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5/20/08 Mind Index is lovingly dedicated to my wife Linda and our daughter Joni. Their Their love, support, support, confidence, confidence, patience patience and sense sense of humor humor create the true magic in my life.
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TABLE OF CONTENTS
FORWARD ----------------------------------------------------------------------------------- 4 INTRODUCTION ------------------------------------------------------------------------------------------------------------------------------------------------ 5-7 THE ACIDUS NOVUS INSPIRATIONS ------------------------------------------------------------------------------------- 8-18 ORIGINAL 1979 EXPLANATION -------------------------------------------------------------------------------------------------- 9-10
----------------------------------------------------------------------------- 11-15 SONG & DANCE -------------------------------------------------------------HEART2HEART -------------------------------------- --------------------------------------------------------------------------------------------------- 16-18
CENTER TEARITORY ------------------------------------------------------------------ 19-28 -------------------------------------------------------------------------------------- 19-26 7 DEADLY SINS ------------------------------------------------------FREE WILLY ------------------------------------------ ----------------------------------------------------------------------------------------------------------- 27-29
EPICESQUE -------------------------------------------------------------------------------- 30-42 ---------------------------------------------------------------------------------------------------------- 30-36 EPIC INDEX ------------------------------------------SCHOOL DAZED -------------------------------------------------------------------- 37-42
WINDEX ------------------------------------------------------------------------------------- 43-52 MIND INDEX--------------------------------------------------------------------------- 43-48 MENTALINK---------------------------------------------------------------------------------------------------------------------------------------------------- 49-52
THANK YOU ------------------------------------------------------------------------------------------------------------------------------------------------------------ 53
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FORWARD
I met Bill Cushman on September 11, 2002 at a Charles Gauci lecture in Fort Lauderdale, Lauderdale, Florida. It has always alwa ys fascinated me that we met on the the first anniversary of the 9/11 terrorist attacks. As I stood in the lecture hall speaking with some other friends, I noticed Bill come in and look for for a seat by himself. Being extremely shy myself, mysel f, I immediately went over to him and welcomed him to the lecture. After I introduced introduced myself, Bill wore a puzzled puzzled look look on his face. He then asked if I was the creator of Acidus Novus, Novu s, which of course I am. When I said yes, he told me that t hat he had just purchased AN a few weeks before. before. I knew then that we would become close close friends! Our friendship has indeed worked out well and we are still friends today nearly six years later! Bill has been an inspiration to me in many ways; especially given his training as a PsyD (Doctor of Psychology)! Psycho logy)! I often wonder if he is performing an effect or giving me a free therapy session! Bill’s presentation style is extremely believable! The book you are about to read now is something that Bill and I have worked on for several years (Mostly Bill worked, while I watched and and listened). The effects have all stood the test of time and contain all the brilliant thinking that has become Bill’s trademark when creating routines. Bill wrote this book and I did a little editing (the easy part)! I really like Mind Index and I predict that you will feel the same! So open your Mind – and get ready r eady to Index these effects for future use. Welcome to Mind Index!
Millard Longman - 17 May 2008 2008
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INTRODUCTION The obvious question is “Does the mentalism community really need a book dedicated to effects that use index cards?” The obvious answer is no. But sometimes you just have to say, “what the hell.” So why Mind Index? Index? I have created, accumulated and discarded quite a lot of mentalism mental ism effects in the 20 years or so that I have devoted my interest in magic primarily to mentalism. The effects included in this ebook have all survived and are still among those that I perform today. They have staying power. Now this isn’t to say that they haven’t evolved. Of course they have. Like all dedicated magi, I’m always on the lookout for ways to improve my material. Interestingly, these days it is just as likely to be the transposition of two words, clarifying and strengthening a challenging presentation that excites me, as it is a new method of gaining a peek. As with most mentalists, I like to restrict myself as much as possible to props naturally found found in the environment. In many situations situati ons working with what is on hand conveys adaptability. No, more than that, it conveys a sense of freedom to do your thing under any circumstances. And in my circumstances, index cards tend to be ubiquitous. Then there are all the advantages inherent in an index card. They are a good size, just the right thickness th ickness so they can’t be seen seen through but can be easily torn, are lined if you need them to be, blank if you don’t, and they look as innocent as the day is long. The lowly index card is easily adaptable to many cutting edge methods of mentalism. Need to do a center tear? Break out out an index card. Need to do a switch? Break out an index card. Need to do a peek? Break out an index card. Pseudo-psychometry? Try index cards. Predictions, forces, spirit phenomena? More index cards. The list is probably endless. And as if that weren’t enough, they are inexpensive, readily available and are are produced produced in a variety of qualities. They even come in colors and with Post-It Pad possibilities these days! If you’ve read this far into the introduction introduction here is a little secret. Any effect in Mind Mind Index Index can also be done with business cards. Some can be achieved with paper. So another reason for Mind Index is versatility. I wanted to stick with a theme and Mind Index is the eldest brother of all the rest, so Mind Index it is. I feel confident my readers can improvise as needed or desired in a given situation. 5
Mind Index isn’t going to teach you any groundbreaking sleight of hand methods for index cards. What it will teach you, or at least codify, are approaches that are better referred to as groundbreaking “sleight of mind.” Instead of how to twist an ace, I will teach you how to twist an idea. And in so doing, to gain access and influence as to where that idea will land and in what shape it will be. This is my Guided Imagination Process © which I believe has many applications beyond my humble efforts described within. The GIP © was first introduced in my title effect, Mind Index, over 20 years ago. The book Mind Index begins with two effects made possible by the use of Millard Longman’s classic peek, Acidus Novus. Millard has generously shared the original instructions for the basic Acidus Novus procedure as published by Al Mann in 1979. As if that weren’t enough, Millard produced a short instructional video just to include with Mind Index. If you don’t know AN, you are in for such a treat that I truly envy you! The next section consists of two effects accomplished via the center tear. There are many versions out there; I’ll get to my favorites in a moment. The first effect in this section is 7 Deadly Sins (7DS). Don’t let the title scare you. 7DS incorporates a very powerful “sleight of mind,” technique that I refer to as The Cognitive Shift. I will detail its attributes when I describe the effect in detail. The second CT effect is called Free Willy. Both 7DS and Free Willy (then called Free Will, B.D. or Before Deddy!) were depicted on Allen Zingg’s The Master Billet Course DVD set released in 2006. Due to time and space considerations, only the briefest outlines of the effects were described and I relish this opportunity to give them both the attention they deserve. While Free Willy has been streamlined but remained essentially the same, 7 Deadly Sins has gone through significant changes, taking the effect to a new level. The Cognitive Shift sleight mentioned above transforms a basic mind reading effect into a journey within your guest’s imagination. Like the Guided Imagination Process © described in Mind Index, The Cognitive Shift has applications well beyond any single particular effect. For Section Three, I had to make up a new word: “Epicesque.” Again, there are two effects. You might be noticing a pattern here. First, is Epic Index which reenacts a series of ESP tests that were done at Duke University. Next is a collaboration with Millard called School Dazed where someone is taken back to memories from their first days of school. The intensity of the memories makes for a powerful mind-to-mind connection. The fourth section is Windex. This is the only section where the two effects have nothing 6
in common. And I just ran out of clever titles. The first entry is the title effect, Mind Index. Your guest thinks of several objects, say ten. One is randomly selected and the mind reader knows what it is before the guest. Within Mind Index, the Guided Imagination Process © comes into its own. This is a technique with wide applications that I believe is nicely showcased within the effect. You will want to ponder how it might be a stepping-stone toward developing in a variety of new directions. The final effect is Mentalink. Many people have told me that this is the best effect possible with Frixion ink. The principle of “psychological retention” first described in Epic Index plays a crucial role in Mentalink where I first became aware of its true value and impact. Truth be told, I developed Mentalink for use with business cards and many people have told me this is one of the best effects possible with your business card. With a borrowed pen, you draw the five Zener symbols on the back of your business card. A guest chooses any one symbol and it disappears. I was going to release this as a commercial product, packaged with a high end Pilot pen and a couple of other routines but with the timing of Pilot making Frixion Pens readily available in the USA, I thought I’d include Mentalink on its own. I think you’ll be very pleased with this decision.
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THE ACIDUS NOVUS INSPIRATIONS The following two effects make use of one of the most important contributions to mentalism of all time, Millard Longman’s Acidus Novus. Professional mentalists have used this wonderfully deceptive and flexible peek in a variety of ways for almost 30 years. For the finest description of Acidus Novus, along with video of the moves in action, templates for specific routines and a host of effects from some of the best thinkers in mentalism, I refer you to Millard’s Thought Reading With Billets, Volume I: Acidus Novus. This is a multiple media CD that also includes information on the history of the Acidus Novus peek, an interview with Roy Shubert and Millard and the correspondence that took place between Millard and Al Mann at the time AN was created. If you are interested in learning more about Millard’s great contributions as well as some of the feats of pure mind reading they inspired among others, check them out at: http://www.mevproshop.com/ The two routines that follow had their origin on the above CD. Heart2Heart was described in very similar terms but the version you will read in a moment has been refined to streamline the presentation and allow you and your audiences to get more out of it. Song & Dance is almost an unrecognizable mutation of what was called The No Switch Name and Place on Millard’s CD. I always liked the methodology but was never content with the premise. Until now. Song and Dance is an extraordinarily simple and satisfying piece of mentalism to perform. First though, Millard has been generous and allowed me to publish the instructions for the basic Acidus Novus peek. A video Millard produced specifically for Mind Index is also included in your purchase. One caveat; Millard allows only the right bottom corner peek to be taught outside of his own publications. This is the corner needed for Song & Dance but I recommend the upper right corner for Heart2Heart. If you have the original source CD this poses no problem as that covers every possible derivation. It is also relatively easy to logic out the change in the fold. Finally, you can use the bottom right corner for Heart2Heart just as effectively by drawing the hearts in the upper right and left quadrants. As a matter of fact, Millard disagrees with me and prefers to perform Heart2Heart using the lower right corner. If you don’t know Acidus Novus, you are in for a real treat. Though said so often as to be relegated to cliché, in this case I don’t think it is an exaggeration to write that if you are not familiar with it, Acidus Novus alone is worth the price of the book. Enjoy, practice, and perform! 8
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SONG & DANCE EFFECT: You ask for a volunteer with an interesting song for a ring tone. Tell them to imagine hearing it playing in their head. You write something down and give it to them to hold for later. You and the guest both take out your phones and he concentrates on his phone number. You read his mind, successfully calling his cell phone with your own, and allowing everyone to hear the ring tone. When the guest reads what you wrote earlier, which has been in his possession since before he brought out his phone, it is found to be the name of the song used for the ring tone!
