The Mentalist offers to demonstrate how the dowsing pendulum can be of real help to discover hidden things and even to locate unknown places.
He also states that, in order to conduct this demonstration under "test conditions" so that afterward there will be no doubts about the genuineness of what will happen (IF it will happen!), before this experiment he has given a big map to a person and he has told her to choose any place she wanted on it.
Then the Mentalist briefly explains what, in dowsing terminology, a "witness" is and how such a witness will be used in this experiment.
The map is placed flat open on a table and the Mentalist, holding his pendulum over the map, slowly moves across it. Suddenly, when the pendulum is on a specific location, it starts to swing. The person who chose the place before confirms that the pendulum is right.
My Modus Operandi for this one has changed throughout the years and I'm very pleased with the one I employ now because it's perfect for the kind of pendulum I use.
The pendulum I use is commonly known as "Witness Pendulum". It's a hollow pendulum into which you put a small sample of the substance (witness) you are dowsing for, in order to better attune the pendulum to receive the vibrations emitted by that substance. According to various writers in the field, the witness can also be a symbolic representation of the substance / thing / person / place you are dowsing for.
So, after having given to the participant a map and after having asked her to choose any place she likes on it, the next thing I tell her is to write on a piece of paper the name of her mentally chosen place and to fold the paper twice so that I cannot know what she has written.
Next, I take the folded piece of paper from her and immediately tear it up in little pieces. I then give all the bits back to her and I tell her to insert one of them into the hollow area of my pendulum.
Because I clearly explain to the participant the purpose for placing a witness inside the pendulum and because it seems more logic to tear into small pieces a cheap piece of paper instead than an expensive big map, all of my above actions make perfect sense to her.
Of course, during my tearing of the paper I secretly obtain the info (the place she has chosen on the map) by means of an instant-access Center Tear.
One last thing. Although all of the above is done by me as a pre-show, I only do that because I want to immediately go into the presentation avoiding possible empty moments (while the participant decides on a location on the map) and not because I need to use some double-speech or because something has to be played up as dual reality. As a matter of fact, you could choose to have the selection procedure made during your actual performance, as a part of it.
The Mentalist explains that prior to this experiment he has asked to a person to choose a magazine among many and from it to choose a page. On that freely chosen page she was asked to choose a word and to encircle that word. That person tore out that page from her chosen magazine, folded it and put it inside an opaque envelope that she kept on her.
The person is now asked to confirm that all of what has been said by the Mentalist is completely true and that the folded page has never left her possession.
When she does, the Mentalist tears out a sheet of paper from an artist's drawing pad and begins to write all the letters of the alphabet plus the numbers from 0 through 9 on it.
Now, after a brief explanation on what, in dowsing terminology, a "witness" is and how such a witness will be used in this experiment, he asks to the person who encircled the word to take out from her pocket the folded page and to tear from it a minuscule fragment that she will then place into the hollow area of the pendulum.
At no time, when those actions are carried out, the Mentalist will be close to the person nor he will touch or look at the folded page (he could even be away when the participant removes the folded page from her pocket!)
Next, the Mentalist takes his pendulum back in his hands and, holding it over the sheet of paper, he slowly moves it on each letter and then on each number.
On some of the letters / numbers the pendulum will swing while on all of the others letters / numbers it will be completely still. The letters / numbers on which the pendulum swings are written down and, at the end, a complete word has been formed out.
The person with the folded page is told to show to everyone which word she secretly encircled before and that same word is the one the pendulum has rightly recreated.
During pre-show, you offer a choice among some magazines and one of them is freely picked up, a page chosen, a word on that page underlined / encircled. That page is then torn out from the magazine, folded in quarters and put inside an envelope that is held by your participant until it's time for the actual experiment.
The magazine, the page, the word to underline / encircle are really free choices. What you need are the duplicates for all of the magazines you offer to your participant to choose from. When the participant has torn out the page from her chosen magazine, you casually take it back from her and you toss it where the others (not chosen) are.
When you are alone, you secretly take out from your case the duplicate of the chosen magazine, you go to the page that has been torn out from the other, then, you open the other (the one with the missing page) and you look for the impression mark left by the pen on the page that was right under the one that has been torn out.
