John Riggs - Compleat Fortune-Teller

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© 1995 by John Riggs All rights reserved This book is not Shareware - Please protect your investment!

EEttblp of QIontpnts Introduction The Pychic Entertainment Package Prologue The Premise The Methods An Interview With the Left-Brain

!murt ffiuro The Routines Psi-Graphico Whillicker's Favorite Method The Ultimate Psychometry Conclusion ReadingUst

The Compleat Fortune-Teller

There is no doubt that the strongest two routines in Mentalism are Q & A and Pseudo-Psychometry. Properly performed, with a modicum of charisma and dynamic mystery, the skilled Mentalist can hold an audience spellbound. However, the flip side ofthe coin is always eager to turn up -long, tedious, boring presentations that test the audience insomniac quotient! At a time when the world is rocked with cataclysmic changes, when technology threatens to strip away the last mysteries of the human soul, the demand for such mysteries becomes prevalent. As Mentalists, we live in an excellent time - the old Vaudeville-style presentations are becoming novel again! People crave mystery and excitement. Even the skeptics in my audiences these days seem to want me to convince them that what I do is real - and they put up only a feeble struggle. Q & A, in any form, is heap powerful Mentalism. A skilled performer, with a little skill at reading people, a good foundation in Psychology, and a sanitary methodology could make his living on Q & A alone. Indeed, in a sense, many people do! However, I am preaching to the choir - if you have the excellent good judgement required to be reading this book, you already know that these are true sentiments! In this book I will detail many methods and thoughts on Q & A and Pseudo - Psychometry. I often combine the two effects into an extended routine that can stand alone as a complete program. I have often performed Tarot Psychometry as a lecture for metaphysical study groups, and have literally brought the house down - and received a substantial 'love offering' at the conclusion. So, read this monograph in the spirit it is intended - to get your creative juices flowing, and to make your mentalism as convincing as possible. My ethical stand, as I have stated many times, is crystal clear I try to convince them. During the one hour or so I am on stage, I do my very best to convince the audience that they have entered a very strange world, where telepathy is commonplace, and the supernatural is perfectly natural. After the show, we all get on with our lives. If you have ethical problems with the convincing presentation ofMentalism, no hard feelings - I hope you enjoy the book anyway! No refunds..... 1

John Riggs

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EEl In contrast to the Magician, with his truckload of flashy apparatus and his leggy assistant, or the Juggler, with his flaming torches and highlyhoned skill, the Psychic Entertainer seems almost impoverished by comparison. His props are minimal. So, what is the Psychic Entertainment package? The package, dear friend, is you. Ideally, the props used in a Mentalism presentation should be an adjunct to the program - not the program itself. We cannot delight the eye with lovely, scantily-clad assistants, or colorful apparatus and flying balls and clubs. We have only and ultimately ourselves. Weportray ourselves as individuals who have developed the powers ofthe mind to uncanny levels. Do we look the part? Do we act the part? Is the package worth the money? Are we extraordinary? Intelligence and expertise is not something that can be faked. You must be able to converse intelligently with your audience about subjects about which they may be knowledgeable. If you use a psychological premise, be darned sure to get your facts straight. Once the facts are straight, then you may extrapolate at will. .. Mentalism is the aristocracy ofthe conjuring profession. We must at all times be worthy ofthe royal lineage we share with Washington Irving Bishop, Dunninger, Koran, and Fogel. Mentalists seem to be among the most curious and inquiring members of the conjuring profession - and, come to think of it, I haven't heard of a gospel Mentalism act. Not since Oral Roberts, anyway. We must be eclectic, dynamic, and electric. Our love ofour art must be contagious. We are a very select breed. The percentage ofpeople who can entertain others is very small. The subgroup of that nwnber who can market their way into making a living at performing is smaller still. Mentalists comprise an evensmallerpercentage. And those who love what they do may even be smaller! I've' often been asked whether or not a Mentalist should use a disclaimer: No. And with that, dear friends, let us dive into that Aristocrat of Presentations:

TbeQ8 A Aet! .\

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John Riggs

The Q 8 A Act and PseudoPsychometry It was only inevitable that a grey area would emerge between these

two classic effects, spawning a whole slew of routines that combine elements of both. Psychometry is the beliefthat inanimate objects retain someofthe energy field of their owner. A Psychometrician is a person who is sensitive to these energyfields. PsychometIy is one of the more psychic of the metaphysical skills portrayed by the media; any time you see a Psychic, on one of the police shows, fondling a murder weapon in order to givethe policesomeinsights intothe identityofthe murderer- youhave witnessed PsychometIy. Lee Earle was oneofthe firstperformers whomadethe connection betweenPsychometryandthehumanAura. Leesays,inhispresentation: "Just as a needle, rubbed across a magnet, carries away some of the charge, so does the objectcarry awaysome ofthe energyofits owner". Lee makes it sound so believable, that I almost threw away my marked envelopes! During the presentation of a Q & A act, the performer has the participants write down their questions. In other presentations, the participants writedowntheirAstrological sign,theirfavorite color,ortheir fantasies. The folded slips are used to identify the querent and the information- butnotbythemundane procedureofreadingthe information. Some other psychic agency is at work. Could it be the refined sense of Psychometry? Perhapsthe slipprovidesa psychic link betweenthequerentandthe performer. The physicalrealityof1;he slipcould act as a conduitbetween the performer's mind and the querent's? Tapping into the Universal Consciousness without a guide would plunge one into a morass of thoughts, feelings, and images. Does the slip provide an anchor,helping the two disparate consciousness link together for a moment? Just something to think about while you are building your premise. Also, I feel that the readings given during a Psychometry routine shoulddifferstructurallyfrom those givenduringa Q & Aroutine. Popular Psychic reading methods provide insights into the person's character. 4