METHOD: You take an index card, fold it for Acidus Novus and write on it:
MY RINGTONE IS: __________
You give it to your guest to complete. When he has finished writing his ring tone ask for the pen back; this will free up his hands so he can fold the card. As he does this, write on the back of the second card:
4 #’s: _______________
Fold the card normally. Ask him to write the last four digits of his cell phone number. Get in position for the peek of the ring tone as the guest writes the number but don’t peek yet unless an absolutely perfect opportunity presents itself. If you are performing for one person this is an obvious exception as this is the perfect opportunity! Note the use of all capital letters. This is important, as it will encourage the participant to use the same without your having to tell them to do so. The size and spacing of the written words, symbols and lines also play an important role in the participants writing in ways to optimize size and clarity. 11
Ask for the card with the number and place it in the same orientation on top of the name card but fanned slightly upwards. This provides even greater coverage and looks more natural when you peek. Ask the guest to take out their cell phone. Your hands aren’t moving at all, the right hand simply at rest, holding both cards with the bottom one in position for the peek. This is a very good moment. All eyes will go to the guest as he gets his phone and it takes but a moment to peek and remember the song. If someone is burning you when your guest takes his cell phone out, preventing you from taking your peek, the missed pocket ruse works well here. This move is generally attributed to Docc Hilford. Briefly, you attempt to pocket the billet while you are speaking and not looking at your pocket. You keep hitting the edge and finally look down, ostensibly to find the pocket, and then take the peek. State that you tend to find it easier to work with sounds so you’ll start with the song card. With your left hand take the number card and put it down on the table as you say, “start with the song card.” Place the song card you just peeked, which the audience believes is the number card, in your shirt pocket. The implication (via your “silent script”) is that you shall return to it when you are done working with the song. That’s it, no switch in the traditional sense; just a bit of time misdirection and casualness of attitude are all it takes to make this work. DO NOT MAKE A MOVE OUT OF THIS! If it makes you more comfortable, you may want to have both hands holding the cards squared in the moments before removing the number card. Either way, due to the size of the cards and the size of your hands, it is impossible to see which card you removed. When the one card is out of the way and the focus is on the ring tone, ask the guest to imagine the song playing in their head. After a moment of concentration, imagine it playing in your own head if you know it. Pick up a blank card and write down the name of the song being used for the ring tone. Place this card down on the table or give it to someone to hold. Say, “Let’s see how I did.” Pick up the tabled number card, believed to be the song card, a belief you are about to reinforce in a subtle and powerful manner, and open it up. Act surprised but not 100 % satisfied as you say, “OK, that is at least something, let’s continue.” I also do a “lateral” hit if the opportunity presents itself. In other words, a similar theme, song title, or another song by the same artist. In this case, after pretending to read the title I am even more tentative about my success. This has an impact like Greg Arce’s wonderful Six 12
Degrees of Separation where at the end the audience is convincing you of your success. Whichever way you proceed, while you are doing this you have impeccable justification for staring at the card for several seconds as you memorize the four digits. Remove your cell phone and hold it in your left hand. Say that you will now try to read the guest’s mind and divine the last four digits of his cell phone number. Tell him to make sure the ring tone is set to high. Ask the guest for his area code and enter it into the phone. Tell them that most people have a quirk where if they start giving a familiar phone number they need to finish it and will do so even in their head. State that this makes it possible to pick up the last digits since “part of you is compelled to complete the number and communicate it to me one way or another.” Emphasize that they are to say the first three digits out loud but not to say or give any hint of the final four figures. Just to say them in their mind. Again, they say the first three out loud, then merely think the final four. Do this a couple of times before you dial in the four digits you memorized. Look up as if expecting the guest’s phone to ring. Then smile and say, “This always works better when I remember to press send,” then do so. A little self-deprecatory humor gets everyone on your side for the finale of the effect. When the guest’s phone rings, not only does it verify you correctly divined their cell number, but it arouses curiosity about the ring tone, increasing tension. So when the participant or another guest reads what you wrote, everything ends with a relief of tension or “on a good note.” Sorry, I couldn’t help myself. By the way, though you only divine the last four digits, in my experience when I am asked to do this it is inevitably, “do that thing where you read their mind and find out their cell number and ring tone.” When you are reading the guest’s mind the first time, don’t neglect to imagine the song in your own head if you know it. This adds realism, and increases rapport and immediacy. Truth in advertising: My original method was a bit different. They both tend to get remembered in the same way but what follows has certain advantages and may be more comfortable for some people. The difference is that instead of simply verifying the hit on the song to myself, I pretend to read the guest’s ring tone (really number) card OUT LOUD as in, “My ring tone is XXX” naming the song I peeked earlier in place of the XXX. 13
Then, tell someone to read what you wrote earlier out loud. As they do this, refold the supposed name card (actually the number card that you have just read and memorized) and casually place it in your pocket with the real name card and proceed as above. In this handling, when the guest’s phone rings, not only does it verify you correctly divined their cell number, it brings things full circle back to the song you correctly named earlier, effectively doubling the strength of the hit and adding a wonderful and truly musical “coda.” This is magic of the highest order. So what do you do if you don’t have a shirt pocket? I’m glad you asked. If seated, instead of placing the number card (believed to be the song card) in your pocket, table it off to your right side. After you misread the number card as the song card, refold it and drop it on or near the real song card. Cover both with your right hand. You may also absent-mindedly touch the billets and move them around. Continue with the phase where the guest says aloud the first 3 digits for their phone number out loud and finish as above. The cards can be thrown away or simply left where they are. Millard leans heavily toward throwing the cards away! There you have it; my take on the classic Name/Place routine for the ‘oughts. Thank you, Ted. And thank you Bob. And, of course, thank you Millard!
UNTRIED & UNPROVEN: Instead of having just the last four digits of the cell phone number written down, ask that the whole number be recorded. You will treat the phone number revelation a bit differently as follows: Start by asking if the guest’s area code is XXX, filling in the local area code if your gig venue makes it likely that the audience will be local. If you are correct, play it up with a knowing smile. If you miss, just ask what the area code is and play it off as a non-event. Now begin by making guesses on the first three digits. Start off by making a real guess, say asking “Is 6 one of the first three digits?” If yes, ask which one. Bold but effective and will get lost in what is to come. Continue with a second attempt, following the same procedure. And a third if you hit twice. If you get a no, try a second guess. If this is wrong, say, “Tell you what, people have an odd quirk where we like to complete a name or number that has been started. Let’s use that to our advantage. I want you to say the first three digits out loud and finish the last four in your head only. Don’t give any hint of the final four numbers, saying them only in your mind.” Have the guest repeat this process at least twice, while you appear to tune into their thoughts, before eventually 14
entering the memorized four digits. Since titling this section I have had the good fortune to both try and prove the value of this approach. Just a few trials, but I don’t see myself going back. I only attempted to memorize the last four digits as in the original presentation but each time found that I had memorized two of the first three digits despite making no attempt to do so. The value also seems to be in an “after effect” where I was credited with revealing the majority of the digits of someone’s phone number. The visceral proof of the phone ringing also seems to add to the overall impact even more after struggling for the first few numbers then cleanly finishing off the last four, proven by machine rather than man. A final comment that may have occurred to some of you. Should you hear, unknown to the owner, his ring tone, you are in a wonderful position to get one ahead, skipping the peek. This is akin to the term “observational pre-show” coined by the wonderful Ted Karmolovich. When this happens be prepared for some serious fun
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HEART2HEART
EFFECT: Your guest is asked to recall an early or first crush but not to say anything aloud or give anything away about the time, place or person. Perhaps someone they flirted with but never found out if the feelings were reciprocated. In the process of determining if the feelings were mutual, the mentalist describes the person in question, answers the question at hand and the veracity of his claims are demonstrated by reading the guest’s mind and naming the crush.
METHOD: This is a very pretty and engaging handling of Acidus Novus. As many masters of mentalism have said in one way or another, telling someone secret information about something with emotional significance is far more powerful than revealing random factoids. A favorite quote of mine from Kenton Knepper states, “Meaning is the best misdirection,” and I couldn’t agree more. Heart2Heart is a fine example of this and has never failed to garner exceptionally strong reactions. It is a Q & A in miniature, addressing an unknown from the past rather than the future. I fold the card for Acidus Novus in position to peek the upper right quadrant. Draw two hearts, one in each bottom quadrant. Assuming a female participant, draw the symbol for female within the left hand heart and the symbol for male within the right hand heart. Draw a line above each heart in the upper two quadrants and in the optimal place for the peek to come.