Now, you only have to locate on your duplicate full magazine, by way of comparison, which word was underlined / encircled on the page which was torn out from the other magazine. If this method is too BOLD for you, any other method to secretly obtain the info can be adapted for this routine (T.A. Waters, for example, in his Mind, Myth & Magick book has a modus operandi you could like better but, with his approach, the page of the magazine must be forced!)
The two things I especially like about the modus operandi I've offered you here are that, by using my approach, you don't need to force a page and you don't need that your participant writes something down.
Also, the reason I use magazines instead of books is that, more often than not, they are printed on thin paper and thus they better receive the impression mark left by the encircling operation, even if the participant will not exert a strong pressure with the pen (a fine or ultra-fine point pen should give you the best possible impression mark on the page underneath the chosen one).
In performance, on a big sheet of paper (A4 size would be perfect!) you write all of the letters of the alphabet and the numbers from 0 through 9; then you ask to the participant who encircled the word / number to focus her mind on each single letter / digit of it, one after the other, starting with the first letter / digit.
All you have to do now is to let your pendulum swing on the right letters / digits.
If you wonder why I also write numbers on the sheet of paper. Well, that's just something I do to emphasize the fact that I don't know what the person encircled on her chosen page. For what I know, it could have been a word, a number or a mix of letters and numbers.
The Mentalist shows five empty clear glasses and five small laminated cards. Four of these cards bear on them a picture of four common beverages (water, wine, milk, orange juice) and the fifth card bears a picture of a dark glass bottle with the label POISON on it.
Each card is now placed in a glass, then the glasses are covered with five opaque cloths.
While the Mentalist turns his back (or while he is away) one person must swap the positions of the five glasses until she is convinced that no one could know for sure which card is into which glass.
The Mentalist now picks up his pendulum and slowly hold it over one glass. Nothing happens!. The pendulum is now held over another glass. Nothing happens!. The pendulum is now held on a third glass and. suddenly it starts to swing!. The Mentalist removes the cloth covering this glass and dump out on the table the card that was inside of it. It's the POISON card!
In addition to the five laminated cards, which you openly show to your audience, you will need five more duplicate POISON cards.
The five clear glasses are mirror glasses and into each one of them you have secretly inserted one duplicate POISON card.
What you must always keep in mind, when you begin to remove the cloth, is to peek at the glass in order to see which side of it is facing you. If you are seeing the side with the POISON card in it, then you must turn the glass of 180 degrees during the action of removing the cloth.
One thing I like to do in this routine is to turn the glass upside-down and to throw out the card. I accomplish that by secretly stopping, with the tip of my fingers, the other card from falling out too.
I realize that the modus operandi given above has its restrictions because of the angles of view and, for that reason, I'm now going to offer you an alternative one.
This following modus operandi has the advantage of being a gimmick free approach.
Have five blank business / index cards with five beverages written on them (as before, one of the five beverages is a POISON!) and fold each of those cards twice, writing inside. Now fasten each card with a paper-clip and you are ready to perform.
In performance, openly show the five cards and then have someone fold them again and secure them with the paper-clips (the justification you offer for the paper-clips is that the cards could partially unfold during your experiment and you want to avoid that!)
Now you ask someone else to shuffle the five folded cards and, when she has finished, you tell her to place them in a row on the table.
Then you go into the pendulum phase of the routine and you stop over one card (the only card on which the pendulum swings!) Of course, here, you can stop on any card since you, in your pocket, have a duplicate POISON folded card that you will secretly finger-palm and switch for any other. If you know the excellent Paperclipped switch (devised by Jay Sankey) you should be now ahead of me. If you don't know the Paperclipped switch, then any other clean switch will do.
Just for the sake of completeness, I want to mention that a third (and very simple) modus operandi would be to mark the POISON card so that you can always find it, no matter how thoroughly the five cards are shuffled. Be aware that, in my personal experience, this method is the first one that laymen generally suspect. This does NOT mean that it's a BAD method per se (after all, some of the great Mentalism routines you find in your Annemann or Corinda books take advantage of the marking concept!) but only that your presentation must be structured in such a way that the idea of a marked card is immediately canceled from the minds of your participants.
Odds & Ends, Bits & Pieces, Miscellanea
What follows is an assortment of various thoughts, considerations, ideas and even some more effects put here, as an added bonus, with the hope that YOU will find them interesting, inspiring and useful.
