, sought an adventure with a “Waldenesque”
yearning. He needed to abandon the beaten path and find his own
road; a hidden one full of the joys of undiscovered knowledge.
At first he couldn’t see it. The reflection of the sun against the blistering
white ground watered his eyes. He nearly walked into it, but there it
stood… the mysterious rope. Something stirred within him. Hours
faded from thought as he stood there petrified, though not afraid. He
considered the rope and all its wonder. The rope extended farther than
his eyes could strain to see. It even seemed to pass the source of the
gentle, falling powder, which salted his course and lengthened hair.
The man had a stout heart, so a mere inquiry would never be good
enough. Questions drenched his heart and his mind. He was amazed
that he could not see the end of the rope or from where the rope was
secured. His newly blazed trail yielded its harvest; a mystery indeed.
He looked at the rope one last time and then with reckless abandon,
dropped all his belongings and tightly clinched the rope. He did not
shake nor was he apprehensive. He just felt a space in his soul being
filled as he began to climb the rope until he could no longer be seen.
And he never was again.
A truth:
What an interesting way to make a point. As with all parables, there is
a truth within these lines. It is this:
Regarding Rope 83
Our onlookers are wearied travelers. They have searched for a
true wonder, but have only been disappointed thus far. They have
seen meaningless displays, embarrassing jesters and lacking (and
transparent) TV performances that have only added to their doubt.
Even the performer they saw at that wedding or cocktail party was
instantly forgettable. Nothing seems a real mystery. This is because they
want to believe. Yes, I truly feel people want to see something mysterious.
I agree with the thoughts of Tommy Wonder. It’s not that the effects
seen are too perfect; instead they are not perfect enough. I believe we
help our viewers by giving them something to believe. This gives our
presentations traction and our illusions an opportunity to take root in
their hearts and minds. They are pleading with us for more, something
that isn’t trivial. They do not want to be disappointed. Inspire them.
Our audiences have traveled through proverbial, yet treacherous hills,
mountains and valleys searching for the extraordinary, but they do not
know it. How can we help? Give them something to believe (at least
for the duration of the show).
This is why I am convinced a plausible rationale is so important. This
is how this truth relates to the parable. A plausible rationale is the proverbial
rope. A (nearly) believable premise is the mysterious rope hanging from
the clouds.
A plausible, but imaginative rationale, like a rope hanging from the
heavens, cannot be ignored. Once encountered, it has to be considered,
contemplated and finally, acted upon. That is all that we need. One
moment of genuine contemplation is enough for the illusion to take
root. Forcing our viewers make a personal decision requires active participation.
This helps us infiltrate their jaded hearts and allows us the opportunity
to offer them the mystery they have been seeking. How can I make
this lofty claim about a rationale? To prove my point, consider each of
these three possible responses to our rationale, just as the three travels
had to decide how to respond to the rope, our audience members must
each decide how to respond to what we present.
Contemplations84
1. They see it, consider it, then decide to continue on, doing nothing
else.
2. They see the rope, contemplate it, and grab hold of the rope
3. They look, consider and then climb the rope.
In the First person; we observe the participant who merely considers our
illusion. This person decides they don’t quite believe our explanation,
but they decide they do not necessarily care. They have invested enough
of their thought and energy to just accept the mystery, though maybe
not the rationale. Their hearts are gladdened, but decide to give up
grasping at an answer. They are content to travel on. They just enjoy
what they see.
The Second Person represents the participant who accepts our premise
enough to give into the illusion. They decide that they accept our
notion and decide to take mental action. They invest some action…
this is the important part. They do more than just acknowledge, they
act on these ideas. In their minds they grab on. They represent our
onlookers who believe for the duration of the evening, but do not fully
let go and yield to the mystery. They will rationalize your effects later;
though they invest enough to test the waters of our presentation.
The Third Person is the pinnacle goal of the performance. This person
absorbs themselves into the illusion. You will often find that this person
will remain after your performance to inquire about your skills and the
esoteric mysteries of the mind. This person is fueled by the passions
of the unknown. Your premise gives them reason to hold on and enjoy
the moment. For these people, the mystery will endure. While, I do not
suggest a Grand Deception (one which changes the mindsets of our
onlookers), instead I like to use the illusion to speak to the truth. This
truth is; we do have truly miraculous minds. I just want them to stare
this miracle directly in the eye.
In each of these examples, our onlookers stop long enough to invest
mental effort into considering our illusions. They become more than
simple viewers, they are participants. Regardless of their ultimate
response, they must decide. This is the power of an implied or offered
Regarding Rope 85
rationale. It occupies their mind long enough to take root, which also
serves to distract from the sometimes ugly truth (these are tricks of
the mind).
While our premises may not be fully true, they certainly can reflect
something true in us. They are amplified illustrations of things we
believe about ourselves and others. There is more to us than what
meets the eye. Like a rope in hanging from the sky, our rationale speaks
to something mysterious at work beyond what we can see. It invites
them to hold on.
BEYOND TOUCH
A Perfectly Structured Color Sensing Routine
Vision:
Effect: The performer demonstrates a series of progressively more
impressive tactile intuition feats.
This is a powerful routine. I have loved color sensing routines for years.
I especially like the published works of Ian Rowland, Lewis Jones and
Pit Hartling. My routine plays like the real thing and has a back-stage
element that leads the participant down the garden path, so you pull
the rug out from under them. It is one of my favorite effects which
uses playing cards.
1. It is technically easy, yet effective
2. The differing methods cancel out any explanation
 3. This renders vulnerable moments psychologically invisible
Beyond Touch 87
Edifice:
The performer discusses the fact that a number of people have claimed
to have the ability to be able to see with their fingertips.
The performer continues:
“They would simply press their fingers against a surface of unseen
writing or print and could thus determine certain attributes and
information with ever having laid eyes upon it.”
“While I remain a skeptic of psychic phenomena, I certainly
cannot argue with the appearance of that paranormal ability.”
“I have honestly spent years researching and developing this
elusive ability. To practice this, I would shuffle cards and then
simple feel the face of the cards and try to intuit the correct color.
For years, I only seemed to get it right about half the time (which
statistics would bear out)”.
“Finally, I stopped trying to figure out the color of the cards.
I just let my fingers touch the cards and waited. I began to feel
something that was almost intuitive. I couldn’t tell if I had been
trying too long, but I started to feel a slight sensation; it could
have been an intuitive pulsing or feeling. I stopped trying to feel
and guess and just began sensing. Sometimes it takes a bit to
warm up. Let’s give it a try. Please shuffle the cards for me.”