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While preparing the card, I begin along the lines of: “Mind reading is a misnomer. The term thought reading is more accurate. And to make this possible, we have to work together and put our minds in synch around a specific thought. We all have questions from our past that remain unanswered. Who here remembers having a crush on someone when you were in school, thinking the feelings might be returned but never finding out for sure? I think we all have at least one or two ‘what ifs…?’ Once someone “volunteers,” state, “After all of these years would you like to find out? This wasn’t in middle school was it?” Work with the response while preparing the card. “For this to work, I need you to focus and work with me. Begin by printing your name in large, clear, capital letters on the line above your heart. Concentrate on every stroke of the pen while you write your name. Now picture yourself at the age you had the crush. See yourself as you appeared back then. Next, keep the name of your crush hidden and print it with the same level of focus and attention you applied when you printed your own name. See this person as they were back then. Now imagine the two of you standing together.” This is a nice and indirect way to insure legibility when the guest writes the name of the crush. Focus and attention were linked to writing a specific way when the guest wrote her name. Asking her to apply the same level of focus and attention results in printing the crush’s name with the same level of detail. Continue, “Done? Good, now fold the card in half so your hearts are touching. And fold it again the other way, insuring his name stays secret. Place the folded card on the table.” At this point, some simple cold reading based both on observation and universal qualities of first crushes, along with an “intuitive” guess or two is appropriate. It is worth the risk; if you hit it is very powerful and if you miss you will still redeem yourself by naming the crush at the end. Also, the primary information you reveal, whether or not the feelings were returned, can neither be confirmed nor denied! So say it with conviction! The fact that you name the crush appears to verify all earlier unverifiable revelations of impressions. This is similar to ratification in hypnosis where the existence of one phenomenon validates the ones to follow. During the cold reading and while maintaining strong eye contact, pick up the card, obtaining your break with the right thumb in preparation for the peek to come. While you are finishing, hold out your left hand, palm up. Say, “Hold out your right hand palm up and rest it on my left hand.” Keep up eye contact, don’t even think of taking a peek yet, and once their hand is in place 1 7
put the card on their right palm, retaining your grip and break. You may go for the peek here, as it is natural to look where you are placing something. This fact was reinforced for me by Millard Longman when we were speaking about the lengths some folks go to never look at a billet during a tear or peek. Continue, “Place your left hand palm down upon your right, trapping your names and hearts inside and out of sight.” If you didn’t get your peek as above, or need a second look, you have another opportunity as you look at their left hand and direct with your eyes and words the placement of this hand on her right one. Your gaze at the billet will be perfectly justified by the natural action of looking where you want the guest to place her hand. As your gaze reaches your left hand awaiting the guest to follow your instructions, take the peek and when their left hand begins to drop down upon their right, release the card. In this way, not only do you justify your gaze as you take the peek, it is lost among the other, more important, actions. Say, “I’m going to hold your hands with mine. This is the second most intimate moment in the ritual. But by far my favorite (if a female). I could simply tell you yes or no about his feelings for you but you would never know if my impressions are correct. This is why it was vital you kept your crushes name a secret, as you’ll hopefully understand in a moment. We’ve joined our hands, hearts and minds together in what is often referred to as a “ritual space.” An effect of this is that our feelings AND thoughts can co-mingle. And that is the most intimate part of the ritual. If I can find his name among our shared feelings and thoughts than we can be more certain of the validity of my impressions. And my impression is this: had you let your feelings been known, they most certainly would have been returned by…….Jethro.”
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CENTER TEARITORY 7 DEADLY SINS EFFECT: “A journey thru the sins of religion and the character defects of psychology.” The guest secretly chooses one of the 7 Deadly Sins that most closely relates to a problem in his life. He imagines specific details about what his life will be like when the problem is resolved. The mentalist reads the guest’s mind, describing with startling accuracy what he is imagining.
METHOD: To perform 7DS, you need to use an instant access center tear. My favorites are Richard Busch’s Zen Tear from Peek Performances for index cards and Richard Osterlind’s PCT or Scatter Thought by Richard Stride and Alan Wassilak for most other paper. The best tear for you to use is the tear you know best and use most frequently. Since this is a book devoted to index cards I’ll be describing the effect with The Zen Tear. It works wonderfully in this application but you can easily adapt any other method. After folding and reopening the card to prep it for the tear, I make a simple drawing. It is a picture of a tombstone with R.I.P. “engraved” at the top and 2008 engraved at the bottom, just below the horizontal fold of the card.
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You can see I’ve made the tombstone 3-D, an idea my daughter Joni had when she was ten years old. I promised her back then that I would give her credit. So, despite the fact it will probably mortify her at 15, thanks Joni! I also draw in the horizon line and two trees but do as much or as little elaboration as you prefer. It is also up to you if you prefer to carry cards that have been readied in advance or if you do your preparations at the time of performance. There are good arguments for both. In either case, hand your guest the folded card, contents unknown and unknowable, at least in their present condition. I say, “Inside is a drawing. Can you tell me what it might be without opening it?” If they simply say “no” ask them to guess. If they guess correctly, I suggest ending the effect right there! How can you top that and more importantly why would you want to? In most cases it will have to suffice that you, via the above question, have subtly and indirectly shown that the card cannot be seen through. Have the guest open the card and take a look. Assure them the tombstone does not represent death in this instance but is symbolic of making a profound change. “The drawing is used in a kind of ritual designed to help us move beyond self-imposed limitations. Rituals are used in psychology in all kinds of ways these days to address a variety of symptoms and so called character defects. Rituals like this can be traced back to ancient religious ceremonies. What do you think defects and symptoms were called back then?” If the guest answers correctly: “Absolutely right, psychology’s defects and symptoms were once simply called sin. And are you familiar with the most famous of all, The 7 Deadly Sins?” If they can’t answer: “Psychology’s defects and symptoms were once simply called sin. And are you familiar with the most famous of all, The 7 Deadly Sins?” I elicit the names of as many of the sins as the audience or a particular person can recall and help them with the rest. As I do this, I write them down. Actually I write the word “APEGALS” in a column first thing when I pick up whatever I’m writing upon. This is my acronym for the 7 Deadly Sins: Avarice Pride Envy Gluttony Anger Lust Sloth 20
Sometimes I share the acronym openly, sometimes I don’t. I always make sure to define avarice: “insatiable greed for riches.” When done, “I was surprised to find out that the 7 Deadly Sins are not in the Bible. They are from the 13th century and are the work of St. Thomas Aquinas. Interestingly and most useful for our purposes, the sins were NOT chosen because they were deemed the worst. They were elected as the 7 deadliest because Aquinas saw them as the source of all other sin!” Ask for a volunteer who can identify something in their life they sincerely wish were different and can easily connect to one of the 7 Deadly Sins as being the source. Once you have someone, give him the card and pen and ask that he, “Engrave the name of the sin on the tombstone along with RIP and the year and fold the card back up.” Rather than tell the guest to “print the name of the sin in large capital letters” using “engrave” serves the same end but far more subtly. Even the drawing itself serves the purposes of indirect suggestion. You don’t tell the guest to write in a circle or even on a line. Simply putting the sin where a name would go on a tombstone achieves your goal without having to directly say where to write. The size, style and placement of the “R.I.P.” and “2008,” along with the shared context of being engraved on a tombstone, also facilitates the sin being printed neatly. I find this extremely reliable and far more effective than the direct approach. Much more satisfying too! Once they are done, take the card and ask the guest to begin imagining that it is six months to a year in the future and whatever behavior they chose no longer plays a part in their life. Stay with them and encourage the guest to take this as far as they can, imagining a future where the problem is a dim memory. To put it another way, you want the participant focused on what is there in place of the unwanted behavior. What do they see themselves doing instead? Proceed with the first tear. Just before it is completed, I say something along the lines of, “This step begins to release you from the external manifestations of the problem. For example, if the problem is lying, you’ll now find that the truth comes easier and tangled webs begin to unweave.” I then complete the tear. I do the second tear, stopping again just before finishing as I say, “This tear begins to influence the origin of the difficulty; any early experiences that led to the problem are loosening their grip.” I complete the tear. Next, with the billet in position for reading, I cup my hands together, modeling the 21
position I want their hands in. As I say to “put your hands together like this,” I can look over at my cupped palms and take my peek. Once their hands are in position, I make the third tear, saying that this step is to take care of any “spiritual or karmic issues that may play a role.” Depending on timing, thickness of the card, etc, I may give the pieces another tear or two as I drop them into the guest’s open palms. Doing the third tear as you move your hands above the guest’s is another time a peek is organic to the process. Either of the above timings achieves something dear to my heart and what I like to call “Justifying The Gaze.” It is perfectly natural to look at your hands at either moment. It would be odd not to. Remember I’m describing what I do using The Zen Tear. You will have to adapt the timing you get your peek “with justified gaze” to the method you use. Drop the pieces into the guest’s hands and ask him to scatter them. I’ve been known to ask someone to recite, “ashes to ashes, dust to dust” while doing this. After a suitable pause to non-verbally acknowledge the importance of what has just transpired, I begin to extrapolate from the sin I secretly know to describing a future likely to evolve from its absence. This is a contribution to mentalism transformed and transplanted from the psychological approach known as Solution Focused Therapy, which developed from the work of Dr. Milton Erickson. There is no way to do the solution oriented approach justice in a few sentences. Suffice it to say (at least for now!) that for the mentalist’s purpose, the facts that the perspective and language used are future oriented and presuppose successful change are what are most relevant. I first wrote about this approach in the instruction manual for The Witches’ Almanac created in collaboration with Rick Roth of Outlaw effects. Besides the positive aspects involved in imagining future success this process takes the mind reading in a new direction. The guest has secretly chosen a word representative of a problem. You could simply reveal the word but in asking them to imagine a future where the problem is resolved you are able to divine something that was never written down and is literally only in their minds. I have dubbed this process “The Cognitive Shift.” I conceptualize it as a true sleight, albeit of mind, similar to how a Diagonal Shift is a card sleight. A cognitive shift in psychology means to begin to wrap your mind around a new idea. Shift is a verb, cognitive serving as an adverb. Conceived as a sleight, shift is a noun, cognitive an adjective. The solution focused approach to mind reading is not about answering a question or making a prediction about the future. It is first and foremost about mind reading. You tell your 22
guest what he is imagining. Sometimes in extraordinary detail. But you will always have a strong hit, allowing you to perform this piece with confidence as you hone your skills with solution-focused mind reading. The nature of 7 Deadly Sins is such that you do this in concert with your guest, which is made easier since he wants you to be right because that validates what he is wishing for. And to top it off, you become enormously credibl e given you already know the secretly chosen sin. This is simple to do. I’m going to provide you a sample response for each sin. You can use them as is, model your own responses after them or come up with something completely unique. Remember you are not going to use each response in a rote manner; you have to ride with what is working and dispense with the rest. Your guest is telling you what choice to make but don’t let him know that! While paying attention to the subtle and not so subtle reactions of the guest, you appropriately amplify or minimize certain aspects of your response for each sin. This isn’t really cold reading but certainly skills in that area are useful and can be “translated” into use with this approach. I begin, “ You are picturing changes that are affecting every area of your life.” And here are some ideas of where to go with each sin as informed by solution focused thinking. And hopefully something to get you thinking!