Anyone has his opinion on pre-show BUT I never had a problem with that, never! And, when I can, I use a lot of elaborate and tortuous ways to accomplish that. Infact, I think more of my pre-show procedures as to what could be named an UMBRELLA technique, with this, meaning that participants in my pre-show process don't even suspect they have been "pre- shown" if I don't let them know. and thus I find the analogy with the umbrella very close in the sense that you can carry your umbrella with you almost as an habit, even forgetting you have it with you. except if it starts raining. Only in that case you (hopefully!) remember you have your umbrella with you and you open it. But in that case. that would be exactly what I want you to do.
I mention that not to sing my own praises because I'm sure the "thought principles" I use have been probably used by many performers out there; yet I heard some Mentalists claiming that you can't do a convincing thing out of a pre-show when people know each others and they can compare notes. I respectfully but firmly disagree with them because this is not true if you set your traps (read: umbrellas) to snap-close only if / when needed.
I'm not going to discuss here how I do, not because it's a BIG secret (as I've said, some of those ideas have probably been out since before I was born!) but rather because I'm aware this could be a controversial topic and not one I want to discuss in the last pages of this book, to start with. Maybe sooner or later I will write a book on the subject.
Anyway, just staying on the general pre-show subject matter, some time ago I wanted to perform a classical 3 phases routine, and I wanted to have the force phase done as pre-show. So I went in a bookstore and bought 14 books(!) - actually two sets of 7 books - thus having 7 duplicates for each of the 7 books. Since they were new and well known titles at the time, I was quite sure that everybody in the audience would have recognized them for what they were. regular best-sellers books!
By the way, if you buy 7 books (but actually any number you want!) then you go out of the store and in again. to buy 7 duplicates of those books, then you can leave in one of the bookstore bags the receipt of your purchase (as if you forgot to remove it from the bag!) A nice touch that could prove in a subliminal way to some "curious" participant that you indeed just bough 7 books!
I then hidden 7 of them in my private case and went with the other 7 duplicate books, still in their bookstore bags, to someone to have them choose one of them, according to their preference. Then, I did riffle the pages of her chosen book until she said STOP (no force!) and I did quickly peek the page numbers opposite to the page I was stopped at. I then gave her the book in her hands, told her to read one or two paragraphs from one of the two pages she stopped me at, to remember it, to not change her mind, to close her book and to put it back in one of the bags with the others. I then simply left the bags with the 7 books inside in her possession and basically that was it.
Of course, I secretly took the same book she chose out of my set of 7 duplicate books and looked for the page number I secretly did peek at. I memorized then the meaning of the two first paragraphs on the page she chose to read (I knew which page she chose to read from because of where she was directing her gaze!) and closed my book too.
I was ready!... During my performance I had someone sketching a simple drawing on an erasable slate, then someone said out loud any number from 1 to 1000 that came to her mind and, finally, I had a third person think of a whole paragraph in a freely chosen book. and, of course, I knew that already! On the first blank card I wrote two or three words that symbolized the whole paragraph she read and the rest, as I'm sure you know, was one ahead.
By the way, with a little practice is really easy to find the proper position of the book and the correct timing to peek the page numbers of every book, does not matter if they have the numbers at the top or at the bottom of the page. So you don't need to carefully look for those books that have been printed with the page numbers on top.
Another thing that, browsing in some magic forums, I find asked a lot is about pencil reading and sound reading. I think that most of the times the beginners find impossible to divine a word, number or drawing by reading the pencil because usually, IF they try, they have a lot of difficulty in doing it right.
My opinion has always been that they fail not only because of their lack of preparation BUT because they offer an "universal" field of choice. If the person can write any word, long or short, can draw anything that comes to her mind, be it a concrete or an abstract thing, can form a twelve digits number(!), it's more than likely you are going to fail.
I've done that thing for years, impromptu, just for the fun of it. And, by the way, that SHOULD be one of those things you propose to do impromptu, a la Geller.
There are tons of statistics information on what are supposed to be the drawings most likely made by someone if that someone is unexpectedly asked to sketch a simple drawing.
What almost all those lists include (at least all the ones I've read) are:
House / Flower / Tree / Animal (usually a pet) / Boat / Circle / Triangle / Sun / Square / Star / Car / Stick Man / Heart (with an arrow through it or not) / Plus Sign / Infinity Sign
I decided to give to you those drawings in no particular order of "HIT" simply because even though laws of statistics can help you in that. I still think that statistics is just what it is. an unfaithful beast(!) and you must also consider that as for the "most named playing cards" lists, each culture and, sometimes, even each type of audience has its unspoken rules that make statistics go utterly wrong!