The performer motions to have the deck returned to the table. The
participant does so. The performer keeps his head turned away and
genuinely does not look in that direction. Now the performer asks the
helper to remove one card while the performer’s head is still turned
away. It is held with the face down or held away from the performer’s
view. He extends his fingertips and proclaims that the card is “black”,
while touching the face, though he has looked in that direction. It is
correct.
Contemplations88
“Interesting, isn’t it? Let’s try again.”
Now the performer continues to touch the cards and reveal which color
the cards are, with increasing speed and without error. The performer
looks at the participant with a coy, yet knowing smile. He continues to
explain that the secret to developing this technique was not in feeling
one card at a time. Instead, he feels several cards and learns to develop
sensitivity to the difference between them. That has been the key to his
increased intuitive success.
“You may think I can see through the cards, or maybe the cards
are secretly marked; they’re not. I’ll prove it.”
The performer asks the helper to:
“Look through the cards and take out six black number cards.
Cards with faces can be a bit to hard to determine”.
“Now please take out six red cards as well. You can place these
on top of the black cards you have selected.”
He does as instructed.
“Great. Thank you!”
“Now I will turn away and would like you to pick up the 12
cards and deal two hands of six cards. You can either deal the
first six cards in one location and then deal the last six in another
pile or you can alternate back and forth, like dealing two hands
of poker with six cards. It’s your choice. Please do that now and
keep them in two neat piles.”
The helper completes the two hands.
“Now you have yet another choice. Please place one pile of cards
on the other. It’s completely up to you.”
Beyond Touch 89
“Great! Thank you.”
The performer turns back around, picks up the cards and now gives
them a shuffle and states:
“Now, neither of us could possibly know the order of these
cards.”
The performer now lifts the tablecloth, keeping his eye pointed
elsewhere and places both hands and the cards, under the cloth.
“Obviously, the cards are completely out of my sight, there is no
way I could see what color each of the cards are. This is exactly
how I would practice. I would take a mixed stack of cards and
then try to find one red and one black card at a time. I kept doing
this until I could feel the difference.”
With his eyes still turned away he begins to do so. Without looking, he
removes pairs of cards which contain one of each color. He is correct.
Then he taps on one of the faces and says “that’s the black card isn’t
it?” Again, he is correct. He continues to do this and removes pairs
of cards that are sets of one black/one red. At any moment he reveals
which cards is which, though he does not do this every time. Both the
performer and the onlookers are ecstatic.
“It’s a wonderful feeling. I can’t tell you how long I worked on this.
What’s really strange is that I can’t really describe the difference.
It is a sensation that can only be experienced, not explained.
After a while I started to place my hands on top of the tablecloth,
towel or my jacket; whatever I had available. I began to be able
to place my hand over the cards and began to experience the same
sensation. It was actually a bit of a frightening discovery. Then
I wanted to see how far away I could sense it. The furthest away
seems to be a few inches. I was able to do the same thing through
some tabletops.”
Contemplations90
The performer asks the helper to hold the deck under the table and take
cards, one at a time, off the deck. He instructs him to hold that card
at a specific place, under the table. He does just that. The performer
places his hand over the spot, then acts chagrined for a moment and
states:
“Something doesn’t feel right.”
The performer pauses and then his eyes light up with a realization.
“Oh, you have the card facing down don’t you. Please press the
face of the card towards the tabletop.”
The helper smiles and then turns the card facing his hand (under the
table). Now the performer begins to reveal the colors of cards that are
placed under his hand a number of times. Each is proved to be correct.
He claims that he just cannot continue to keep it up and asks to stop.
The helper asks him to keep going, he is having so much fun reveling
in his disbelief. The performer acquiesces and continues on. He finally
states.
“Seriously, I can’t keep this up. Let’s try one more card.”
Now, one more card is placed under the table and the performer begins
to name the color and begins the state a bit more.
“It is a red card and it has around five or six spots. I can sense
them. It is six and the shapes are hearts.”
He exclaims, “The card is the six of hearts, isn’t it?”
No one is more pleased than he. The people at the table are smiling,
laughing and are completely stunned. The performer calls it a night!
Beyond Touch 91
Design:
For years now, I have enjoyed toying with the “Color Sensing” ideas
of Ian Rowland, Pit Hartling, Michael Weber and Lewis Jones. I loved
them all for their own reasons. I am a restless soul and I needed to
combine some methods to create a routine that suited my personal
goals.
This routine was formed through my experimentation with the ideas
of the brilliant gentlemen previously named. This subtle combination
of these, in-print methods have proven to be very powerful in
performance. I often find myself often following the rule of three and
as such, this routine utilizes three different methods to accomplish a
unique “gestalt”. I wanted to share this routine for the simple reason
that I have had so much success with this.
Before you read the explanation and the methods, re-read the text and
then try to figure out how these details can all be true. How would you
accomplish this routine, if you had to work it out?
I’ll wait…
By the way, I know you didn’t re-read the presentation. I am a mind-
reader, after all. “Beyond Touch” is one of my most powerful close-
up demonstrations. It feels real to everyone watching. There are very
few mental card routines that I have found that produce an equivalent
feeling of realism and disbelief. With “Beyond Touch”, there are no
explanations! That has to be the final conclusion of those witnessing
your performance.
You will use the following methods which cancel each other out and
add texture to the routine. Each sequence has been carefully planned
to maximize deceptiveness and to enhance the presentation.
Phase One: Single Cards
Method: Subtly marked cards
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This method is as old as playing-cards themselves so I cannot offer
any reliable crediting. You will prepare half of the cards with a subtle
mark on their backs. I have not seen anyone else mark cards in this
fashion, but I wouldn’t dream of claiming originality. Once the cards
are marked, you can tell at a glance which color the cards are (marked-
red, not marked-black). The use of marked cards will be extremely
effective, psychologically speaking. Since we will use a different method
during each phase, marks cannot be the logical conclusion. They will
also provide some extra convincers later.
I have devised my marks with red, “Rider-Back” Bicycle brand cards.
The marks are best made with the red Sharpie brand, felt tip marker.
This combination (though probably any could be worked out) seems
to be the most effective. We need marks that are plain as day to us, but
invisible to our onlookers. I think I have found the perfect solution.