Avarice: You’ve overcome a sense of emptiness and are finding fulfillment in things you once thought frivolous. While you still are hard working, you find balance in spending time in some sort of recreational activity. You are more generous with your time with others. Are you engaging in some sort of charitable activity? You are relating to others, perhaps one person in particular, more openly and honestly. There is mutuality, a sharing you’ve worked hard to attain. I don’t think that you are consciously imagining this but I also have an odd sense of you giving up the need for a medicine that you took in times of stress. You are calmer, more truly comfortable in your own skin and your body is responding appropriately.
Pride: You are more at ease and this shows especially in being more patient with others. 23
Perhaps one or two people in particular? And this is making a big difference in your relationship. You are being more accepting and less prone to judge. You are willing to engage in activities once avoided. A sense of sometimes feeling as if you were playing a role has been replaced with a sense of true and deserved accomplishment. You don’t have anything to prove and your true selfesteem is evident.
Envy: You achieved a sense of success and accomplishments. Your thoughts are occupied by hopes for more of the same. There were situations, people, perhaps even old friends, that you avoided and you have now resumed contact with. And you’re doing things and meeting new people which makes you feel good and helpful in other areas, like work. Instead of dwelling on any sense of things not being fair, of jealousy toward others, you are far more occupied with what in life you are grateful for. And who is in your life that you are grateful for their presence? You are feeling good physically, less jumpy, less prone to aches and pains. All combined, I see your imagination focused on achievement and all that goes with it.
Gluttony: You are imagining something that gives you a great sense of relief. You are simply being yourself around an area that used to cause shame and led to you hiding certain things about yourself. This is a tremendous weight off of your shoulders. Where you once felt emptiness, you’ve found the real you at your core. You are getting to know and understand yourself in this way; you no longer have to fill the emptiness in compulsive ways or waste time obsessing about doing so. While you from time to time have urges to exceed healthy limits, you have the self-control not to act on them. Physical complaints have decreased or aren’t troubling you at all. You’re sleeping better and wake up feeling energized. Subsequently you are getting more done in the course of the day.
Anger: You’ve gained a very real sense of self-control. As a rule you are more patient but even 24
when your patience is strained you are better able to stop and think before you speak or act. This is playing a major role in improving, maybe saving, an important relationship. You are less likely to jump to the conclusion that others are criticizing you. When you take the time to hear people out, you are more aware of being appreciated for your endeavors and contributions. All this leads to less tension. Some sort of bothersome ailment has eased or even cleared up. You used to always have medicine on you for when this happened but no longer need it. Perhaps headaches or stomach problems have gone away?
Lust: You are able to focus more effectively. You have fewer distractions, less obsessive thinking, less damage control to worry about. This helps you in all areas, especially work where procrastination and distraction sometimes slowed you down. All andall you feel good about yourself. You had doubts about your ability to change and now you have certainty that you have and can continue to. You like sharing this with people you trust. Successful efforts at self-control are paying off. I see you expressing your passions in healthy ways that respect and empower those around you as well as yourself. You are happy in a mutual, committed relationship or will be as you are attracting different kinds of people.
Sloth: You’re energetic and active. I see you happy, full of life and enthusiasm. You have good reason for high self-esteem. You are in a better place financially than you have been in a long time. You’ve started or resumed healthy habits and you are taking care of long standing problems, things that have been ignored and a source of significant internal conflict. Instead of always putting out fires, you’re addressing responsibilities as they occur, even beating things to the punch, and are far less stressed for making this change. These habits are simply a matter of course for you. People see you in a whole new light and, in turn, this is improving relationships, particularly one which may have been in trouble.
I have looked at each “sin/symptom” as a psychologist and crafted responses for the mind reader consistent with my knowledge of what people prone to focus on a particular sin/symptom are seeking. 25
Each response is very likely to contain the general outline of what they will be imagining. Take informed and or intuitive risks on specifics. You will be forgiven for misses since you will always be in the vicinity and then likely guided where you need to go. Remember, your being correct validates what they are wishing for so your guest will work with you. And the kicker is that they’ve never written this stuff down! My responses may or may not suit you and in any case you want to craft ones that fit your style and circumstances. I hope they at least provide inspiration and some direction. When I first began performing 7DS, after suggesting the participant think of a sin, I offered them an out, “if that seems too heavy, you can select a less serious problem like halitosis. Whatever you are comfortable with.” Actually it was more than an out for the guest. It was a way to make the range of selection seem infinite and in this sense was also an out for me. I didn’t want to get a “big deal, that is only one out of seven” response. In my experience after well over a hundred performances before shifting to the approach described above, nearly everyone still chose a sin. So I have dispensed with the option simply because I think maintaining the 7 Deadly Sins premise in pure form is stronger, no matter the restricted number of choices. It has a built in intrigue and appeal. This is the kind of foundation the solution oriented approach needs to be most effective. And in the end, and what counts the most when entertaining, it is better theater.
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FREE WILLY EFFECT: A unique, single question Q & A.
METHOD: Free Willy actually predates 7DS by several years and has the similar attributes of offering a strong justification for writing something down and tearing it up, directing the writing where you need it without being obvious, along with what I hope you agree are some potent emotional hooks. I use Busch’s Zen Tear but, again, you can easily adapt your own favorite. While you introduce the premise you use the card for a visual aid, writing and drawing as you talk. When you are done with your opening spiel, you are good to go. You end up as in the illustration below:
Before I start drawing, I ask the guest to think of a question they would like answered about their future, something no one can know for sure at present. Ala George Anderson from It Must Be Mindreading, I have them reduce the question to a word or two to help them focus. While they do this, draw just the pointer of an arrow, facing to the right (see photo). I say, “The answer to your question must, of course, lie in the future. Like it or not, in time whatever is on your mind will be resolved.” Print FUTURE to the right of the arrow. You might prefer to draw just a capital F. Either way, use large caps, optimizing non-verbal suggestion that the guest do the same when it is their turn to write. 2 7
Draw the second pointer, facing left. I continue,” As a psychologist, I also believe that factors from the past will influence the outcome of your question so are equally relevant.” It works for me; others will have to make adjustments. Print PAST or P next to the pointer on the left. There are a couple of inches between the pointers; you’ll have to play with this to fit what method you use. Next, draw a curved line connecting the two pointers. I ask the audience if they have any idea why it is curved. Sometimes they ask me. That is even better. “The curved line is for the present (print PRESENT, again in all caps and as large as reasonable, beneath the line) and it is curved to represent the flexibility of choice that we have in every given moment. It is curved to symbolize our FREE WILL that, despite influences from the past, will ultimately determine the outcome of your question.” While saying this, I write Free Will above the diagram. Finally, I draw a large question mark at the far right end of the line just inside the FUTURE pointer (time it with “determine the outcome of your question”). Again, the size of the question mark implies the size and position for their printing. Ask the guest to print the word or words representing their question and hand them the card and pen, instructing him to keep what they write hidden and fold the card back up when they are done. There really isn’t anywhere left for the guest to write other than where you want them to, but the question mark is just one more insurance that things end up where they are supposed to be. I do say “print” but in an off hand way, not making it sound like it is a requirement. I proceed, as follows, timing each statement with the appropriate tear, “The first tear opens a window to your future. The second tear acknowledges the influence of the past. The last tear is to stress the importance of the options you can exercise in every single moment in the present.” After a moment or three of silence, “When more than one person shares a ritual as we just have, we enter what is called ‘ritual space’ together. In the right circumstances our thoughts and feelings can actually mingle together. When this happens, and with many years experience, I often see something that will shed light on the question that exists only in your mind.” I then go on to describe what is on their mind. If appropriate (if not I defer to the obvious legitimate resources) I give an upbeat answer to their question, suggesting the distinct possibility 28
of whatever they obviously desire. I also remind them that this outcome is subject to every choice they make in every moment. Again, I use future oriented language with lots of presupposition. And remember to present this all as a cooperative process, which it truly is. You want your participant fully engaged and working with you as you move from peeking a word or two to unraveling the answer to their question. Unlike 7DS, I do not direct them to imagine the future where their question is answered. Free Willy is a different effect, more like a Q & A in miniature.
29
EPICESQUE EPIC INDEX
EFFECT:
The effect is presented as a demonstration of methods used in laboratories to test for ESP. A sample testing kit from the Rhine Labs at Duke University is introduced. The performer selects a subject and demonstrates three tests of increasing difficulty using items from the kit. For each test, the performer starts by designating a target and recording it on an index card, also kept in the kit bag. He begins with a one out of five choice of Zener cards and progresses to 11 possibilities on the roll of two dice concluding with a 1 out of 52 choice with a deck of playing cards. In every case, the subject makes a perfect match, beating combined odds of almost 3000 to 1 against him.