For example, I could tell you that in my experience, I even made two sub-lists, one for males and one for females.
Female sub-list: Flower / House / Animal (usually a cat) / Heart (usually with an arrow through it) / Star / Sun
Male sub-list: Car / Boat / Animal (usually a dog) and an absolute lack of what could be considered "girl's things" such as, for example, Hearts and Arrows
But again, I only gave you my lists so that, in your usual venues of performance, you could prove me wrong and start to compile yours!
Now, back on track. If you couple the pencil reading with the sound reading, you have an almost infallible skill at your disposal. Again, it's not the aim of this miscellanea notes to go deep into the sound reading thing but for sake of example I will tell you how I started. I decided in my mind that I had to catalog all sounds in binary terms: Rough & Smooth.
Every straight line made by a writing instrument is to me a ROUGH sound. Every curve line made by a writing instrument is to me SMOOTH sound.
As a further clarification, it would be very rare (if not impossible!) the pen producing smooth sounds when a person is drawing a draft sketch of a house (being the house composed by a square / rectangle and a triangle / trapezoid). Sometimes it could happen that the drawing person would add some round windows to the house or simply will add some "touches" to his work of art(!) Yes, they can usually add a sun, a flower, a tree (or some windows) to their house drawing. but even in those circumstances, with pen and sound reading coupled together, you should get the essential drawing made right! And in case you don't get what the additional touches they added to their house drawing are, you will anyway have your duplication perceived as a complete hit if you just drew the house!
After all you are a Psychic and NOT a xerox machine!
Another Tip: Sometimes you can duplicate their drawing the best you can and then STILL add some universal drawing somewhere on the paper (some round or oval shape plus one or two straight lines would work well here!)
Even if they just drew a plain and simple sketch of a house (just to continue with our previous example) you could add that universal drawing.
The subtlety I suggest to you here is to ask them if they changed their mind before or after having sketched the house. Most of the times they will answer you that indeed they were thinking to draw something circular / round before going for the house or that they actually thought of adding a sun or a tree to adorn their drawing.
When that happens YOU GET CREDIT for having received that "change of mind" too from them!
If not. no big deal! You still got your perfect hit and, because you are a real Psychic, you can do as they do and blame someone else. stating that one person was thinking of some sort of circular drawing (circle, sun, clock, etc.) and was thus interfering with you and your participant.
You can be sure someone else was undeniably thinking some other shape or form he/she would have draw if he/she was the one asked to participate in that experiment!
Yet Another Tip: Another idea I came up with in the past years was about the use of colors to see if / how their use could have significantly influenced the drawings people chose to made.
For example, one combination of colors I've used was: Yellow, Red, Blue, Green.
When using those colors and participant was asked by me to use one or more colors to make a simple drawing... surprisingly the numbers of geometric shapes (triangles, circles, squares, etc.) went down and drawings like houses, boats (with the blue sea wavy lines!), suns and hearts went up.
The first theory that comes to mind for that is that happens because of the stimulus-response conditioned effect of automatically linking one color to something of that color and, even though this could be only because of childhood memories, it still works! Very few people indeed would draw a RED meadow or a YELLOW sea!
Another possible problem of using pen and sound reading together could be that, while it's easy and invisible to listen for "sound cues", an analytical observer could spot you following with your gaze the graphic gestures traced by the pen.
It was Uri Geller the first one who inspired me because of one of his ways to present a drawing duplication. Geller asked to everyone (except the person making the drawing) to close their eyes(!) and he himself was the first to close them (leading by example!) and then he further placed one of his hands over his eyes. Now, I don't know for sure if Geller is a real Psychic (even though, if I were asked, I would probably say he is!) but that hand over his eyes it is a brilliant "move"!
Who knows if Geller, under pretense of further shielding his eyes, was not really peeking through the gaps between his fingers under the perfect cover offered by his own hand?
The only thing I know is that this little finesse, for me, really made the difference when pencil reading!
And, for the Mentalist that always feels he MUST be right...
1) If you just got something out of your pencil and sound reading together, you can resort to pumping info, either by progressive anagram or by classes and categories of objects.