Here is the real work on the marks:
Remember, we only have to mark for color, not suits or values. So
we only have to mark half the cards. I make my marks by coloring-in
one of the birds, in the lower right side of the circle on the cards (see
picture). This is lightly colored in, with slightest of pressure from the
marker. This is done at the top half and then turned 180 degrees and
repeated. This way, it won’t matter which end of the cards are up.
Now you slightly smear the mark, with a finger tip, to blend in the color.
This helps solve the greatest obstacle to using marks on the backs of
cards, which is angular sheen. This is the difference in glossy shine, or
finish, on the back of the card when they are marked. That’s one of the
biggest tell-tale signs of marks. Once again, with this marking method,
you will solve two of the problems inherent in using marks:
1. Visibility and readability
2. Invisibility and reducing the angular sheen.
Problem solved. You will love using this because it is completely
unnoticeable and yet you can see it from a good distance away. I think
Beyond Touch 93
you will be surprised by how well you can read these, even from a
good distance. This is because you are looking at a general space, not a
specific, hard-to-read- area. This is very deceptive and workable.

Black CARD Red CARD

For the first demonstration, you have them shuffle the cards and
remove one card of the now-shuffled deck resting on the table top.
You genuinely do not look at that card, the marks or anything. You act
obsessive about this. Once the cards are shuffled and placed on the
table, you keep your head turned away the entire time. You now touch
the face of the card, feel it, and then name the color. How you ask?
You just guess on the first one. You have built up so much tension that
this is the time to keep everything consistent with the premise. You
have a 50/50 chance, so let Madame Luck smile upon you. If you are
right or wrong, it is only natural for you to turn around and check the
results. This is now the time for dirty stuff. While you turn around to
see the result, you will look at the deck and glimpse your mark for the
next card. You simply work one behind. This was designed for me to
make the most use of the natural “crescendo” and “de-crescendo”. We
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will set up the controls for the experiment, simultaneously provoking
tension. Then, we break the rules directly after we have complied with
them. The tension is released with each success or failure and that is
when we will peek the next card. I will typically only do 5 or so cards
before moving on the next phase.
Phase Two: Undercover (The Red/Black Pairs)
Method: An amazing self-working sequence.
This phase is kind of a back-stage look at how one develops this skill.
The “how” is where a lot of the interest is inspired for your audience.
No, it is not the truth (but this is for entertainment purposes). By
letting them in, you are creating interest and setting them up for the final
phase.
This is a beautiful method, which comes from Lewis Jones’ routine,
“D.O.P.”, from his book Seventh Heaven. It is a three-phased work of a
genius; thanks Lewis. With his gracious permission, I have incorporated
the first phase of that routine, with other methods and subtleties.
This is not only a brilliant method to accomplish this phase, but the
sequence sets us up for the final phase that I call “Beyond Touch”,
which is based on the fabulous routine of Pit Hartling. That will be
explained later.
You will ask the helper to take half of the deck and remove six black
number cards (non-royal) and place them in a face-down pile on the
table. They are then instructed to do the same for six red cards. It
is important that you have them do these separately. You are buying
some time here and doing this sequentially keeps you from having to
separate the cards later. This also safeguards against a spectator who
is nervous or not paying careful attention. It also makes sure there
are an equal number of cards before you proceed (six of each). Once
they have selected six black cards, they do the same with six red and
then place them on top of the black cards. This creates a twelve card
packet.
Beyond Touch 95
Now, you turn away while instructing them to deal two piles of six
cards, out of the twelve card packet. They can either deal in back and
forth succession or deal six cards in a pile and then six in another.
Then, your helper is instructed to place either six-card packet on top
of the other. Which pile is placed on the other is up to them. Finally
they have created one, apparently randomized twelve-card packet
You now face them, pick up the cards and execute the following shuffle
while delivering the PHASE TWO script.
The shuffling sequence (a modified overhand-type shuffle):
Singly run six cards; then drop the balance on top. Do this twice. Due
to the nature of Lewis’ ingenious principle; this does not affect the
outcome. You should not comment about this or look at your hands,
while shuffling. This should be done while you are discussing the phase
to come.
If you have followed the procedure described above, you will find an
amazing discovery. If you take one card from the top and one card
from the bottom of your 12 card packet, you will find that they are
in one black/one red pairs; every time. This is a wonderful self-working
principle.
Your job is to place the cards under any covering (jacket, tablecloth,
towel, etc) and then act like you are trying to determine the colors of
any two cards, while actually taking one from the top and one from the
bottom. Occasionally, I will remove two and then take one back under,
pause and remove the same card. I want them to think I changed
my mind. The following is another subtly that will sell your amazing
ability.
Knowing which card is which:
With Lewis’ method, you know that each removed pair is comprised
of one red/one black, but you don’t know which is which. After you
have shown them the cards, you will now reveal the color. Now you
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will momentarily turn around to look your viewers (in their eyes) to
confirm that you have done it. This is when you now glimpse the back
of the far right card (of the two card fan), which is held in your line of
sight. This will tell you which card is which. You now tap on the face of
the appropriate card and say, “this was the red card; isn’t it?” (Whichever
card is red). Although you can repeat this convincer, don’t overdo it.
A couple times is fine. While just an option, this is a very effective
subtlety that I have added to Lewis’ method, which makes use of the
marks. Every nuance helps.
You continue removing top and bottom cards until all twelve are
exhausted. You certainly want to state that it is obvious that the last
two cards are a red/back combination. You may want to save one of the
“knowing which color” revelations for the final two cards. This helps
with the lack-luster revelation of the final pair.
Phase Three: Beyond Touch
(Color Sensing Through the Table)
This is another in print method that was created by Lewis Jones. Later,
Pit Hartling published his excellent handling in his fantastic book, Card
Fictions. This is a personal favorite. In fact, Pit was the first to publish
the brilliant idea of sensing the cards through the table, though he
credits Michael Weber with the idea. I appreciate Michael’s and Pit’s
willingness to allow me to publish my variation.
While this has been used before in the sited routines, I do think my use
of this method is framed in a novel way. Pit’s excellent color sensing
routine required the performer to look through the deck, while toying
with the cards, and then force to target packet on the participant.
I wanted to eliminate that procedure. This is the part of this routine
that I am most proud. During the part in phase two when you have
them take half of the deck, you simply pick up half of the deck first.
You will now “mime” or act-out what you want them to do.
Beyond Touch 97
As you say, “take out six number black cards”, you will spread through
the deck and memorize the top nine cards color sequence with Lewis
Jones’ brilliant Pattern Principle, also called Red Alert. This will be easy.
