## R i en c en m i f

When he has written his number over the small circle and dot, tell him to roll the paper into a tight ball and drop it in his pocket. Note please, a tight ball and not folded. Call the next person over and ask him if he knows what has happened. He will say no. Tell him you want to try an experiment —something which may or may not work.

Take the second sheet lying in front of you and repeat the same preparation as before. Draw the small circle and put a dot in the middle. Hand this sheet to him and tell him to go and look at the dot from all points of view, and to try and get an inspiration of a number. Emphasise that he must not guess—if he sees nothing—to say so, and yet, if he sees a number—a distinct number, to write it down and then screw the paper into a tight ball.

When you put the dot on the paper it irves two good purposes. It is good misdirection and it makes them look at the right side of the paper.

The writing becomes easier to see in artificial light so send the subject to a spot where he will stand under an electric light. It will work in daylight but artificial light is better.

Be sure to watch him and if he seems in doubt tell him to look at it from all points of view—"sideways—tilt it about—the numbers will slowly appear . .

Sooner or later he sees the shine and then realises that a number is to be seen. He writes this down and screws the paper into a ball as told. He returns and you have them exchange papers and open them to read.

It is a strange thing, but the person who sees the number on the second sheet—does not seem to know why. No doubt you are thinking—well he knows how it works, but they don't. Sometimes they get an idea that you must have written the number and the second man is partly wise, but the first man never knows and more often than not they are both lost. I have asked the second subject afterwards, "What did you see" and a common reply is "Nothing at first—and then the numbers slowly came out of the dot".

However, the perfect trick has a perfect finish. When they open their paper and read them, they know that both are the same—but they can never prove why, because if you screw the paper into a ball—it destroys the surface and the number on the second sheet then disappears! They can take both slips home with them it's too late.

The Flames of Zor

This is an old principle that has been applied in many shapes and forms for both mental and magical mysteries.

Five slips of paper are given out and on each one is written a name. One is dead. The slips are rolled into small balls—and then dropped one at a time into a glass of water. Four of them burst into flame and disintegrate when they are in the water—one remains; that one bears the dead name.

The effect may be modified to any type of trick—where one billet is located from a number of other billets. It is a method of enhancing the presentation and not so much an effect in itself.

The answer is very simple. You have four prepared billets ready rolled into small balls of paper to look like the proper ones. Each of the prepared ones is made from a small slip of Flash Paper and inside is a SMALL pellet of sodium. When the pellet hits the water, after a few seconds the sodium ignites and the flash paper goes up in flames. Alternatively, you may use potassium metal in place of sodium—but whichever you use, take great care as both are dangerous in any quantity when exposed to air. If you wish to perform the effect without using water—you may resort to phosphorus— which will ignite when dry. Never use any more than a piece the size of a very small pea—because these metals are liable to explode in larger quantities.

A Card and Billet Routine (Corinda-Fogel) The Effect

The performer hands out about ten slips of paper. He goes to each person with a slip and fans a pack of cards before them—telling them to look at them and mentally note any one. He stands back and asks all to write on their slips—the name of the card they saw. Whilst this is done, he arranges the cards on a cork board so that the backs face outwards.

The billets are folded and collected. A lady is invited to choose any one and then to impale it on a dart. She does this. Next she is invited to stand in front of the board and to throw the dart at any card. This she does. She removes that card (which now imprisons the billet on the dart) and shows it. Then she opens the selected paper—and reads the name of the card—they are the same. A chance in a million!

### The Method

The first step is to impress upon the audience that all the cards are different —and yet to do so without drawing attention in an obvious manner. The slips are a convenient size for a billet switch. Hand out ten slips and then go to each person and fan the cards showing the faces. Now and then bring the fan up to let everybody see the different faces.

Stand back and tell the people with the slips to write the na of the card they selected. Whilst this is done, go to the board and prepare to place the cards on the simple wooden racks made to hold them. However, just before you start you switch the complete pack for any forcing deck (say Nine of Clubs). You make nothing of this. Simply put the deck in your pocket— move the board a bit using both hands, and then remove the forcing pack. As an alternative switch, have two "Terry" clips on the back of the board. As you move it a bit, put one deck in a clip and take the other from the second clip. Have the board made of cork so that the dart is sure to impale into it.

In your pocket have one folded billet and on that billet have the name of your forcing card, i.e. Nine of Clubs. Collect the ten billets when they have been folded—mix them and give them all to the lady. Ask her to choose one and take that one. Draw attention to a dart and at that point—perform a billet switch returning the prepared billet and now the dart to the lady. Tell her to stick it on the dart—and from now on it is obvious.

Should the lady miss a card on any throw—tell her to collect the dart and throw again—she can hardly miss. After the billet switch you do not touch anything—you don't have to!

"Inexplicable" by A1 Koran The Effect

One person is given a slip of paper and told to think of a name. The name should be a place—a town or city—village—in any country in the i 1 ! I I I I I

world. To create a vivid picture of that name in their mind, they are told to write it down and then fold the slip.

### You take the slip and put it in a clip on display.

Attention is now drawn to a Brandy Glass standing on a table. It is seen to hold several small pieces of folded paper. The performer tips these out and invites another spectator to choose any three. Then to hold a lighted cigarette to them all—and in doing so, he finds that two disappear in a flash and one remains.

All that remains now is for the performer to open the slip on display and read out the name for all to hear—the writer confirms that was his choice. Now the other spectator opens the last billet on the table and reads out a name written by you before you started. It is the name of the chosen place.

### The Method

Fold up about six small billets of Flash Paper and drop them in a glass which you stand aside on a table ready for use later. Have a display clip that pins on to your lapel—as described in this book. Hand the slip to the spectator who is to decide the name of a place. Choose a person that is seated some way from the glass on the table. The slip you hand him is prefolded in readiness for the One Hand Centre Tear (described in this book).

Have the name written and the billet folded. Take it and under cover of putting it on display in the clip, steal the end. Patter a while and cause sufficient distraction to allow you to open the end tear, glimpse the word and refold the paper. This done, go to the glass and in picking it up and tipping out the slips drop the end tear amongst the other flash paper slips. Have three chosen and see that your end tear is one of them. If there is any indecision, they may all be used. Invite the spectator who is, of course, a different person from the writer of the slip, to hold his cigarette to the slips. The one that does not burn is the end tear—tell him to hold it for a moment.

Come away and take the billet from the clip. It will be in two pieces so you must take care to make it look whole. Open one of the sections and appear to read out what is written on it. In actual fact, call out the name you glimpsed on the end tear. Ask for confirmation that this was written and then tell the other man to open his slip and read out what you wrote earlier that evening! Naturally he reads what the other man wrote—but who suspects that is the case—they have just seen you read the slip!

For obvious reasons, you would be wise to select two people who are seated far apart. Another point is that you may, if you like, have fewer slips in the glass. The only thing is that with six or seven, it is quite impossible that any observant person may have counted the number there at the start. With two or three it is probable.

## The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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