NEEDED: Five index cards A reusable glue stick One paper clip (larger of the two most common sizes) Five Zener cards, one of each design. A pair of dice A Svengali deck A pen Kit bag
PRESHOW: Take the stack of 5 index cards and turn them so the blank sides are facing you. Hold them in “landscape” orientation. Draw a small circle at the top and write the number 3 within. Write down the name of the force card from the Svengali deck. Do not use too much pressure, as 30
you don’t want to leave an impression on the card beneath.
Move this card to the bottom keeping the cards in the same orientation. Turn them over side to side. Take the glue stick and use it to apply a large “X” along both diagonals. Place the paper clip onto the cards with the larger half of the clip over the glued side of the card on top. This way, when the cards are turned over and placed down they won’t stick to the surface. It helps to give the cards a very slight bow so they “rock” on the clip. The clip should also be attached at the top of the stack so you can easily keep them correctly oriented. I have a small leather bag with three zippered compartments. In the front one I place the Zener cards and the dice. In the next, I place the pen, Svengali deck and the clipped index cards, glued side toward the cased deck. Though this is optional, in the third compartment, I place a matching ordinary deck minus the force card used in the Svengali deck. You are now set to go.
PERFORMANCE: I state, “There are a variety of tests for Extra Sensory Perception, or ESP, and I have a research kit obtained from Duke University that will allow me to show you three classic tests. The first uses the five different Zener cards: plus sign, circle, star, wavy lines and square.” As you state the above, open the compartment and remove the five Zener cards. Hand them to your subject to look over. Ask someone to act as the record keeper. You or the subject can do this if performing for one person. Remove the index cards from the bag with the prepared card on the bottom and pull the top (unprepared) card from the stack and place it in front of the appropriate person. Say something along the lines, “There are certain protocols that must be in place for all 3 1
testing. First, I have to commit to a target and record it before we begin.” I remove the clip and openly draw a small circle at the top center of the first index card and write the number 1 within. I don’t draw particular attention to this, choosing instead a more indirect approach, stating, “I’m going to choose one of the ESP symbols for the first target, record it on the card and move it to the bottom so you can’t see it. No cheating now.” I time “first target” with writing in the number 1. I proceed to do just this, writing the name of a symbol down. It can be any symbol, as it will never be seen. When moved to the bottom this index card becomes attached to the glued side of the index card with the playing card to be forced on its other side. This makes for a very deceptive double card serving as the means to get rid of what needs to go! I simply jog the top card a _ inch or so to the left with my right thumb, then remove it with my hand and place it on the bottom, blank side facing the audience. You may vary this as comfortable for you, but you will want to use the same mannerisms each time you record a target. Have the subject mix the Zener cards, stop anywhere he wants and turn over the top card. Ask the record keeper to record it on the index card you gave him. Collect the cards and replace them in the case. Remove the dice. I explain a further “test conditions” requirement, “Another feature of testing is that the tests gradually become more difficult. With a pair of dice, there are now 11 possible outcomes, with 2 being the lowest, 12 the highest.” Most people intuitively and incorrectly assume 12 possible outcomes so I generally have to point out you can’t roll a 1 with a pair of dice. I openly draw a circle at the top of the visible card, as I mention, “committing to the second target.” As the circle is completed, I tilt the index cards upwards and write a 1 inside the circle. In keeping with the pattern established on the first card, I time the writing of the number 1 with stating, “second target.” Saying that this test is “more than twice as difficult with eleven possible outcomes with the roll of two dice,” I then write down the name of the selected Zener card, move the card to the bottom in the same manner as the first and place the stack down. I let the subject have some practice rolls while I do this. You are indirectly reinforcing two things here: first that you are writing in the number 2 via saying second target and next, that you are recording a target based on the possible outcomes of the rolling of the dice. Ask the subject to roll the dice for his selection and have the record keeper record the outcome. When this is done, take the dice back and put them away. Remove the playing cards and place them on the table. 32
I then “record the third and final target, almost five times more difficult than the last test, since there are 52 cards possible.” As I’m saying this, I visibly draw the circle at the top and tilt the cards toward me as I write a 2 within and write (spell) out the number from the dice roll. Once again, I write the # 2 as I state “third target,” and write out the number for the dice roll as I refer to the 1 out of 52 odds now that the cards are b eing used. Here is the only “move” in the whole routine and it is simple in execution and should look like the other two times you moved the target card to the bottom of the stack. Holding the writing side toward you, slide the card facing the audience sideways and move the rest of the stack to the bottom as one as you place it on the table, writing side down, in front of you. You can also conceptualize this as moving the true single to the top. Pick up the deck and take it out of the case. I suspect this isn’t original with me, but I’ve discovered you can allow the cards to gently “cascade” from hand to hand and they will fall in pairs, effectively hiding the force cards. I do this as I casually cut the cards a couple of times showing different faces without calling any attention to them. A riffle shuffle is also possible with a Svengali deck. Ask for the record keeper’s card and put it to your right, oriented correctly for the audience. Hold the Svengali deck faces down in your right hand and allow them to riffle off the fingers and on to the table next to the record keeper’s card, telling the subject to call stop whenever they like. When told to stop, take the face down force card off the pile and place it over the index card the record keeper used. While doing so, allow the bottom card of the ones in your right hand to be visible, and the same with the bottom card from the tabled portion when you put the deck together. No, “if you’d stopped one card sooner,” as that is too direct for this effect. Simply showing the card above the chosen card and the bottom card without calling attention to them is much more subtle and ultimately effective. Recase the deck and put it away. I reiterate that we started off with a one out of five chance with the Zener cards and slide the playing card down the record keeper’s index card just enough to reveal the subject’s choice. I turn over the stack of three index cards calling attention to “target number one” and showing that the subject’s choice is a match. I take this card and remove it, placing it to the side of the stack and revealing the 2nd target, which is the dice roll number. I slide the playing card down a bit more to show that the subject’s roll again is a match. I take the 2nd target card and place it to the side on top of the first, staggered towards me with both still visible and revealing the last index card (really two glued together) with the playing card target written upon it. I place this card on top of the other two index cards, again staggered in my direction. This is simple to do and you will fool yourself given how well the glued cards match up and adhere together. I turn over the playing card to reveal the third and final match, leaving it 33
between the row of three index cards and the single card with the choices recorded. Everything appears just as it should; there are only (apparently) three index cards spread to your left. They are numbered in the proper order (I never call attention to this) and everything matches. Other than the single card, everything is put away. Do not expect applause. This plays too real. You will get gasps and funny looks, as the effect is so straightforward the result is unsettling. Especially to the subject to whom you have been giving credit all along. If switching in a normal deck, unzip the THIRD compartment, remove the deck within and hand it to the subject asking him to replace the card chosen during the test. While they are doing that, I either throw away the index cards or gather them up and place them in the case along with the pen. This is a very indirect way to show that the cards are normal but isn’t really necessary in my experience, given how clean the whole process is and the fact that the cards are already put away. But if you want to add a layer of confusion or play with the heads of those “in the know” this works well with the right bag. And it is actually very helpful if you plan to continue with any effects using playing cards or want to switch in a special deck. I have used Ian Rowland’s Sense of Touch with great effect after Epic Index. Of course, a normal deck can be used for the force. I recommend the Balducci Cut Deeper force (I recently read that this might be actually the brainchild of Fred Braue).This way the deck can be handled freely before the force and you can still take advantage of the switch at the end of the effect if so desired. Some closing comments. I stagger the index cards for the revelations in the manner described because although it leaves the double card on top, it is nearer to you than the other two. You shouldn’t have any one grabbing for the index cards in the first place due to the structure of the presentation, but people are less likely to intrude upon your personal space by reaching this near to you. This bit of psychology can be useful in other effects. Another bit of psychology that you can apply to other effects is what I call “psychological retention.” This takes place in the numbering of the cards. A more pure form will be discussed later in Mentalink. You are seen numbering the first card, drawing the circle, and then filling in the 1. With the second card, you are seen drawing the circle but you tilt the card out of the audiences’ sight line at the point you are filling the 1, miscalling it as 2. This is also done for the third card when you write in 2 while miscalling 3. The audience has the memory of you openly and correctly naming and numbering the first card so in their minds they retain and recombine this information and recall seeing you fill in all three circles openly and correctly. Your verbal miscalls done without guilt adds greatly to the 34
effectiveness of the illusion. The effect can of course be done without numbering the cards at all and some may prefer this approach. In many instances, numbering or somehow identifying cards or papers in Mental Epic style approaches comes off as over proving. In Epic Index, however, I think my approach is more “organic” and given that it is so indirect it doesn’t come off like you are trying to prove anything. I like to talk about the increasing odds as the presentation progresses. I mention that one out of five isn’t too impressive unless you get the card correct repeatedly as you might in an actual clinical trial. I mention that 1 out 11 with the dice is a bit more impressive and that if the subject is correct on both the Zener cards and the dice the od ds against him were 1 out of 55. By the way, this is calculated as 1/5 x 1/11 = 1/55. I continue this line of reasoning with the 1 out of 52 odds with the playing cards, stating (just before turning over the card) that getting all three tests is very impressive as the odds against this are 1 out of nearly 3000. I say the last few words just as I reveal the force card. This is calculated as 1/5 x 1/11 x 1/52 = 1/2,860. Epic Index is meant for small groups in close up situations. I’m sure a version could be adapted for stage with larger materials but the “feel” of this effect is more intimate and conversational. An important aspect I’ve yet to comment on is the rhythm established in the performance of Epic Index. This is very important for disguising typical “tells” of the one behind method. It is effective even with those “in the know.” The Zener cards are introduced and given to the subject to mix. Your target is recorded and the index cards placed on the table. The subject chooses a Zener card, which is written down by the record keeper. The Zener cards are collected and placed back in the case The dice are introduced and given to the subject to roll. Your target is recorded and the index cards replaced on the table. The subject rolls the dice for the final time and the record keeper writes down the total. The dice are returned to the case. The playing cards are introduced and placed on the table. Your target is recorded and placed down. The subject chooses a playing card and gives it to the record keeper. The rest of the cards are returned to the case. Everything flows just as it should. There are no awkward moments and objects not in use are put out of sight. You are left with a nice display at the end. There is another factor that may contribute to why Epic Index plays so strong. In most 35
three-phase routines, the mentalist proceeds to read the subject’s mind. In Epic Index, rather than reading the mind of the guest, the tables are turned and he reads yours. Or more precisely, the guest makes random choices that perfectly match the target you committed to in the beginning. A word about my use of words in Epic Index: Though of course the overall goal of any mentalism presentation is entertainment there are many ways to achieve this. In Epic Index, I purposely use terms like “subject, target, laboratory, statis tical significance, protocol, etc. with the intent of adding some veracity. I don’t like to get too technical in the language used in performing mentalism, but in this case it is a good fit and I believe it enhances the entertainment if used judiciously. Thanks goes to Millard Longman for his method with loose index cards in School Dazed, which was the final key for me to figure out Epic Index. And gratitude also to Richard Osterlind for his StenoESP in The Very Modern Mindreader. His second version with the bound index cards was a big inspiration in the creation of the plot of Epic Index and is the method I originally used. For the record, this variant of Richard’s StenoESP works well with this presentation and if you are familiar with it, the adjustments should be obvious.