In a moment, I will fully explain how to do it and what it is. If you can
remember three letters like O.O.U, then you can do this.
While they are picking up the half-deck, looking for six black number
cards, then red, you have all the time to spread through the cards, do
the memory work for the first nine cards and then remember the value
and suit of the tenth card. To do all of this you will spread cards in
three groups of three, memorizing them with the Jones method and
then remember the value and suit of the tenth card. Your helper is
completely occupied with thinking about your instructions, so the fact
that you are now looking at the deck remains psychologically invisible.
In fact, I have had many people say that I never touched the deck at all
(aside from touching the cards for the revelation). All they remember
is that cards were shuffled a number of times and that the cards were
revealed by sensitive fingertips and intuitive prowess. Once they have
their’ twelve cards, ask them to set the rest of the cards aside. You now
place your half on top. You are now set up, way in advance for the final
phase.
Lewis Jones’ Pattern Principle/Red Alert method
This is the easiest way imaginable to remember sequences of color
arrangements with can only occur in several patterns. You will simply
remember letter codes for each three card pattern.
A-All red cards (red, red, red)
U-Two uppermost cards are red (red, red, black)
T- Only the top card is red (red, black, black)
L-The two lower cards are red (black, red, red)
O-The two outer cards are red (red, black, red)
N-None of the cards are red (black, black, black)
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Thus, the nine card’s color will be memorized with a three letter
acronym. For instance; A-L-N would mean that the first the three
cards are all red, the second three would be first one black, then two red
cards, and then finally three more black cards. To practice this method,
it is just a matter of spreading three cards at a time and practicing
labeling them with one of the letters mentioned above. You will be
comfortable doing this after a day’s practice. I try to create a word that
relates to my three letter sequence. Use whatever works for you.
As I mentioned before, you will spread through the first nine cards,
while the spectator is retrieving the deck and looking through it, then
you will remember the next card. This too is a brilliant idea of Pit
Harling’s. He discusses creating an atmosphere where the spectator
challenges you to name the card. I highly recommend you read his
“Colour Sense” routine and his essay on challenge in respect to magic.
Miracles are made of this.
In the routine, you will feign getting tired after a couple cards and
try to stop. Most likely, they will encourage you to continue on. You
reluctantly agree since you are prepared way in advance. You name the
next five or six cards, until you reach nine cards, and then stop. They
ask you to press on and give it a go again or simply mention that you
will do it once more.
You are about to silence them with a miracle. Strain as you start to reveal
the color, then pause and slowly describe what is on the card (shapes
or faces, suit). You now reveal the entire card; that you previously
memorized. Put the cards away.
Notes:
1. Each of the different methods will cancel any possible explanations.
They just have to give-up at the end.
2. The strength of the third phase is accomplished with the time delay
and psychological misdirection of having “pattern memorized” the
ten cards, so far in advance. The their mental recorders just aren’t on.
Beyond Touch 99
While all attention of the participant is occupied with following the
instructions you have given, they just can’t pay attention to what you
are doing. If nothing else has been improved, I think this feature of
“Beyond Touch” makes it worthy of publishing.
3. There is a lot of flexibility in this routine. The first and last phases
could be shortened or extended to suit one’s personal goals.
4. Also, please don’t discount the subtleties that I have included in this
routine. Reading marked cards on the off-beat, by guessing the first
card’s color, is a great way to pre-sell the perfection of the clinical
conditions. Take full advantage if this. If you miss, it is no big deal;
you are warming up. In phase two, it is a nice convincer to be able
to point out the specific colors of the cards a few times. This not
necessary, but it is nice. I hope you agree. Finally, the fact that you
have read and memorized the first ten cards directly in front of
them, so far in advance, is wonderful. I fully believe that psychological
invisibility is not achieved by trying to hide actions, but by allowing
the on-lookers to make obvious assertions about your actions. In
this case, the actions appear to be nothing more than unconscious
gestures which you are doing to clarify your instructions.
5. Many of you will have already realized that you can forgo using
marked cards and use a stacked or memorized deck that has a
random appearance. I do this quite often. By simply guessing the
color of the first card, your participant will show whether it was
right or wrong (without you having to ask). Now you know where
you are in your stack. If you choose this method, perform the best
false shuffle you know (prior to the beginning) and then let them
shuffle prior to Phase Two. Later, they will only remember that they
shuffled the cards, not when. We will shape their memories to only
remember that the cards were well mixed. Proceed as explained.
6 Brilliant creator and author, Joshua Quinn suggested that one could
add a clever Idea of Luke Jermay (described in his “Out of (T)His
World” routine in Building Blocks), to this effect. Luke brilliantly used
anchors and psychology to help the spectators unknowingly intuit
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the colors of cards in typical OOTW fashion. Joshua mentioned that
this could be applied to this effect as a spectator as intuitive prodigy phase.
It’s great, I love it.
Inspiration:
“D.O.P”, Seventh Heaven, The Red Alert Principle (Lewis Jones)
“Colour Sense”, Card Fictions (Pit Hartling)
Pit’s routine was inspired by a routine shown to him by Michael Weber,
during a late night session.
Sense of Touch, (Ian Roland)
This is an expensive and hard to find booklet, but it is wonderful. It
took me a while (some years ago), but I did find it. A creative and
excellent solution
“Reds and Blacks”, The Mental Mysteries of Hector Chadwick
(Hector Chadwick)
The phenomenon, Hector Chadwick, recently published his inter-
pretation of a color sensing effect, which was partially based upon
the Jones’ method. Though I had already formed my version prior to
its release, I wanted to site his work for the sake of being thorough.
Hector’s combination of methods is wonderful.
Thanks:
Special thanks to Pit, Lewis and Michael for allowing me to use their
ideas in my routine. You all are gentlemen and some of the finest
creators with which I have had to pleasure to correspond.
THE EXTRA MILE
The bonus material section:
• The Rhine Trilogy
• Photographic Memory
• Which Hand(ling)
• Better Luck (Next Time)
• The Missing Link
The Rhine Trilogy
Telepathy, Clairvoyance and Precognition
This is one of my favorite mental presentations.
One of my favorite close-up ESP effects is the heralded “Viewed ESP
Prediction”. It is a symbol arrangement prediction created by Richard
Osterlind. The following information is a way that I have extended
his fantastic routine, which allows me to present a full stand-up
presentation. This also serves to introduce background information
about psychic research.
