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Having set the watch, it should be fixed on the wrist face on the inner side of the wrist. The medium enters and you turn to the spectator and say — kindly show your palm like this (illustrate how) and let my assistant look at it. As you demonstrate you hold your hand out in front of the medium—who has nothing more to do than to look at the face of your wristwatch and note the time which tells her the card. You will have two and a half minutes delay time before the hands move out of position, which is more than enough for this purpose.

This principle may be utilised for signalling any two numbers to the medium. It will be found of use for book tests and similar experiments. Obviously one has to take care that the audience do not see you paying particular attention to your watch when you set it—but this is a simple matter if you behave casually.

(7) The Third Man by Corinda.

I consider this to be an outstanding effect. It packs a real punch, literally flabbergasts an audience and is just right for large audiences.

The Effect. Medium is seated on the stage and turns her back to the audience. The performer has two Telephone Directories—both the same. He gives one to the medium and hands one to a member of the audience. The performer then gives the instructions. First, he explains that the medium will try and duplicate the action of the spectator. He tells the spectator to open the book at any page he likes—but first to examine the book to see that it is quite normal and contains some two thousand pages. The spectator finally settles on a page—the medium likewise chooses a page—and writes her page number in white chalk on a slate. Performer takes the slate—asks the spectator to call out what page he chose and then shows that the medium has written the same number. He does the same effect again with that spectator and again the medium is right. The book is now passed along the row a bit—another spectator chooses a page—again the medium is right. Finally the book is handed to a third spectator, he is told not to open it yet. This time the medium writes a number before the book is opened—then the spectator chooses a page—calls it out and has people on either side of him verify it—and the climax comes when the performer turns the slate around and shows that the medium has gone as far as she can—and predicted quite accurately the number that has just been selected!

The Method. Seated in the front row of the audience you have an assistant. He can hardly be called a stooge because of the amount of work he does! By any of the various code systems given, this "third man" is able to signal numbers to you. When you first hand the book into the audience—you give it to the spectator seated on his right. Naturally he looks over their shoulder and sees the chosen page. He signals the number to you—and you signal it to the medium (see "Technique" for methods). When you have finished with the first man in the audience, tell him to pass the book along the row, without much delay, your assistant grabs the book from the chap next to him and passes it to the man or woman on his left. Again he is seated next to the spectator. Finally, you ask that "someone else should take the book" whereupon the plant again acts lively and takes the book and keeps it himself.

All that remains is to make the'best out of the advantageous position. You have pre-arranged a page for thr finale and the plant chooses that page

after the medium has written the agreed number on the slate. By this time the plant is above suspicion as several spectators have already taken part— and "Madam" has been quite successful. 1 don't think the method matters one iota—the effect is more than worth the price of a third man.

(8) Musical Mindreading

The Effect. On the stage is a piano—preferably a Grand for the sake of appearance. Seated at the piano is the "Musical Mindreader"—your partner, who is able to play reasonably well a pretty wide selection of musical excerpts. You, as the performer, go down into the audience with a large slate. You approach various people and ask them to whisper the name of any composer —preferably a well known one. No sooner do they tell you their choice— than the pianist starts to play something composed by that musician. Whilst this goes on, you quickly write the chosen name on the slate in bold letters —and after a few bars have been played, the pianist stops and you hold up the slate. The bulk of the audience will have recognised the tune played and will know the composer, now they see what was given and find that the pianist has by some strange means—found it possible to find the composer. This is repeated for a selection of some ten composers and each time the pianist is right.

The Method. There are a diversity of methods by which this wellknown effect can be achieved. Punx of Germany worked the routine for many years by developing a system of visual signals to his versatile pianist. Each signal indicated a composer and Punx found that practically every composer had some pecularity that could be built into a visible signal, as, for example, the scratching of one ear—w hich would draw attention to the tar, signifying deafness—the key to Beethoven. Personal pecularities of the composers coupled with mnemotechnic situations (i.e. rubbing the chin meaning Barber of Seville for Rossini) made it possible for Punx and his co-worker to "accept" any composer named by the audience. On top of that, his pianist was a clever man who was able to play a popular selection from any composer chosen. Although the average musician will be able to deal with practically any composer—the system which I give now offers scope to the amateur pianist—since the choice is limited.

We have two main considerations for this type of routine. First we must be able to deal with a fairly comprehensive range of composers—including some of the lesser known people as the audience will doubtless try and stump you with an out-of-the-way genius of music. Secondly, since the whole thing depends on the fact that the audience recognise the tune and associate it with that composer, we should aim at playing the most popular and well-known piece from any works of the composer. To discover such relevant information I refer you to any good musician, record libraries, catalogues and sales statistics which to some extent, will indicate popularity trends. Choose one hundred composers dealing with those which are best known first. Choose ONE piece of music for each of the composers—the one piece that is most likely to be recognised. The pianist and you both arrange a list of the composers and form them in alphabetical order before numbering the list from one to a hundred. You write the composer list in pencil on your large slate, the pianist writes them on a music sheet and adds to his list a brief note alongside the composer which tells him the title of the piece he must play. You don't have to know the titles.

You will see now that it boils down to a code system—where by signalling any of the numbers from one to a hundred—the pianist knows what to play. The code system has to be an action signal, the effect would be ruined if you spoke directly to the pianist—in actual fact, you pay little attention to your hard working assistant. (You have enough troubles of your own!). We have already discussed the basic principle of action codes so it will not be a difficult task for you to work out a visual code system. You have the slate, a duster, the chalk, the spectator and yourself as materials for action codes; more than enough. Just one thing though, bearing in mind that the pianist has to see your signals from quite some distance, the signs should be bold and clearly definable. Just one thing remains to be said; your slate has the list of names on it but such a list is visible only at very close quarters. You can chalk over a pencil mark on a slate and later rub off the chalk. If the chalk is a soft grade—the pencil mark will not be affected. Alternatively, you can have the list on the other side of the slate—or better by far, though a little more involved, is that you (and the pianist) learn the full list off by heart, utilising perhaps a mnemonic system to help you in your work. (See Step Three).

This routine is a time-tested winner. It always appeals to an audience and it is a very fine presentation of mentalism. The musical mentalism principle has been used on stage, in the drawing room and occasionally for cabaret. It can be an act in itself—the scope is there for two hard working mentalists. As with all these effects of two-person telepathy, 1 give only the bare outline of working and describe the plot. All of them require study and working out with your personal presentation; don't take them literally and stop dead at the effect exactly as described, what 1 have given is but the starting point, the plot and basic method.

Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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