36
SCHOOL DAZED By Millard Longman & Dr. Bill
EFFECT: The mentalist speaks about certain memories that imprint themselves deeply and stay with us for the rest of our lives. Accordingly, such memories lend themselves especially well to experiments in thought reading. As an example, he offers the first days of school. The mentalist hands his guest a large, red pencil, the kind young children learn to write with, stating, “Holding this kind of pencil may help evoke such memories. The things we learned the first years of school seem so simple in retrospect. In reality they were literally monumental achievements at the time and we benefit from always remembering this. Subsequently, they imprint deeply within our subconscious whether we know it or not so this will help stimulate their recall.” From there the mentalist takes the guest through three landmark childhood memories of learning new skills, each successively more difficult. He shows how the imprinting of the memories is so powerful that the mentalist is able to read the guest’s thoughts overcoming odds 800 to 1 against him. The mentalist reproduces a shape the guest is thinking of, then a number and finally a letter of the alphabet that particularly challenged the guest when first learning to write. Not only is it the correct letter but the mentalist’s rendering matches the specific picture in the mind of the guest defying inestimable odds.
METHOD: Essentially the one-behind, and a very versatile move with a stack of index cards and a nailwriter developed by Millard. A force free Mental Epic, if you will. Add in a universally appealing plot where poor to mediocre nail writing becomes an asset and you have School Dazed! From a school supply store obtain one of those fat red pencils used to teach young children to write. This is optional but is a nice touch. You can start with your favorite nailwriter already in place or have it handy so you can put it on with ease during the routine. I’m a fan of Lincoln’s Best Boon (www.lincolnworld.com/products). As with most things, use what you are most proficient with already. 3 7
Take a few index cards. Six or seven is enough. Curl the upper left corners of the two top cards slightly away from you. This is to facilitate moving them to the top later in the routine. Place an uncurled card on top of these. You are ready to go. In School Dazed, like a good storyteller or comedian, you invoke a universal memory. Or at least the broad strokes, allowing not only the guest but also the audience to fill in the rest with their personalized versions. Ask the guest to recall their first day of school. Engage them in conversation about what they remember. If they don’t recall this day, ask them to describe the earliest day or days they do remember, the name of the school, their teacher, what the classroom looked like. Have the guest describe their perspective from their desk. If they object that they don’t remember, tell them that this is perfectly all right and to simply make it up. Take the pencil back. Ask the guest to see their teacher holding up pictures of an apple, a gift box and the great pyramids. The teacher says that each drawing is formed from a basic shape, the circle, the square and the triangle. She names one of the three as her first example. Ask the guest to remember it but not to say anything out loud. Instead he is to picture her going to the board, picking up a piece of chalk and drawing a ….? To represent the ….? While the guest is so engaged, you pretend to write on the upper most index card, keeping it out of everyone’s view. You may use your nail to substitute for the sound of the pencil. Move the card to the bottom. “I want to see how strong your visualization is and what I can do to enhance it. That was kind of fuzzy. Tell me what you pictured, in what order and anything else important.” In probing how the guest recalled the scene, indirectly indicate that thought transfer works better when senses other than sight are called upon. Or if he did utilize other senses reinforce these and mention any omitted. Also take the guest right to the point where he reveals the actual shape. If necessary, just outright ask. This is perfectly in place given you are asking him to dissect the memory and the shape is an essential aspect. The next school experience you evoke is learning to write numbers. So counting zero, the odds are more than tripling against you with the guest having ten digits to choose from. But you don’t simply ask him to pick any digit. The following is hopefully subtler. “In those early days of school we all had some things that we did better than others. I 38
suspect that when you started school, you were able to count. At least to ten, maybe even to one hundred. But writing your digits was somewhat harder. Still, some digits came easier than others. Certainly one of the ten you were able to write with ease. Imagine yourself back in school. See the clock on the wall. Hear it ticking. See the desks around you and hear the sounds of restless classmates. Breathe in the smell of chalk, perhaps paste. Did your feet touch the floor yet? Were you still or as restless as some of the other boys and girls? Imagine that you are practicing writing the digits 9, 8, 7, 6, 5, 4, 3, 2, 1, 0. You may feel the large pencil in your small hand. Remember what it was like as you learned to write your numbers; the feel of the tip of the pencil as it traveled across the paper, the scratching sound it made. One digit was easiest for you and you may remember how proud you felt when you see what a good job you are doing. This is coming thru a bit more clearly, riding along the wave of your sense of accomplishment. I hope I have the right number.” The Mentalist is seen writing something down on the card that is now on top of the small pile of index cards he holds. Though implying it is the number, the mentalist really draws the chosen shape. Move this card to the bottom. This is the first of the two cards with curled corner. “As I traveled back in time with you, as I imagined myself in your shoes, at your desk, practicing my digits, I was especially proud of one of the ten. I wrote it down and moved it to the bottom of the pile. What did you imagine doing? Could you smell chalk or paste? Could you hear the clock? What digit did you write best, the one you were most proud of?” The guest says 2. The Mentalist smiles. If you don’t already have your nailwriter in place it is time to do so as you talk about the following: “Now of course some skills took more time to perfect as they were more complex. Learning to write your letters may have seemed impossible at first; 26 different symbols, some more alike than different. For example, to tell an a from an o may have been very, very difficult. Then there were small letters and capitals to deal with. But you learned to form mental images and you didn’t know it at the time but they became permanent. Of all 26 letters, one was more of a challenge for you. Concentrate and recall the letter that took the most effort to master. Remember what it looked like as you worked on it, what it felt like as you learned to form its likeness.” The Mentalist requests quiet and is seen to become lost in thought as he concentrates. 39
After an appropriate pause (I can feel when it is time, but I can’t explain it) write the number the guest shared as the one they found most easy to learn. Move this card, the second one with the curled corner, to the bottom. “As I said in the beginning, there are so many things that we now take for granted but we would be far better served if we kept in mind the true nature of their significance. A letter of the alphabet seems such a common thing. But once it was a rite of passage and the key to a whole new world. Which letter was the most challenging and ultimately most satisfying for you to learn to write?” Ask, “Was that your first choice?” and smile as you nailwrite in their answer on the top card. Millard recommends doing this with the nailwriter on your non-dominant hand. He is most likely correct in this recommendation. Consider that you are only reproducing a single letter and that it is supposed to look like the scrawl of a young child. Having the swami on your non-dominant hand actually helps in this process. Though to be fair, for many, nail writing with the dominant hand produces a child like scrawl! Take hold of the bottom two cards by their curled edges and move them to the top. Turn the cards toward the audience. Ask, “What did I draw on the first card?” Show them the top card and have them say aloud what you drew. “And you visualized?” When they respond, downplay it as one out of three but still an important start in establishing a mind-to-mind connection. Say, “Next, I asked you to recall which of the ten digits was the easiest for you to learn to write. Which one did you tell me?” When they state it, move the top card to the bottom, show them the second card with their number and have them announce what you wrote. Continue to downplay your success, “still only 1 out of 10,” but let them know that getting both the shape and the number beat odds of 1 out of 30. That is a bit more impressive. This number comes from 1/3 x 1/10 “Finally, I asked you which of the 26 letters posed your greatest challenge and ultimately gave you your greatest sense of accomplishment. You pictured your struggle and the shape of an imperfect but recognizable letter. If correct, I beat more than 1 out of 26 odds, closer to 1 out of 800 for all three of my guesses being exact (1/3 x 1/10 x 1/26 = 780). You envisioned writing the letter….?” When you say this, they finish the sentence for you and you state, “And in defying any attempt at applying odds it looked just like this, didn’t it?” as you move the second card and reveal the letter that you nail wrote in. 40
To the audience, the guest is not only verifying that you got the letter correct but that you also accurately reproduced their image of how the letter looked. For that matter the guest, who by now is significantly off balance, is likely to accept this premise as well. In any case, it adds a nice, “dual reality” touch. Finis.