2) Well, if you really did not get anything out of your combo of pencil and sound reading together (Sigh!) . then simply tell to the person who drew the design to fold her piece of paper in half, then in half again. take the paper in your hands for a moment as if you need to touch it in order to receive some psychometric vibrations from it (read about those fine touches in some of the routines by Richard Osterlind on this matter!) and finally, while you emphasize the fact that you look at the ceiling(!) and not at the billet, you tear the paper twice or more.
Congratulations! You just completed your center-tear and even if on your piece you could see only a portion of the original drawing . you should have no problem at all in understanding what the gestalt was!
There is a little pet effect of mines that I want to share with you. I've named it "Thoughts From A Past Future" and it served me well for a long time .
It's best done absolutely IMPROMPTU (or apparently so!) because this is something that will make people talk about your extrasensory skills. and about YOU!
You have a person write a reminiscence, a memory that did teach to her something positive. Be clear, right from the beginning, that the memory she chooses can be anything, even an experience that at the time it happened was perceived by her as negative BUT that did teach her something positive, something that, in truth, has had only positive consequences in her life. We must clearly explain the above in our request to her for two reasons: The first reason is that we want the person to think of an experience that was deeply emotional for her, thus our routine will have an added strong impact to it because of those personal feelings we evoke in her. The second reason is that we want her chosen strong emotion be a positive one or something that at the end really proved to be something positive for her, so that she will not have some bad feelings linked to our routine (and, possibly, to us!)
You tell her to write on a piece of paper one or two words that have to do with her past experience (this is somewhat similar to the George Anderson's idea "one or two words that symbolize the question you have in mind" for his Q&A) and then have her fold the paper twice. You then take the paper from her hands as to receive some impressions / vibrations from it. but, after a few moments, you state that you don't seem to get anything out of it and you tear the paper in small pieces.
You now tell her that in order for her to help you to get her thought of experience, it will be great if she could concentrate on the year it happened. She must say nothing but concentrate on the exact year!
You take out from your wallet one of your business cards, a pencil / pen and, after some due concentration, you write something on its blank side but, for now, you don't show her what you wrote. You openly put your pencil / pen back on the table but you still hold the card in your hands.
For the first time you ask her what year that experience happened to her. She answers: "It was the year 1974!"
Now you casually place the card (written side down) on the table, close to her, while you ask her to name / describe to you what her experience was .
She answers: "It was a trip I've done with my parents in a forest. I did not listen to my father's advice not to go far from we were camping and I did almost loose myself in that forest. I remember I started crying. I felt alone and frightened but luckily my parents heard me and my father immediately run to find me and saved me. Well, I guess that was a lesson I really did learn!"
You now ask her to pick up your business card and turn it over to read what you wrote before she said anything to you. She does and on the card she reads: "I SEE TREES. I FEEL FEAR AND CONFUSION. 1974".
She should now be amazed and. she can keep your card! (That will be good publicity for you!)
How it's done? I get the info on her chosen memory through center-tear (I suggest you the Al Baker/Lee Earle or the Osterlind kind of instant-access tear!) then, when I ask her to concentrate and focus on the year in which the real event took place, I simply write the info I've read on the back of my business card and I also write 19.
When she tells me the exact year her memory happened I must only nailwrite the two last digits to 19 (in the above example, they were 74) and then I can place the card on the table.
The motive for asking her the year first it should be obvious to most of you; I do in that way so that I can immediately place the card on the table (and don't have to touch it again) before asking her to describe her memory to me.
This Modus Operandi creates a gap of time between the actual time I wrote the info down and what the person will remember. In other words, the more she speaks about her reminiscence and the more time passes between my nailwriting and the actual revelation. Thus it may even seem to your participant that the business card was on the table from a long time, maybe even before you asked her for the year! Now, be warned!... Some people will fall prey of this "time distortion" phenomenon and some people will not (but that's just a little nice something more, when it happens. It actually does not change the overall impact of the experiment, which will still be inexplicable and bewildering for one and all).
One last suggestion!... I don't usually write on my business card the exact words the person wrote on her sheet of paper, if what she wrote allows me to do that. The fact that you don't write an exact replica of what she wrote can only reinforces the fact that you, beyond doubt, received some hazy impression directly from her mind. And that's what actually strengthens the whole routine.
Also, as I've already stated before, you are a Psychic and not a xerox machine!
Another recurring theme in a lot of magic forums is "the best nail-writer routine".
