## Harris Richardson

"Please put the bill on my open ¡kind Put your fingers tightly on top.'That is perfect. Gentfy mb the hilt "

. The performer doe* not look at the bill, but radier his face Ls showing that he Ls trying ro sense or intuit something. His eyes arc shut!

"Eight vHe points to a man on the left. The man stands. - "5&:*The man nextto him stands. . ' .

"Four, no, eight;yes, eigfn. "Another man stands.

### This is repeated three more rimes.

In a relaxed voice he says, "What Tvcjust done is modest. My two associates will now attempt a difficult feat. They will try to transmit complex information over space and time. Which of you wants to be the sender? And who watus to be the receiver*''The women shrug. They are a little confused by the question.

The performer looks at the woman to his right and says, "Why dontyou be tin sender*"

As he says this, he transfers the folded bill from his {en hand to his right, holding it in full view at his fingertips, then passes it ro the woman on his right. He then turns away from her.

■Please open the bill "He rums his head, making it clear that he cannot possibly see the bill or her actions. "Look at the last two serial numbers. Memorize ihem. Good. Now close your right handoi*er the bill. You can scrunch it, but keep it hidden."

Turning to the front he says to the woman, "Please rtlzx. Now close you eyes. Let me hold your hand—and yours, too." He stands between the two women, facing the audience and holding the women* hands close to him.

"Areyou ready? Relax. "He is holding their hands at liip level.

"Joan [the woman on his right), think of tlx first number of the last two digits on the bill.

7 will call all numbers, zero to nine. When I come to your number—the first digit that you have in your mind right now—i xoant you ro think, 'That's it f But make no physical response. Do you understand? Good

"Mary [the woman on his lefr], when you sense a number—and you are a sensitive and imaginative person—I want you to hold the number you sense in your mind until I ask for it."

This is a serious exchange. There is a sense diat a real experiment is going on.

"If we are even partially successful the audience will greatly appreciate your reflations. If we do not do so well, it will be entirely my fault. Now relax. 'Then,

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