FINAL THOUGHTS: You might want to have the cards numbered 1, 2, and 3. To do this you need to pre write “3” on top of the fourth card, the card beneath the two with curled corners. Before you fake writing the shape in the beginning, you also fake writing the number 1. When you pretend to write the digit, actually writing the shape, you first write 1 as you say and pretend to write 2. Before you feign writing the letter, you say and pretend to write 3 as you really write 2. That is all there is to it and we’ll leave it up to you to decide if it adds anything. Many mentalists do not like the use of pencils just to give good reason for using a pencil lead nailwriter. The School Dazed routine itself justifies the use of pencil. Many mentalists are hesitant to nailwrite at all, even more to do so with their nondominant hand. This presentation practically begs for it. Remember, you are attempting to duplicate the writing of a very young child so it makes sense that your letter is less than perfect. And it is only one letter! I am right handed and have the boon on my left thumb from the very beginning. Holding the index cards in my left hand provides excellent cover and is perfectly natural. After I write each “guess” I place the pencil down. By the time I am nailwriting, the pencil is nowhere near me. Many nail writing effects, where you produce a selected word, symbol or number are too linear for my taste. This routine buries the nailwriting amidst a three part revelation, saves it for last and provides a more “logical disconnect.” Most one-behind routines require a force for the third item. School Dazed allows for three absolutely free choices. I prefer the choices move from lowest odds to the highest and be revealed in the order they were asked. In School Dazed you begin with the one out of three choice of the shapes, triple the difficulty with the one out of ten choice for the digit and end with the one out of twenty-six choice of the letter. This progression is logical and more compelling. As is the recognition that two correct are one out 30 and all three correct are essentially 1 out of 800 (actually 1 out of 780). Speaking of compelling, School Dazed has features built into it that will facilitate 41
inducing mild altered states. Indeed, nostalgic memory in itself is easily viewed this way. Milton Erickson, M.D., to induce trance, often used a similar practice of accessing multiple senses and early memories. As a matter of fact, in his book, Hypnotic Realities, he refers to using “The Early Learning Set,” as a truism that sets the stage for hypnotic suggestion. He actually uses the example of having the subject recall the process of learning to write.
We hope that you enjoy this rather ground breaking routine and take full advantage of its ability to take your audience back in time and let them know what it is like to be School Dazed!
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WINDEX MIND INDEX
EFFECT: Rather than using pictures or words that hold no meaning for him, the guest creates a set of personalized word cards using index cards. They can be lined or blank and can be borrowed. There are no marks to be found when the effect is over. The mentalist and/or guest mixes the cards face down and they are placed in a row on the table. The guest is told to remove one. Before the guest looks at his chosen word, the mentalist turns his back or can even be across the room. The guest concentrates on his word, creating a mental image of it and exploring it with all of his senses. The mind reader describes the sensations in startlingly accurate and vivid detail as they occur and ultimately reveals what is being imagined.
METHOD: First, you must know or learn a mnemonic system that will allow you to memorize ten items in sequence. The “One is a Gun, Two is a Shoe” from Corinda is fine. With ten index cards and a pen, you are ready to begin. Explain, “Tests of telepathy usually use random lists of words or symbols that don’t connect emotionally with the sender. This makes things difficult as the less invested the sender is in what he is attempting to communicate, the less successful the experiment is likely to be. In a moment we are going to attempt an experiment in telepathy and you will be the sender. To enhance your investment in a successful outcome, you will choose the words to be used. They should be nouns, objects that you can easily and clearly picture in your mind.” The index cards are all in a stack oriented in the same direction. The lined sides need to face upwards if you are using lined cards. Now solicit ten words, one at a time. Write the first word on the top card, remove it and table it word side down. During this process, you memorize the word via associating it with your peg for the number one. 43
Repeat this with the next nine chosen words. When done, you will have a stack of ten index cards, with the guest’s words facing down and the blank sides facing up. The first word will be on the bottom of the stack, the second follows and so on, each word associated with their corresponding number and mnemonic. You have just created a memorized and stacked deck of cards using words chosen by your guest. Life is good! Next, casually mix the cards. Since they are a memorized stack forming an endless loop, they can be cut as much as you like. A “slop” or Charlier shuffle works very well here. It is also simple to create the illusion of the cards being actually interwoven when being mixed. To do so, spread them out between both hands, and separate the spread, taking approximately half the cards in each hand. The top few should be in your right hand. Now move your hands back together, placing the right hand cards beneath those in the left hand (the right hand’s cards tops touching the left hand card’s bottoms) but all still are spread out at this point. Now using both hands “squeeze” and “tap” the stack of cards together casually and slowly until they are squared. Don’t make a big deal about this. Don’t point out that they are being mixed, just do it. Because index cards are rough surfaced as compared to playing cards, it is a more halting process like if they were really being mixed. The pure white side showing adds to the illusion. You may give the cards another cut after the “weave.” You may, of course, ask the guest to cut the cards once or twice too. Deal the cards out in a row in front of you, left to right. This puts them in descending numerical order from left to right. Ask the guest who chose the words to draw any card toward them. Ask them to leave the card tabled and covered with their hand for the moment. At this point they have yet to look at their choice. Now turn over a card 3 or 4 away from the guest’s card. The exact number doesn’t matter but you must note how many away it is from the guests. When you turn it over, the guest’s word that you see will tell you its corresponding number in the stack. You can now easily figure out what number card the guest chose, which allows you to know his word via the peg system.
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For example, here is a typical list: 1. Lamp 2. Refrigerator 3. Pillow 4. Horse 5. Corvette 6. Computer 7. Teapot 8. Flower 9. Beagle 10. Magazine
If the card you turn over says “refrigerator” it cues you to the number 2 in your peg system. If the guest’s yet unseen card is three away (ascending), you know he has card number 5. Card number 5 is Corvette, which you know due to your peg system before they do. In this scenario, you now use “refrigerator” as an example and in the process guide the guest to imagine their word in ways conducive to particularly amazing revelations. I’ve coined the term “Guided Imagination Process ©” to capture the essence of how you use this information. Applications to other effects should occur to you with a bit of thought. You are essentially guiding what the guest emphasizes in imagining their choice. Your revelation proceeds to describe the senses they are utilizing, what they are experiencing and ultimately their choice. This allows for an exceptionally rich revelation. Begin by identifying three or four “correspondences” between the two words, preferably using a mix of sensory channels. Then in telling the guest how to think about the example (which also is a nice justification for turning over another card!) you are subtly leading how they will think about their word. For example, with “refrigerator” and “Corvette” here are the first few correspondences that came to my mind: • • • • •
They both have a nameplate, brand. They both have a motor. Both have a handle you use to open a door. You can look into both Aromas.
So say something along these lines, “You chose the words we are using which we know helps by making this more personal. To further focus your thoughts, I want you to imagine your selection in a particular way. 45
For example, had you chosen (turning over card) the word refrigerator, you might picture a typical fridge, perhaps one you’ve owned or own. Imagine its color, shape, and design, see the nameplate of the company who manufactured it. Imagine touching it and the texture you feel. Hear the motor humming. When you take the handle and open the door, what do you see? Note the aromas coming from inside. In your mind’s eye, see how you look doing this. Experience how this feels to you. Now look at your choice and imagine the word in the manner I just explained.” The choices of both of the guest’s card and your example card will dictate how closely you can guide them in their experience. Some combinations are easier than others but you will always be able to find some correspondences. And you will get better at this with practice. Another tip: A correspondence can exist at two different ends of a single continuum. For example, if the continuum is texture, smooth vs. rough applies. Think car vs. horse. Also with texture, soft and jagged. Think carpet vs. broken glass. For temperature, the extremes of hot and cold work well. For example, if you have them open the stove and feel the heat emanate from within, this easily will lead them to feel the cold coming from inside a freezer. And for the reveal, “When you touch what you are imagining, it is smooth like a fridge. You hear a motor, but not smooth like a fridge, it is much more powerful. You take a handle and open a door and look inside. The smell of fine leather. You are seeing yourself behind the wheel of a powerful automobile, driving very fast down an open road. How am I doing?”
ALTERNATE METHOD TO FIND GUEST’S CHOICE: Here is another way to identify the guest’s chosen word. First, note how many away their choice is from the end card on your left and remember this number. Let’s use 3 for this example. Gather the cards in a haphazard manner, pushing them toward one another in a way that obviously mixes their order. Just make sure that the card on the far left ends up on the bottom of the stack. When you pick up the stack to further square it, simply peek and note the bottom card. Its word will cue you to the associated number. Let’s say it is “Horse.” This tells you it is card 4 in the mnemonic sequence. You now know the guest chose card 7 by simply adding 3 to 4. And you know card 7 is “Teapot.” Once again, you know their word before they’ve looked at it. Proceed as you prefer, again utilizing the Guided Imagination Process © but you don’t 46
have to look at another card or even use “horse.” Use any word you like for an example that best serves the purpose of emphasizing the qualities you want the guest to focus on with their chosen word.
REPEAT PERFORMANCE: This is an option that may seem daunting at first but is relatively easy in practice. That this is so, speaks volumes about the capacity of the human mind. Therein lies real magic. This is best suited for when after completing the effect as described above, someone else asks to have a go. After some polite resistance, you eventually capitulate but tell them they will have to create their own unique and personally meaningful set of words. Mix the cards as they are picked up blank side upwards then return the pile to the table. You write each new word on the blank side and just associate it to the first pairing each time you turn over the card and see the first participant’s word. You can do this in the moments it takes to place it aside and while the guest is thinking of the next word. For example, shoe and refrigerator generates an absurd picture of you wearing fridges on your feet like shoes. This was with the first participant. When you move to the second time around, the guest in this instance says, for example, “sunglasses” for number 2. You now add these to your picture. How odd or absurd must the sunglasses you wear along with your “unique footwear” be to register reliably in your memory banks? Maybe you are wearing them at night, singing a song and dancing up a storm in your Fridgidair footwear. Now follow suit with the next nine new words. You might fear that you will confuse the lists. Don’t. You are really extending one list and even if you weren’t, our brains are amazing at sorting out this kind of information on their own when mnemonics are applied. Practice this a few times with a friend and you will be surprised how readily you become competent at this methodology. The guest mixes the cards and places them on the table. The moment they pull one toward them, the visible word that was used by guest one cues you to the word chosen by guest two. Again utilize the Guided Imagination Process © using any word you like that maximizes or makes for interesting correspondences.
