Please note that the body of. the Effigy is divided into five parts, each represented by a different colors yellow, red, blue, green, and orange."

Each color is tapped with the finger as it is named.

"One of these sections or colors represents my vital area. Since I am aware of the exact location of this area, I have written it on this piece of paper and shall place it In plain view on ton of this glass."

Billet is removed from the pocket and placed on top of the inverted glass as in Figure 2.

"I have here four large pins that vou "ill use to nuncture four sections of the Effigy."

Pins are shown. One is removed from the cushion or holder. Effigy is held in left hand and pin is held in right hand.

"We are now ready for our Voodoo Ritual. Remember that I have written in advance on this picce of paper (pointing) the color of the section of the Effipy that, will prove fatal to me if you are able to penetrate that section with one of the pins. There are four pins and five colors on the Effigy. I shall control your minds in such a way that it will be impossible for you to stick a pin in the color section of the Effigy that I have written on this niece of paper.

"Would someone in the audience please think of one of the five colors on the Effigy? Would the person "ho is thinking of a color please raise his or her hand?"

As this person calls out a color, a pin is plunged ,into that section of the Effigy, and at the same tine attention is called to the colors that remain.. This action allows those in the audience who cannot see the colors well to follow the effect. At no time should a person who ha3 already named a color bo given a chance to change his mind and name another color. I shall explain the reason for this in my "afterthoughts".

when all pins are in the Effigy, there will be one section or color with no pin in it. At this point we have two possible methods of bringing the effect to a climax. I shall deal with each separately.

First I shall discuss the situation where the color left is yellow. This is the better of the two possible situations, There Is no exchange of papers. Suggested patter would be as follows:

"Please observe that there is one section of. the Effigy where yon did not atick a pin. That section is yellow. Now remember, prior to the Ritual I wrote on a piece of paper the name of a color that you could not stick a pin Into. You Had free choice to call out any color on the EfflRV. T stated that I would mnti-nl ynin- -tnirtd.g _,c;n_Hvy^-yrm rrmid nrrt^Trfo-np>~rry--Trt fal gpni-^.qs written On the paper. The paper has been in full view before your eyes. Tfould you, .

come up and read what it says?"

Needless to says the prediction agrees with the situation. At no tine should you touch the paper during this procedure.

The second situation is where the color yellow has been called, and where, in order for you to brinp the effect to a successful climax, an exchange of papers is required. Let us assume that the performer will have to effect an exchange of billets. In this case, the hinge on the board must be opened. The hinge should be opened at the nost opportune moment, leaving the four billets exposed. The Effigy and board should be held in front of the performer's body (Effigy facing audience) and attention should be called to the color that has not been penetrated by a pin. Let us suppose that in this instance the color that has not been named is blue. The "blue" billet is second from the top in the recess. Place the thumb of the right hand on this billet. The four fingers of the right hand are in front of the board. Now, with the left hand, the board should be nulled to the left. This action will cause the billet to slide into its correct position along the inner part of the second finger of the right hand. The action must be made in such a way that it appears that the performer is simply moving the Effigy from his right hand with his left hand. At the same time he should reach over to the left with his right hand and remove the billet from the glass. Without hesitation it should be handed to someone nearby who should be ashed to read it out loud. The patter given in the previous solution should be modified to fit this situation. During the movement of the right hand from the glass to the spectator, an exchange of billets is made. There are many methods of bringing about this exchange, and one should use the one that suits him best. I have included in these instructions the exchange that I use and that suits ne best.

If desired, the flap on the board can be cloned during the reading of the billet and the Effigy may be held in such a "ay that the back of the board can be. seen by the audience. It is not necessary, nor is it recommended, to deliberately show the back of the board to the audience.

ROUTINE SPJHBE3 TWO; • .In this routine everything is the sane as in Routine //I except the mechanics of operation. All five billets are placed in the recess of the board. Let us assume that from top to bottom the billets are in the order of yellow, red, blue, green, and orange.

In this version a hat or other container is used. TTe will assume that we are using a hat and that it is on the table.

A dummy billet is in the performer's right coat or trouser pocket. T'Then the part of the natter theme where it is stated that "the 'Vital. Area' is written on a slip of paper"5 is reached9 the performer removes the dummy billet from his pocket and displays it. Re states that he will place it in the hat for safe keeping. Re then pretends to place it in the hat, but retains it in his'hand. The procedure to be followed after it is determined what color is to be used is simnlv to extract that billet from the board and, as one reaches over to pick up the hat, simply to drop the billet in it. The performer should have someone reach into the hat, remove the billet, and read it.

If one does not care to use the slight to retain the billet after pretending to plaee it in the. hat, then he should not use. a durmy billet, but simply tell the audience that the hat eontains a slip of paper that contains his vital spot.

Of the two routines.I have given it ismy belief that routine #1 is the best, and that the little time it takes to learn to exchange the papers will bring a ten-fold increase in effectiveness.

/JTBRTWOTJGHTS: I believe that there is a difference between an audience which is fooled and one which i3 completely baffled. In my opinion, in order for the audience to be completely baffled, there should bfi no possible explanation for the effect other than the one which the performer has set forth in his patter. %at I am saying is that it makes no difference if the.audience's solution is the correct one or not. If they can find any solution other, than the "mystic'1 one suggested by the performer, then they have not been completely baffled. I bring this point up because if the audience, in our effect, is allowed to call out colors at random, and two or more colors are called at the same time, one cannot bring about a complete bafflement of the audience. The. reason for this is that the audience will formulate an opinion that the effect is brought about by-a process of elimination. Now, in cur case, this is not the correct solution, but this makes no difference so long as the audience believes that they know how it is done. Because any suspected ''Solution" spoils a large part of tho. effect, members of the audience should be asked to think of a color and then raise their hands. In that ^av only one color at a time is named.

For this sane reason, the performer should not stall by telling a spectator after he has named a color that ho nay change his mind if he wishes, "e nay take you up on it and name another color. This would not change tho climax, but would certainly influence the degree of overall effectiveness.

' When writing the predictions on the billets, black India ink and a broad point drawing pen should be used. This will make it easy for the spectators to read the paper.

The natter should not Vi learned *--ord for word. I do not use it that way myself. The general patter therae should, bo learned and then put into the performer's own words. The tall* should be sincere and should give the impression that the performer knows what ha is talking about. Above all else, stalling should bo avoided. There is no such* thing as a "tine killer" today. Modem audiences am mora intelligent and more impatient than those of twenty years ago. This fact should be recognized, and the performance executed in ■ 'a smart modern manner.

If great detail is desired, the idea of writing each billet in a different color ink to correspond with the colors of the Effigy may bo used. The natter might then be altered as follows? "I have written my axact 'Vital Area' on . this piece of paper and havo written it ip- t^e color ink that corresponds to the appropriate area on the Effigy."

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