I don't think there is an absolute BEST routine but there are some routines built in such a way that appeal to the imagination of the people involved, on their secret desires and emotions and there are other routines which have a built in nailwriting methodology coupled with other principles (a force, a switch, a miscall, etc.) thus having one element of the routine cancel out the possible explanation for the other.
I want to offer you, not one of the best routines with that little gizmo but, one of my old favorites. It's the combo of two nail-writer effects that together play very, very strong! First part of the effect, which we could call "the lead-in", is Corinda's 7 chairs. You can find it in Corinda's 13 Steps To Mentalism book (where else could have it been?) under the chapter dealing with the Swami gimmick. I really think that effect is underestimated because, even when performed alone and for a small group of people, especially if it seems as an impromptu idea, it plays really well.
But now comes the kicker!. The participant you just called on stage to choose on which of the 7 chairs to seat is also the very one person you had a premonition about some days before the show. and the proof is a piece of paper, inside a little opaque envelope, on which you wrote the general description of the person helping you and a 3 digits number you knew she would have called out when asked for!
For the last part. Think of "Target Thought" (Ted Karmilovich) or "The Croiset Affair" (Bruce Bernstein) and you are on the right track!
If you, instead, want to have a prediction about the numbered seat in the audience your helper would be in the evening of your show. Well, with very little thinking on your part you should be able to twist things to achieve exactly that. and maybe a quick search in T.A. Waters outstanding book "Mind, Myth & Magick" could offer you some methods, subtleties and ideas on this very subject.
Let me also give you some examples using what some people could call "Instant Stooge" principle, to which I would disagree. I only consider Instant Stooges those participants that are somewhat directly cued to ask / tell / do something and not those participants that, even though tell / guess / do something have no idea on how they have been able to tell / guess / do that something.
I will give you the barebones of two effects, the first exploiting the sense of smell and the second making use of the sense of sight.
One participant chooses a random word from a random page of a book selected by her among many others.
A second participant is now asked to close her eyes and to relax, letting her mind go blank. and trying to receive the word chosen by the first participant, concentrating herself on her inner senses. After a moment or two she may say she is receiving a smell. a strong smell of a fruit. a lemon!. The first participant will confirm now that LEMON is indeed the random word she chose from the book.
How? The word is forced. The Mentalist has a small ball of cotton soaked with concentrated lemon essence inside of a plastic container (the film containers are great for that!) and, when it's the right time, he opens the container and wet the tip of one of his fingers in the essence. Then, under pretense of having the second participant relax (but in part this will really happen if you give her the proper suggestions!) with her eyes closed, telling her to take some deep breaths, the Mentalist will slowly wave his hands over her face, thus letting the scent be breathed in through her nostrils.
And of course, here, leading her in the direction of the smell sense will be the job of the Mentalist. I leave you the task of creating your suggestive verbiage for leading your participant in the wanted direction!
And, since you know the word, if the second participant only comes close to the correct word (or completely misses it) you can, if you so decide, take it from there and reveal the word.
The second effect is presented as if based on the "after image" visual phenomenon (a true phenomenon, by the way). In your case however, you will present an experiment of telepathic after image by having the first participant secretly choose a color and transmit that color to the second participant.
How? Well, for the first "secret" choice you use a stack of cards (or postcards) with a different color each on one side but with the same back pattern on the other side. If you mark the back of the cards, then the first participant can thoroughly shuffle them before she selects one. You, by spotting the marking, will immediately know what color she chose!
Or you could prepare a stack of colored cards with the Mirage principle (Svengali + roughing fluid or some other bonding agent) so that you can force a color to your participant!
But how in the world the second participant will receive the color thought of by the first? Actually, if the second participant will follow your lead, she will finally see the light (if you know what I mean!)
Simply have in your pockets one or more micro colored lights (the ones you can attach to your key chain) depending on your preference for a free choice (marked cards) or for a forced choice (Mirage principle).
You will now tell to the second participant to close her eyes, you will guide her through some relaxing suggestions, you will briefly explain to her what the "after image" is about and the fact that she will try to see it in a telepathic way. Then you will simply palm your micro light (the right color one, please!) and you'll shine it over her closed eyes during one of your wavings with your hands under guise of relaxing her further with your magnetic passes.
That's it! I hope those basic ideas will kickstart your brain to create even more impossible miracles.