My presentation is inspired by Bob Carver’s routine entitled, “Telepathy,
Clairvoyance and Precognition”. This excellent routine, which uses
playing cards, can be found in Charles Pecor’s Sinister Variations book.
Though my presentation bears no similarity in method, the theme has
certainly been affected by his presentation. I hope you are well versed
in the difference of those abilities. I introduce these notions with a
three phase effect, ending with a finale’ of “Viewed ESP Prediction”.
Here are the three phases:
The Rhine Trilogy 103
Telepathy:
The performer will hand the on-stage participant one of each five ESP
symbol cards (and sets the rest of the ESP deck aside). The performer
asks him to decide on one symbol, burn it into his mind and then
show the audience. He is instructed to keep it away from the magi’s
vision. Now, with his back turned away, the performer demonstrates
“Telepathy” by reading his mind and revealing the thought-of symbol.
This is impressive, trust me. Now the performer explains and then
offers to demonstrate Clairvoyance.
Clairvoyance:
Now the participant is asked the mix the mix symbol packet, to preclude
him from knowing which symbol is where. He is now instructed to
remove one ESP, but not to look at it. The audience is allowed to see
it, but he is not. Once again, the performer is able to reveal the symbol
with his back turned. Each phase builds on the prior effect and each
demonstration is perceived as more difficult than the one prior. Now
the performer explains that he will attempt the most difficult psychic
test, the Precognition test.
Precognition (View ESP Prediction):
Precognition is explained to be the ability to predict events or patterns
before they occur. The five previously removed ESP symbols are
returned to the deck and the pack is shuffled by the performer. The
performer now demonstrates this ability with Richard’s wonderful
routine, which climaxes with a prediction of five randomly chosen
ESP symbols.
Notes and method:
There is no question that Richard’s routine is powerful on its own.
I just wanted to adapt it to a longer presentation that I could use to
introduce psychic themes. The first two phases will appear different,
though they are accomplished with the same method. They both use
an accomplice in the audience who cues the identity of the chosen ESP
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symbol. I won’t suggest a particular set of cues to use for the values
of 1-5, which correspond to the numeric values of the symbols. That
is a personal matter. However, the over the shoulder peek (a la Annemann)
works like a charm.
Since performing this routine, I have bought an electronic “thumper”
device (so I no longer have use a visual cue). I own Shrink’s 7th Sense,
but I hear great things about Christopher Taylor’s “Pro Thumper”,
which is currently available. I offer this routine here, as a bonus, since
the final phase depends on the wonderful routine of Richard’s (which
means I won’t fully describe that phase). If you own his book or DVD
that describes the routine, you now have a simple and powerful three-
phase ESP presentation. It is worthy to note that I use a board and
have the symbols arranged in an upright display to allow the entire
audience to see.
A final comment: I realize that phase two has a major discrepancy. This
is the fact that the audience is allowed to see the symbol, while the
on-stage participant is not. From our perspective, if one could really
use telepathy, they would just read the mind of an audience member.
In other words, this can’t be completely consistent with the notion of
clairvoyance. I have never had this questioned, but I just wanted to
acknowledge this fact.
Don’t underestimate the impact of this routine. Being able to vary
the methods, in one fantastic three phase set makes this presentation
impenetrable. This is one of my most powerful effects. It is easily
understood and has a dramatic effect on the audience.
True Story:
By the way, I recently traveled to the Rhine Center to see what it was
all about (so I could include that tidbit in my own presentation of
this effect). I am actually the only person who has ever passed the
“Precognition Test”, administered by that particular staff person. I did
not cheat.
Photographic Memory
I am a big fan of Looch’s published routine, “Intuitive Aii”, which can
be found in his great Simple and Direct book. It is a series of progressive
photographic memory displays with a deck of cards. Looch credits
Lennart Green’s, “Intuitive Eye” routine as his Inspiration. I love it.
My idea is to use an amazing and little known occurrence for a preamble
effect. In this introductory phase, the cards are quickly flipped or riffled
in the magician’s vernacular. We ask a helper to try to see the values of
any cards. This is done much too quickly to make out any particular
cards though. This is the point. The helper is asked to visualize a
mental picture of the deck, with his mind’s eye instead. He is asked to
envision two card values that lie together (in his mental picture). He is
instructed to not worry about the suits because the cards were moving
much too fast to get that information as well.

Two adjacent cards are seen in their mind’s eye. The spectator names a
“Jack” and a “two”. The spectator spreads through the cards and cards
and discovers that his own intuitive eye is correct.
How, by some miracle of sleight of hand?
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No! No!
If you don’t already know about this, you are going to love me for
sharing. It just works on probability. If you just name two values after
shuffling a deck, they will most likely be together or within one card.
Get your cards and try it. Name any two values and spread a shuffled
deck. Now you will (most likely) see those two values together
somewhere in the spread. If not, you will most like see the two values
separated by one card. You will use this statistical probability and give
them the credit for seeing them together in their minds eye.
If they happened to name two cards that are separated by an indifferent
card, simply praise them for their ability and mention that the mind’s eye
can only move so fast. It must not have seen the card in between.
I know if you have Looch’s book, you will love this. This technique
can be used for any rapid memorization routine, where your artistic
sensibilities determine that this feature would be well fitting. Enjoy.
Which Hand(ling)
While methods have been in print for some time, this type of effect
has gained favor again due to Derren Brown’s performance in his
television series. This idea is an observation that some of you may put
to use in your favorite “which hand” routine. I noticed that if I had
people hide an item (coin, ball, or medallion) in one of their hands in
a different way, there was an intriguing result.
If people hold their hands with the clenched-fist but point their
knuckles toward you in a vertical line, you will find an interesting trend.
Stated again, if you give a “thumbs-up” sign to someone, you’d be in
the correct position.
Now I found that most often if people were asked to hide an object
and then bring their hands forward (in the manner I just described)
something interesting happened. Typically, the hand that contained the
item, demonstrated a curious sign. On the guilty hand, you will often
find the thumb comes over the top of the fist (over the hole created
by holding your fist that way). In other words, it covers the space, as
a subconscious guilt factor. Don’t discuss hands or the fact that they
may give something away. Just do it and give it a try. See if you find
the same thing. Keep in mind, this is a slight difference, but it can be
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noticed. The non-guilty hand (which doesn’t hold the item) will tend to
have the thumb a little further down, lying across the fingers, instead
of over the hole.
