R r r c

covers the point which makes quite sure that only one pinhole is going to be found—the one you made before you started. Again make nothing of it. Forget about classic methods of forcing and systems which are sure to prove it was a free choice. At no time do you suggest it is a free choice anyway. The audience have no idea what is going on—they only know what you intend to do when it is too late to pay attention to the method of choosing a page and a word. As a Mentalist, you must become accustomed to perpetrating these outright swindles—without so much as a twinge of conscience.

Hence we have arrived at a page and a word is marked for the selection. Our next step is to consider how to switch the books ready for the climax. This complicated feat is achieved by putting out the lights and doing it under cover of darkness! You will recollect that in the routine, the page is torn into four pieces and a green-fire bowl is ignited. The lights go out whilst each spectator comes forward to tear his pieces of paper and drop them into the fire. Whilst this is going on, you have more than enough time to pick up the "Reader's Digest" from the table and stuff it down the back of your trousers belt—taking the other from there and substituting it on the table. After you have done that the trick is as good as done.

The making of green fire is simply a chemical mixture which any chemist will prepare for you. The formulae is as follows:—

Half a dram of powdered shellac Half a dram of powdered charcoal One dram powdered Mercurous chloride One and a half drams powdered Sulphur Three drams Potassium chlorate and Six drams powdered Borium nitrate C.P.

This mixture is tipped into a nice ornamental brass bowl and will produce Green Fire. To give added effect, you may utilise Joss Stocks for creating a heavy scented smell and a few pieces of smouldering conjurers rope give out mysterious wisps of smoke.

The very last thing is the disappearance of the ashes in the sheet of white paper at the end of the routine. This is flash paper of course—but no doubt you have guessed! As soon as the paper has burnt away—quickly brush aside any few pieces of ash that remain before the sudden glare fades away— allowing people to see more clearly.

That is the working of The Ceremony of Reincarnation—not a lot of work for such an effect; there is one thing left to tell you. Of course, we don't believe in real Magic, Black, White or Grey; but one day at the end of a performance 1 opened the book to find the pinhole I had made in the arm—now through the head—and the drawing looked remarkably like me. But that's another story!!


For this you will require six magazines the size of "Life" or "Picture Post". They have to be prepared so that the COVERS are all different and yet the insides are all the same. For best effects, obtain six copies of the same edition of "Life" and five different magazines of the same size. Choose those which have bold covers whic!i are obviously different from a good distance.

Remove five covers from the "Life" Magazines, and recover with those takes from the odd five. With this done you are ready to perform, however, it would be as well to mention that this effect is best performed on a stage but a drawing room will do as long as you are careful to remove the other magazines afterwards.

Lay the six magazines in a pile on the table. Have a spectator come up to help you in an experiment of the mind. Tell him that he must follow your instructions very carefully—in fact show him what to do!

"Now sir, on the table here you will see six various magazines. You have a free choice of any one you care to select, don't let me influence you in any way. I want you to take one and stand over there so that I cannot see what you do".

You allow him to take one—but as you are talking at the start, pick the magazines up and display the front covers to the audience, showing that they are all different. When he has made his choice and moved to the spot you indicate, you deliberately pick up a magazine yourself and turn to him and say . . .

"Now the first thing I want you to do is to think of a number—any number you like say under fifty. What would you like?" (He tells you) "Excellent, number twenty-three, then do as I say please, turn to page twenty-three like this . . . (casually run through your copy showing him!) and when you get there look at any prominent word, a heading at the top of the page. If there is a picture on that page, remember that also please—and just for good value, have a look at the very last word on that page. (Each time you say what he is to do, you casually gesticulate with a wave at your open magazine and in doing so, you taken an outright look at the prominent words at the top of his page, any picture and the last word on the page!!). Since\your copy is the same as his—you must be right.

After that it becomes a matter of presentation. Drop the magazine on to the table and pick up a slate. Tell him to commit these facts to memory, close the magazine but keep his finger in the chosen page in case he forgets the words.

"The first thing we shall try is to get an impression of a picture ... I want you to visualise any pictures you saw. Suppose it was a person's face, imagine you are looking at that person—try and help me, make the picture strong.

You quickly sketch something on your slate—a rough outline of the picture and show it to the spectator saying:—

"Say nothing, I get this rather vague shape. It seems like a drawing or a photograph of a building. There is a large square with birds and a statue here".

Point to the slate and the outline drawing as you patter about the scene. Having delivered enough facts to make it certain that they will appreciate you are on the right trail, say to the spectator. "Would you be good enough tell us all which picture you looked at and what was it?" When he replies "there was a photograph of St. Peter's Square in Rome "... you have made your point.

"Now let us deal with the headline—you looked at some prominent words • • • think. Send the words to me—imagine you are drawing the letters on a blackboard".

The Art Of Cold Reading

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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