Because before, in this miscellanea, I named Uri Geller... I would like to name now another Psychic, an italian one, that has been famous worldwide: Gustavo Adolfo Rol (1903 - 1994).
In the last century Rol demonstrated his powers to an impressive list of famous people. His produced phenomena ranged from mindreading to teleportation (thus showing you the fallacy behind some beliefs many Mentalists have, namely the fact that you should only choose to demonstrate your proficiency in some categories of phenomena but not in all of them because, if you do, you run the risk of loosing your credibility!)
Regarding Rol I can tell you that if he was not gifted with extraordinary powers, then he was a very clever and self-taught magician. for sure better than his many exposers that in those last years seem to have taken up a sort of personal battle with the dead! (Side Note: I consider exposing magicians a bunch of frustrated individuals that did not make it as a pro and so found it easier to reveal secrets of other people to the laymen under the hypocrisy of wanting to do good!)
And who knows if those exposers are right, anyway?
Only Rol could have said if they are and, during his lifetime, he always stated quite the opposite!
Two of Rol's most famous experiments, beside his ability in reading single words or whole paragraphs in closed books found in houses of people stranger to him (a clever book test?) or to heal people(!), are without a doubt his skills in guessing the colors of the cards without having to resort to multiple piles and with decks that were bought few minutes before his performance by some participants to his soirées (a clever version of Out Of This World?) and the change of a card held by a participant into another card the participant himself chose. And it's on that last demonstration of his powers, or better, on one of the many accounts told by some famous witnesses about that experiment, that I want to bring your attention to.
A famous witness reported:
"One night we were in the house of some friends of us. After some previous experiments Rol suddenly said - "I want to tell you that until now you all have seen experiments of the 1st and 2nd grade. Now I want to offer you something more!..."
Rol then asked someone to choose any card he wanted from any deck he wanted (there were always many decks on the table when Rol was giving demonstrations of his powers) and the card chosen was the 10 of Spades.
Next, Rol asked to that person - "In which other card would you like I change that 10 of Spades?"
"Into the Ace of Hearts" - was the immediate reply.
Rol told that person to hold the card against her chest, without looking at it, and to repeat after him some words he was going to say (the various formulas Rol sometimes asked people to say are always missing, to the best of my knowledge, in the original descriptions of his experiments)
After having repeated those words, the person holding the card went pale.
She was NOW actually holding in her hands the Ace of Hearts!"
The exposers already mentioned above, claim that it was a simple case of a double lift plus A LOT OF MISREMEMBERING on the part of everyone to whom Rol demonstrated that specific test. They say that was Rol himself who decided in which card he would have changed the chosen card and that the fact that Rol gave to the person the choice of which card she wanted for its magical metamorphosis was not true. (Please, notice that almost all of those exposers, if not all, speak as if they were there while, in truth, they were not. because some of them were not even born when Rol was already well known for his psychic feats!)
Back to Rol's "change of a playing card" experiment. While to some extent could be possible that all the witnesses (without one single exception?) misremembered the whole demonstration given to them by Rol, and while misremembering can happen, the arguments of the exposers sound to me as the FALSE thinking about "billets and having people writing things down".
Some writers in the Mentalism field had a belief they wanted to pass upon their readers; the belief that "if you never mention again to participants that they wrote something on a billet / piece of paper you gave them for that very reason, then they will not remember that they wrote something!" Sorry. I don't buy that! Maybe in some cases, some particular person could totally forget that she wrote something on a piece of paper but, in the normal course of things, they will remember!
And thinking they will not remember the fact they wrote something down, whether you are aware of that or not, it's just deluding yourself!
The best you can do to reinforce the fact you work with the thoughts of the people is ALWAYS use words that have to do with THINKING and NEVER use words that have to do with WRITING (and, if you have read my book with attention, you saw for yourself that I always mark out the fact I do just that in my performances!) but nothing more than that.
Back to Rol again. It's my firm opinion that Rol could have REALLY given the choice of the card in which someone wanted another card to change into . and I will tell you now the way I do it!
If you have two card indexes in your pockets, you can achieve that same effect quite easily. Simply have a person pick a card from the deck (no force!) and then ask her in which card she would like that one card to be transformed in. No matter what the person replies, you are ready to do just that!