This is an unconscious tick that can be used for our purposes. This
can be used a hands-off preamble to your gimmicked methods (you
will just emphasize the fact that you come no where near them) while
using this method. This can also be utilized wonderfully with the
ideas published in Self Working Mental Magic written by Karl Fulves
(published by Dover Books).
I typically perform the above after the easiest application of muscle
reading. You start the which-hand demonstration by asking them to
concentrate on the hand which has the object in it, after it has been
hidden. You instruct them to repeat “right, right, right” (or whatever) in
their minds. You then move their fists, as if to adjust their hands to the
correct height/position. Then you determine which hand has a slight
resistance or feels tense. That will be the hand that holds the item. This
works due to the ideomotor response and is fairly easy to acquire the
knack. Use these ideas together or with your own methods to create
a multi-phase, impromptu “which hand” routine. Better yet, combine
this with the fabulous method in Jerome Finley’s Thought Channel (1
& 2) and you will have a variety of techniques to use at any moment.
Better Luck (Next Time)
Dan Paulus’ Blind Luck routine (released in video formats) is one of
my favorite card coincidences. As I have said elsewhere, that genre
of effect does not appeal to me typically. Dan’s routine, however, has
routine has a brainwave feel about it that I really like. Dan’s effect utilizes
two normal decks and has a minimal set-up. It is a beautiful prediction
routine that smacks of influence of pre-determined fates (which is
how I like to perform it). I highly recommend this as a card routine
reserved for when guest ask to see something.
My small addition is a display of influence, prior to the effect proper.
This will suggest that you will be offering them freedom, while somehow
influencing their choices nonetheless. Two decks are taken out and set
on a table-top; one is red, the other is blue. They make a free selection,
which is shown to have been pre-determined or influenced.
With the red and blue decks set on the table the performer states….
“Do you believe that our choices are our own? Or is free-will
merely our rose-colored lens which remains intact until we realize
that we have been influenced? I would love to demonstrate this
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for you. To start, select either the red deck or the blue. Choose
whenever you are ready.”
The participant picks up the blue deck and they instantly see a message
written on the previously hidden side of the card case (because that
side was facing the table-top). It reads:
“You have been influenced to choose the Blue deck.”
The performer smiles at the participant. Games are afoot (the onlookers
are intrigued and ready for the rest of the routine).
There is genuinely no other message to find. Seriously! They will look
at the other deck which you encourage, if you like. There is nothing
but the reality that they have fallen prey to having their thoughts and
decisions manipulated.
What about the red? Simple. If you re-read the script above, you will
find the answer. If they choose the red deck, you smile and mention
that you thought they would. In fact, you influenced their subconscious
minds with a coy, but direct statement. You tell them that they were
predisposed to one color by the statement you made just prior to their
choice. You offer to repeat it.
First you mentioned that each of us have “rose colored lenses” thus
influencing them to choose red. Then you also said…
“To start, select either the red deck…”
You mention that you were where gently nodding while you said the word
RED and then continue.
“…or the blue. Choose whenever you are RED-y.”
You place obvious emphasis on the word “ready” to demonstrate how
you were suggesting to them the color RED. You continue on to amaze
them with the rest of the routine.
Better Luck (Next Time) 111
What about the writing on the blue deck (if they choose red)? You
simply leave that deck, writing side down, until you need it. Then, calmly
open it and remove the cards (and then put the case aside, writing side
down). There is no heat on the case, so there is no reason to worry.
Regardless of which deck they choose, you have demonstrated that
their choices are not free from influence. That is a nice way to start
the routine isn’t it? Now perform the wonderful Blind Luck routine.
Thanks for sharing, Dan!
The Missing Link
A Fully-Evolved Thought Transference Presentation
Vision:
Effect:
Imagine a spectator from the audience revealing the serial numbers
on a freely selected, un-switched dollar bill. The serial numbers are
sent telepathically from the original owner of that bill to the audience
member on stage. During the transmission of thought, the performer
remains away from the stage, and says nothing.
Edifice:
Setting:
A single chair on stage sets behind a small desk or table. The performer
holds a large pad, and one is also resting on the table, with a marker
nearby.
The Missing Link 113
Presentation:
The performer asks any audience member to retrieve a dollar or other
denomination of currency. This person is selected at random, to
attempt to send her thoughts to another person from the audience.
Another person is asked to take the only seat on stage, and to attempt
to receive the thought impressions, which the other sends (in this case,
the serial number of a dollar bill).
The performer has the participant in the audience remove her dollar
bill and to write it down, in large print on a large pad. The other
participant is instructed to take a seat and pick up the notepad and to
await further information.
“Many times this type of experiment has been attempted.
Magicians of the past have all used sadly transparent means.
Never before has anyone been able to accomplish this type of
thought-transference. All other attempts to duplicate this power
of intuition, have failed miserably. Thank you so much for your
willingness to help. I appreciate it. Of course, I will be here to
help. Let’s begin”.
“When this type of demonstration has been performed, the
performer spoke often, which lead people to believe that secret
communication was the method involved. While this was not
typically true, this was the assertion, nonetheless. So I have asked
you both to help today, to make that explanation impossible.
In fact, I will not speak at all. You will both have to just
communicate with your minds. That’s all.
The performer looks at the participant in the audience and says;
“You will do all the talking. One number at a time, you will try
to send your secret thoughts to the gentleman, on stage. You will
say whatever you like, for instance, ‘I am sending you the number
now’ or ‘here it comes, see it in your mind’. You will do this for
each of the numbers that are on the bill. Are you ready?”
Contemplations114
“Don’t try to think about how it will work, just imagine that
you are both on a wireless connection and you are simply talking
with your minds… like cell-phones, only cooler.”
“Got it? I will say nothing more. You will ask the gentleman on
stage to receive the number and he will write it down. He will not
turn his pad around, until we ask him to. We will all see how
this has worked at the end. Begin”
The helper is the audience says, “I am sending the number now”.
(The helper on stage obviously writes something down).
“Here is another number” says the woman from the audience. He writes
another number down.
One by one, all the numbers are exhausted. The two share a “psychic
bond” that is uncanny. She speaks and he writes. There is an amazing
connection that can be felt. Since the off-stage helper remains at the
back of the group, most of the audience cannot see what she has
written down. No one can see what the on-stage helper has written
down yet.
Finally, the woman is asked to stand in front of the audience with her
large notepad. The entire audience can see the numbers now. Until
now they had not been visible to all.
The performer says to the woman;
“You have attempted to send each of these letters to the gentleman;
yes?”
She agrees.