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A PICTURE IS WORTH A THOUSAND WORDS BUT ONE IS ENOUGH: In this variation, you pre-mark a set of index cards. To make this ridiculously easy and so bold as to render the marks invisible, you will use your existing mnemonic cues but convert the words into simple drawings. For example, if using the mnemonic “1 is a gun,” you draw a basic gun on the card. For “ two is a shoe” draw a simple shoe on card two and so on. Just decide upon a set of images and always use the same ones and this becomes automatic and decidedly simple. As in the basic effect, you now solicit ten words. You write the first word on back of the card with the mnemonic picture for one, or “gun” in this example, and create a mnemonic link. The second word is written on the back of the card with “shoe” and so on until all ten words are recorded. There are two ways to get into this arrangement that I use. The first is to draw the pictures openly in front of your audience. Then do a test or two using the guest as the receiver. Since the cards are “marked” you don’t have to worry about keeping them in sequence any longer. For example, you can designate one drawing as a target. Turn the cards over, mix them and spread them out. Ask the guest to try and pick out the target. Do this once or twice more. Explain about the advantages of using items significant to the guest as in the original presentation and state that rather than drawing pictures you’ll keep this simpler by just writing the word for the guest’s choice. As you turn over each card, link the guest’s word to the picture when you write it down. The cards don’t have to be in order and this is a simple process, especially with the picture mnemonic having been just staring you in the face. You then proceed with the effect as in the above versions of Mind Index. Again, use the Guided Imagination Process © to its fullest extent. The second, and my preferred way to get into the effect, is to have a set of cards with the pictures already drawn. Explain that they were used earlier for an ESP test. Describe the advantages of using objects chosen by the subject. Say that you will test the guest, this time dispensing with the drawings and using words they provide. Use the backs of the cards, proceeding as per usual.
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MENTALINK This effect is based on a stealth application of the Frixion Pen that is now readily available in the USA. These pens are made by Pilot and have ink with the unique quality of vanishing when friction is applied. Friction creates heat, so fire does the job as well. The use of the Frixion Pen in magic was pioneered in France by Mathieu Bich in a trick he marketed named “Sympathetink.” To my knowledge, Mathieu is the first to have seen the amazing possibilities of combining the Frixion Pen with magic. Sympathetink is actually a collection of eleven magical effects that are quite wonderful. Eight are Mathieu’s creation and Michael Weber, Patrick Paccard and Sebastien Clergue each contributed an effect. Paradoxically, in applying Frixion ink to mentalism or mental magic, most of my favorite applications are what I refer to as “stealth” in the first paragraph. By this I mean that your Frixion pen is left at home. Mentalink is by far my favorite. The response Mentalink generates is all out of proportion to the work you have to do and given the timing of the release of Frixion Pens in the USA and my release of of a new ebook, I thought I’d include it as a bonus with Mind Index. To be completely frank, I’ve never performed it with an index card because it is hands down one of the best things you can do with your business card!
EFFECT: A pen is borrowed and the five E.S.P. signs are openly drawn on the obviously blank back of a business card. The guest is asked to name one sign. The guest ignites a lighter and holds it still. The mentalist passes the business card over the flame while the guest does as directed. Suddenly the symbol chosen by the guest fades until it disappears completely. .
METHOD: First, the above presentation is the best case scenario. But don’t worry, the other possible outcomes are also very powerful. Some new techniques, or at least new ways of conceptualizing techniques, create an illusion that I like to call “psychological retention.” With your Frixion pen, pre-write a symbol, lets say the plus sign, in what will end up being the second from last position in a row of all five symbols. 49
Place this card in your card case or wallet and as far as the Frixion pen, yes, you CAN leave home without it! Let’s continue to describe the best-case scenario first. You notice that the person you are performing for is carrying a pen that obviously contains black ink or that a pen in the vicinity has black ink. You begin to talk about the use of Zener symbols and their use in testing for E.S.P. Personally, I recommend against going into a whole lecture about Rhine and Duke University. A simple question and/or statement or two is generally sufficient. I have been pleasantly surprised to find out how many people of different ages and backgrounds know at least something about “E.S.P. cards.” A reference to the classic scene in the beginning of the movie “Ghostbusters” where Bill Murray rewards the pretty woman no matter what she replies, and administers an electric shock to the young man even when he guesses correctly, is often helpful in eliciting a memory and a laugh. You borrow the pen. In my experience with this effect, it does not matter if the inks match exactly so long as they are both black. I have borrowed anything from a simple Bic Stick style of pen to a Monte Blanc without a problem. Millard reminded me in a recent conversation that a well-prepared mentalist would also carry a black pen. But only as a last resort. Next, remove the business card with the plus sign from its case. As simple an act as this is, you want to know precisely how you will do it and practice this until it is second nature. Eugene Burger writes eloquently on knowing exactly what we will do and where our props are placed so there is never a time where we appear to be fumbling. Fumbling takes away from the sense of confidence a mentalist need portray. So you want to keep the card in its case (or your wallet) in the same position every time you carry it. If you always carry business cards, and I hope you do, you will want to keep the “Frixioned” card with them and in the position you are used to. I always carry at least 5 prepared cards, with the pre-written symbols in rotation. The goal is to remove the Frixioned card so that your thumb is already in position to cover the pre-drawn symbol. You remove the card and NEVER say it is blank or even do anything to suggest you are showing it to be blank. This must be implied indirectly via handling the card casually. Not having to think about where the symbol is or what you have to do to conceal it, i.e., no fumbling, is far more effective in “suggesting” the card is blank. Next, you are going to draw the symbols on the back of the card. Here is where the principle I have dubbed “psychological retention” comes into play. Hold the card in your hand in with the blank side of the card facing you and not visible to your guests. At this point you are no longer concealing the plus sign with your thumb. 50
Either ask if anyone remembers the ESP symbols, state them yourself or, my preference, do a combination of both. You draw the star while in this position. Next, mention the plus sign and apparently draw that as well. This of course is being “pantomimed” since the plus sign is already there. You want to time this so it appears you have just finished drawing the plus sign as you realize you need more support to write on and either place the card down on an available surface or use the palm of your hand like a desk. This “realization” is subtext and is never spoken aloud. It is part of your “silent script.” You draw in the remaining three symbols. Like I indicated above, I prefer it when I have guests calling out the symbols but this isn’t necessary so long as the row of five is completed. Here is where the principle of psychological retention comes into play. The guests will perceive and recall that you drew ALL five symbols visibly. This is not academic speculation. I have “debriefed” this aspect of the effect for several laymen, mentalists and magicians. In describing their memories of the Mentalink at my request, they have ALL stated something to the effect of, “You took out a blank business card and drew in the five ESP symbols.” Oftentimes, when guests are scratching their chins when all is said and done, they will comment to themselves and/or other guests along these same lines. Just like a retention vanish creates the visual illusion of a coin actually being placed in a hand, psychological retention creates an illusion in the mind of the guests that all five symbols were drawn in their presence. This is strengthened even more because they perceive that they saw you draw the plus sign since you are “finishing” it as you bring the back of the card into view. Now you have to force the symbol written ahead of time with Frixion ink, in this case the plus sign. The first thing you have going for you is that the sign is in the best position for psychological forcing. You can approach the force with pure equivoque given five choices with considerable confidence. You can also effectively use a PATEO force for this effect. I know everyone is not a fan of PATEO but I have always found it effective when used well. It is especially important that the guest is given the illusion of having the final choice and this is simple with five items. I work with a lot of medical professionals. I define a meaning for each symbol and with the plus sign, I emphasize that it is the beginning of mathematics, which is the beginning of science, of civilization, of medicine. This seems to up the odds when I ask them to indicate a symbol. 5 1
If it doesn’t work, I go into a simple equivoque. Sometimes I’ll just start with the PATEO. Again, the guest MUST have the last choice. Given the strength of the finish, I honestly can’t say I notice all that much of a difference no matter which version I use though there is something satisfying when the psych force hits on the first call. But when the symbol the guest is focusing on just disappears, there is a moment where the normal flow of reality is disrupted no matter what. The impossible has just happened.
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THANK YOU There are so many people to thank. First must come Millard. This book, and probably any of my contributions to mentalism, would never have seen print without him. He is a good friend and a fortuitous mentor. Rick Rothbart was the first person to really figure out a way to light a fire under my butt and get my ideas out of my head and into the reality of the marketplace. I have and continue to learn a great deal from mentalism’s perennial Outlaw. Dominic Twose always keeps me on my toes, inspires me on the rough days and though we have never met or even spoken on the phone, feels like an old friend. Enrique Enriquez is forever there when I need him. His way of living life challenges me to strive for new heights in my work as a mentalist, a therapist and as a human being. And don’t tell anyone, but I turn to EE for supervision when I’m lost on how to best help a client. Or myself! Mike Sturgeon encouraged my work from day one. His praise when I was first starting out helped me overcome periods of doubt. His friendship is something I know I can count on. John Middleton is another cyber friend who is always cheering me on. He has taught me over and over that performing for guests, rather than spectators or even participants, best helps me achieve my goals. Alain Nu has always provided a sounding board when I have a new idea. And his own offbeat brilliance is constant source of inspiration. Richard Osterlind is as always the standard bearer. He challenges me to strive for rarefied heights and offers just enough direction to get there. Greg Arce, Greg Arce, Greg Arce. Why he does as much as he does for me I’ll never understand. There is always fear and excitement when sending him a nascent idea; I know I’m going to get back a lot more than I expected and have my imagination stirred in new ways. Mind Index is no exception but you’ll have to wait for my next effort to benefit from Greg’s thinking on the effects in this book. Trust me, with Greg, the wait will be worth it. Jack Maxwell, owner of Wizard’s Apprentice Magic Store in downtown Hollywood, Florida, gives me my second home. He has accomplished a great deal in his few years and sometimes I don’t think Jack realizes just how much he inspires me. And Jack is responsible for several of the illustrations in Mind Index. Jack’s right hand man, Stan Waldman, is always there with honest advice, letting me know if I’m on the right track. And he has great taste in music! May Stan always select the 53