Simply find and secretly palm the right card out of your pocket, then ask the person to put her chosen card on top of the deck and, with the pretense of showing to her how to hold the deck between her hands, take the deck from her, adding your palmed card on top of it. Then give her back the deck. tell her to repeat after you some arcane words (your choice of words, here!) and, after having told her to unclasp her hands from the deck. you take it again in your hands. you do a double lift (but you can slightly change this routine if you find a top-change is more convincing) to show one last time her card that finally you give to her (but of course it has already changed!) to hold against her chest! Now, wait a few seconds to add some drama to the whole thing, then let her discover how the card has really changed into the one of her choice!
Did Rol use card indexes, double lifts and top-changes? I sincerely doubt that!
Did Rol was a real Psychic? Well, let me put it in this way. I would have less doubts in believing he was a Psychic than in believing he was a sleight of hands virtuoso or in believing that exposers do really any good (if not to their fragile egos!) to our sometimes already too cold and dreamless society.
Another thing I really like is adding FX to the effects I'm presenting. Actually the FX are true effects that, usually, can stand by themselves and thus be performed as a single unit. But using those kind of effects as FX for the main experiment you're presenting it's the best you can do if you want to be known as a miracles maker!
For example, when bending an object in your hand (be it a key, a spoon, a nail or a coin) it would be very good to stop your pulse or at least slow it so much that it would be barely perceptible.
And when having an object bend into the hands of participant it would be good to use some FX to prove that something strange is REALLY happening inside their hands. Some invisible thread secretly brushed over their closed hands, while making some gestures as if you were sending your energy inside their hands, will certainly do the job! Another idea is to glue a circular piece of tin foil on one side of a coin and then, before putting that prepared coin in the hands of someone (together with a bunch of other coins in which you also hide a pre-bent coin), you simply wet that tin foil with some hypno-heat liquid. The person will then clearly feel the heat rising up in her closed hands while the coin is "bending"!
The same is true when presenting any kind of living & dead test. With the living and dead test you have also the option of using some chemical freeze bandages to secretly make your hand very cold. One idea for this latter FX would be, after having isolated the billet / card with the dead name on it from the others, placing that billet / card on the palm of your right hand (that you secretly made cold) and only then, after some concentration, reveal the correct name of the dead person! Now you give the billet back to the person who wrote it (being sure to touch her hand with yours!) and you can be sure she will freak out! Or, instead of you holding the billets, having the person pick them up, one by one, and telling her to stop when you feel she is holding the one with the dead name. have her keep it in her open palm and you place your cold hand on the top of her palm . she freaks out. and then you divine the correct name of the dead person!
An object falling on the floor or the lights of the house go out while you are concentrating all of your energy in trying to bend a key would be another fine FX.
And, last but not least, as suggested by some other Mentalists too, you must always be ready to take credit for everything that coincidentally happens when you are demonstrating one of your experiments!
Streamlined Description Of The Basic Acidus Novus Folding And Peek
Because in my prepared card for PATETOGY the info written by participant will be entered in the lower-right corner of it and because one of the three info written in my TRISOTERIC handling for a card will also happen to be in the lower-right corner of it, the simplest and easiest way to get a peek at those informations is ACIDUS NOVUS.
Millard Longman, the creator of the Acidus Novus peek, kindly gave us his permission to describe his basic move in this book and for this we are grateful to him.
Holding one of the cards (PATETOGY or TRISOTERIC) with the written info facing you (with the square / rectangular shape located in the lower-right corner) you must fold it from right to left but your fold has to be made slightly off-center so that a step is formed on the left side (Fig.1)
Now you must fold the card backwards (away from you) so that the step formed before remains outside and visible. This second fold has to be made slightly offcenter too because you want to have a second step (Fig.2) on the card. Those steps will make your life much easier when, during performance, you will have to get your peek.
In the following description on how to get the info it will be assumed that you will execute the peek move with your right hand (specifically with your right thumb).
Now, when in your performance you need to get the info, you simply hold the folded card at the tips of your left hand's fingers and, in the action of passing it to the right hand's fingertips, you will insert your right thumb into the rear folded step of the billet thus creating an opening. You will see for yourself that the gap created by the opening is quite sufficient for you to see the lower-right quarter of the card which contains the info you need to get.
That was the basic move! You should look at yourself in front of a mirror to see at what angle and at what height the card must be held to allow you a natural and quick peek of its contents without making what you do obvious for the people who will be in front of you during a real performance.
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.