“You sir, have simply let numbers appear in your mind, each
time she tried to send one; correct?”
The Missing Link 115
“This was a bill you had with you. I have not touched it, have I? Again, she
agrees
The audience and the helpers both agree all of these conditions have
been absolutely true and it is apparent that the performer has said
nothing throughout the experiment.
Now the woman in front of the audience is asked to circle each of the
numbers that he gets right and to put an “X” on the numbers he gets
incorrect. One by one, the onstage gentleman calls out his numbers
and one by one, all of the eight digits are circled.
Everyone can tell something special has just happened.
Design:
I ask you enVision this routine being performed. If you were trying to
Design this illusion, how would you accomplish this (while keeping all
of the conditions exactly the same)? Can you think of a way?
This is my answer to the age-old, two person performance of serial
number divination. This was a staple of many vaudeville acts, and is
stilled performed to this day. My routine was Designed to turn this
performance on its head and create something really unique. This had
to leave the audience with no return path to reconstruct the method.
Before I tell you what the methods are, let me mention what I thought
needed to be improved in my interpretation of this standard effect:
1. The performer cannot speak during the revelation.
2. The performer cannot touch the bill
3. There could be no endless set of codes to remember or
rehearse
4. I also wanted to build the interest by not revealing the digits until
the end
Contemplations116
My solution:
While I wish I could tell you that this is genuine thought-transference,
I cannot. In fact, there have to be compromises, but I wanted to keep
them away from the vision of the audience.
Here are the methods:
1. A plant
2. A fiendishly unique code
Methods (in detail):
Plant or stooge:
A stooge will be used as a secret accomplice. During the routine, so
much focus is placed on the fair selection of a dollar bill, you will just
select a person to “receive the thoughts”. This person is selected, by
you, and sent to sit onstage.
A code (that will confound the wise):
My routine utilizes a unique code. What makes this special is that it will
be used prior to the actual demonstration and all the serial numbers
will be received at once. In other words, as soon as the routine is introduced,
all of the serial numbers have already been received by the helper on stage.
How? That is the question.
What really happens in the routine is this: After selecting the person
who has a dollar bill, chosen by any fair method, that person is asked to
write down all the digits on a large pad for later use. While the helper
is writing the serial numbers down, the performer will introduce the
experiment. The performer will stand next to this person (which allows
him to see the numbers). He will speak while the person is continuing
to write the numbers. It will appear that the performer is giving an
introduction, designed to fill the dead time of having the participant
write down the numbers.
The Missing Link 117
This serves two purposes:
1. It allows the performer to see the numbers (to deliver the
code)
2. It sets up the finale’.
The Code:
The code is alpha-numeric. There is a letter which represents each
number that can appear on a bill (numbers: 0-9). The letters will be
communicate, the entire serial number, at once. We will discuss a
devilish way which will enable him to receive it all at once, without an
exceptional memory. Here is the code:
In a word: MONKEYTAIL
0-M
1-O
2-N
3-K
4-E
5-Y
6-T
7-A
8-I
9-L
I am sure you are wondering how he receives the code all at once.
The code is delivered, at once, while the off-stage helper is writing
the numbers down on the large pad. First we will look at how this is
delivered; then we will discuss how this is received.
When the performer is giving the introduction, the sentences used are
a code themselves. Eight sentences will be spoken. The first word of
each of these sentences starts with the coded letter. In other words,
the first letter, of the first word, of each sentence delivers the code.
Let us return to the script to see how this was done in this example.
Contemplations118
I have bolded the letter which communicates the code. Here is the
script again:
“Many times this type of experiment has been attempted.
The magicians of the past have used sadly transparent means.
Never before has anyone been able to accomplish this type of
thought-transference. All other attempts to duplicate this power
of intuition, have failed miserably. Thank you so much for your
willingness to help. I appreciate it. Of course, I will be here to
help. Let’s begin.”
In this example, the number would be de-coded like this:
M-0
T-6
N-2
A-7
T-6
I-8
O-1
L-9
The serial number is: 06276919
Now you must be wondering how on earth the plant on stage could
possibly keep all that information in their minds, until it is needed.
They don’t. Nothing could be easier. Since there is absolutely no heat
on a code or any other methods, we will use this in our favor. How?
Our on-stage plant will use a thumb writer to record the first letters,
of the first words, of the eight introductory sentences, while they are
spoken. That is all that they need to do until the performance proper.
While asking the participant to walk up to the stage, the performer
also suggests that he go ahead and pick up the pad and wait for further
instructions. Then, the performer gives the “introduction”, while the
off-stage helper is writing down the numbers. During this conversation,
all eyes are on the two in the audience (the performer and the off-
The Missing Link 119
stage helper), so the stage-helper has all the time in the world to use a
thumb writer to write the first letter, of each first word, of each of the
sentences. These eight letters are subtly thumb-written, in the bottom
right corner.
Later on, the helper will de-code each letter in real time. The stooge will
write down (read: translate) each number, while the off-stage helper
is sending them the numbers telepathically. When the sender transmits
the number, your helper will actually be writing down, in large print,
the number that corresponds to the letter they have secretly written
in lower right corner (with a thumb writer), which are in order. At the
end, they can show all the numbers by covering the small letters with
their hand, which would be nearly invisible anyway.
How can they de-code the letter without any real memory work? The
code is written down above the perforated line, in the large pad. In
other words, they are written in a column-like fashion so when the pad
is turned horizontally, they can be read from the left hand side (next to
the spiral binding on the pad). This is written light enough to not be
seen from the audience (but dark enough to be seen while on stage).
Thus, to determine the numbers, they just refer to the left had column
and then draw the number that corresponds to the letters, in a large
enough fashion, on the sheet. They continue in like form, until all the
numbers (eight) are complete. Then, at the denouement, the on-stage
helper is asked to call out each number slowly and loudly, in order. One
at a time, the off-stage helper circles each correct one, and marks the
incorrect ones, with an “X”. All of them will be correct, unless you
desire otherwise. In fact, you could predict which one was going to be
wrong in some fashion, but I leave that to you.
Filigree:
I think there are several benefits to using this routine:
It will play amazingly real: This routine has a great impromptu feeling
about it. The fact that you are looking around the audience to find
a random person with a dollar bill will also serve as a Trojan Horse to
Contemplations120
sneak in the use of a stooge. Since there would be no way for you or
them to know what the dollar bill’s serial number could be (in advance),
how would it behoove you to use a plant? The answer is: it wouldn’t.
It will confound the wise: While it should never be a primary goal to amaze
other performers, some routines which are structured to amaze (wise)
audiences, will also serve to misdirect other mentalist’s or magicians. I
think this routine is an example.
It is a wonderful way to utilize secret writing: Most secret writing requires
one to write while the heat is on. In this routine, a different person
(other than the performer) is writing while there is absolutely no heat.
In fact, they could wear the thumb/nail writer the entire time and no-
one would suspect it. This is such a fun way to use this. Obviously,
your partner could be a fellow magi, at best, or a trained accomplice,
otherwise.
Finally, there is no possible way to unravel the mystery. This could utilize a
different on-stage helper every night, since the code is so easy for
them to use, and the introduction will sound the same each time. It
would take an infinite number of monkeys sitting around thinking about
divination routines, to come up with the right answer.
Notes:
Delaying the gratification (the revelation) until the end will keep the
audience wondering about the success of the experiment until the final
minutes. This keeps the audience invested until the end. This is an
improvement over traditional presentations, in my opinion.
While I have included the script and code, I did not want to spell out
particular sentences for you to use. This should be something that
you decide for yourself. These should sound like something you would
normally say. I would also suggest thinking up a couple sentences for
each letter that you can use off the cuff. To practice this, just perform
this routine as a standard (read: non-stooge) divination until you can
do this from memory, while sounding natural. Practice is a must, but it
The Missing Link 121
is a devious way to perform this type of routine. After using this code
for some time, all I saw was “blonde, brunette, red-head”*... I really stopped
having to interpret the code. It happened automatically.
A word on the origin of the code: I cannot claim to have created
this code. In my younger years, I worked as a furniture salesperson.
In the store, the retail price tags had coded messages which told the
salesperson the cost and the typical sale price of the item. This allowed
one to negotiate on the spot (very clever of them). Now, if I only told
you which company it was, you could get save a lot of cash furnishing
your next house.
In closing: I hope you find merit in this idea. I have a love for Vaudeville
Era performance pieces. I just think the modern comedic portrayals of
these types of effects have rendered most of them meaningless. This
routine will allow you to breathe new life into a staple of mentalism.
While there is a fair amount of work to invest, it is NOTHING
compared to what had to be done in the past (when devising a code).
This really makes this type of thing workable and gives it a new and
edgy feel. I hope you agree.
“All is fair in love and mentalism”… I know these methods are down and
dirty, and require a specific setting to use this. That is fine. If you could
revive a classic of mentalism, with an entirely invisible methodology,
wouldn’t it be worth it?
Alternatives: If the code appeals, but this effect doesn’t appeal to
you, remember that you can use this for any effect, where secretly
communicating numbers could be of value.
* Cheesy movie reference to a line in the 1999 Keanu Reaves movie, The Matrix,
regarding understanding binary code.
Inspiration (in spirit only):
Ned Rutledge
Contemplations122
Falkenstein and Willard
Annemann
The Evansons
Fine print:
I have never performed this effect. Yes, that is the shameful truth. It is the solution
I came up with to resolve my concerns with the (often) transparent methods of this
type of routine. My goal was to renovate a classic and to still keep a similar “feel”,
while turning the methods and the presentation around. I truly hope that some of
you revive this classic, with a variation of this routine. Consider this a freebie. I
advertised a smaller page-count, so each of you would perceive this as an “extra”, in
the bonus section. I have wanted to give it a try, but have not had the opportunity. I
did not want people to buy, untested material, so it is a gift that I will share with you,
my friends. See, ideas can be free. I also think it will be some time before I release
another compilation, I wanted to let you use this idea as you see fit. Enjoy! It pays to
read the fine print.
Thank You
Thank you all for continuing to support my creative works. I really
don’t know how to say how much I appreciate it, other than by packing
these pages full of a variety of ideas, routines and thoughts. It has
been interesting to read a number of comments on discussion boards
regarding purchasing eBooks or hardcopies. I too, am a book holder
and collector, so I can understand the sentiment. While one is ultimately
buying the information, the package does matter (to many of us). This
is why I have made this a lengthy eBook and advertised a smaller page
count than it truly is. It is always been my desire to exceed expectations
and for you to feel that you have made a worthy investment. I have
labored over many of these routines, for years, others have materialized
more recently. Finally, I decided that the price would be $37, which I
hoped mentalists would view with a sense of irony. I amuse myself.

Thanks to Jerome Finley for advancing the cutting edge of mentalism

and for writing the Foreword to this book. Your support has been
valued.
Thanks as well for my best friends in magic: Charles Pecor, Chris Brent,
Mike Ince and Jason Walker. I appreciate their friendship, feedback
and relentless senses of humor. You are the finest!
Contemplations124
Gabe Abelson: a brilliant thinker and gifted writer, I offer my thanks
for providing your editing services. I can’t imagine someone doing a
better job. All of the errors contained are oversights of mine, not a
result of his sage advice.
To Boyd Blackwood, a master of many skills, I extend my thanks for
all your kind assistance with revising and generally improving the text.
Your help and encouragement are valued.
I truly appreciate the advancements to the craft that Greg Arce,
Banachek, Bruce Bernstein, David Berglas, Larry Becker, Derren
Brown, Chan Canasta, Robert Cassidy, Paolo Cavalli, Corinda, Dr. Bill
Cushman, Lee Earle, Jerome Finley, Andrew Gerard, Docc Hilford,
Luke Jermay, Lewis Jones, Kenton Knepper, Richard Mark, Rick
Maue, Max Maven, Andy Nyman, Alain Nu, Richard Osterlind, Marc
Paul, Charles Pecor, Barrie Richardson, Ian Rowland and Michael
Weber have made. You have all shaped my thoughts and philosophy of
performing mentalism. You all are wonders. Thank you for sharing.
To those who left an indelible mark: Annemann, Al Baker, Dunniger,
Maurice Fogel, Houdini, David Hoy, Al Koran, Ted Lesley, Al Mann &
T.A. Waters. We thank you.
I would like to again thank all of my friends who have spent their
precious time reading and reviewing my work. I appreciate all of the
questions, comments, feedback and support. I also want to mention
(again) my thanks to all the brilliant creators and writers, who allowed
me to reference and utilize their works. Thank you.
Thank You 125
SHAMELESS PLUG:
Coming Soon: Terms of Endearment.
My other eBooks; Ponderings and Ode to Ekman are still available at:
www.lybrary.com
www.watersmindworks.com