The Compleat Fortune- Teller

Forexample, anAstrologermight tella Gemini: "Youare versatile, mercurial, quick-witted and a little flirty. At times, you are given to extremes, and you are possessed of a multi-sided personality. Other people mayfind it hard to keep up with you as you flit from enthusiasm to enthusiasm". A Psychometric reading might deal with someone's energies. It wouldtendto be moreimpressionistic. Therewouldbe fleeting, dreamlike

images, and vague whispery insights into the person's energy field. "1 sense a strong attraction to nature, an appreciation ofa spring day. I seem to smell the perfume offlowers. The color blue has some Significance. I see a lady in a blue dress, an old-time dress, and she's humming to herselfand dancing to musicfrom a music box. She seems to be anticipating something nice. "1 seem to sense that your energy field is drained, as though you have been undera lot ofstress lately. Someone aroundyou is causingyou vexation. They are not working in your best interest. Your energies are sapped by worry andstress. You seem to be doing a lot ofthings that you do not necessarily enjoy doing, just because it is expected ofyou. This is draining you ofthe natural 'joi de vivre' that you should have. These negative influences will dissipate ifyou confront them. The dark things always flee from the light" ThePsychometricreading approach, illustrated above, can be used ina Q & A format, butI liketohavedifferent 'flavors' formypresentations. My Q & A premise gives answers to questions, with character reading

thrown in to spice up the stew. It couldbe a successful approach, perhaps, to indicate thatthepaper becomes energized withthe person's radiations as he writes and concentrates on the question. .. Annemann's Pseudo-Psychometry, nowconsidered aclassic, can makeor breakyouas a performer. Traditionally, we havebeencautioned not to emphasize the return of the object to the correct person. The emphasis should be placed on the readings. Theidea conveyed is that you are so well-versed at peoplereading, that it is easy for you to returnthe objectsto theirowners. This is one of the technically easiest miracles in the Mentalist's repertoire. Unfortunately, it is also one of the hardest to sell! Unfortunately, audiences seemto focus on theverythingwe do not wantthemto! It is not uncommon to see peopleexamining the envelopes 5

John Riggs

or cards used in a Psychometry routine, looking for marks. Usually, our methods are subtleenough to escapedetection, butnotalways. I haveseen a surprising number of performers caught out in this way. Ofcourse,we climax thereading bydelivering theobjectbackto the owner. The reading is usually delivered 'blind'. There can be no verification of the accuracyfrom the owner because ofthe desire not to give the performer any clues. Any verification is post-facto. Howabouttrying theprocedure backward? Identify the ownerfirst, get the challenge out of the way, then continue the reading as you return the object? Just a thought; I'm not trying to start a rebellion! The step by step analysis, leadingto the correctidentification ofthe individual, can be very dramatic, too! Howeverhe presents it, a strongperformer can incite an audience intostartinga newreligious sect,ifhe playshis Psychometric cardsright. The objects becomethe focus ofstartling, accuratereadings, and as such, are treasured forever. Just be sure that your people-reading skills are superblyhoned, and you can amaze the multitude! Psychometry is one of the purest and most realistic premise in Mental magic. In Chapter Four, there are several routines that straddle the division between Q & A and Psychometry. I do not want to. dwell on strictlyPsychometric presentations - perhapsthat will be the topic of the next book! No, I'm sorry- my nextprojectis goingto be on the Psychic Home Party. Oh well..... First,wewilldiscusstheimportance ofunderstandingyourpremise.

.Free at last, free at last! My Master became a Mentalist!

6

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The Premise "Let your premise define your method .. "

The Amazing Whillicker The very firstthingyoumust establishis your premise - what are you doing, and how are you doing it?

Supposeeveryone in the audiencewrites their question on a slip of paper or a card, and you gatherthese up in a basket. You are now going to use these artifacts in an amazing and entertaining way. How? The most popular approach, and one that I think is practically stainless, is to use the premise that you are usingthe handwriting to glean some information about the individual. Thispresentational bon mot, pioneeredby Eddie Fields andfurther developed by Dr. Charles Scott, Lee Earle and mnnerous others, provides an excellent rationale for the necessary action of opening the spectator's slip - you are looking at his handwriting! Thisapproachhas its pros and cons. It does allowyouan excuseto open the paper to analyze the handwriting, thus using the one - ahead to get information about the next question. And Graphology, even though it is another Psychic reading method like Palmistry, enjoys a preconceived credibility among the corporate community, although the debate rages on in psychological circles. However, some may object that the use of handwriting analysis cloudsthe effect. Perhapstoo many thingsare happening at once? What are you trying to conveyto the audience? Are you Psychically obtaining the answer to their question, or deducing it through Graphology? D& Scott's Psi-Grafico uses the handwriting analysisportionalmostas an afterthought, giving the reading after he telepathically receives the written information. Psi-Grafico, and manyvariants, are discussed in Chapter Seven. So, ifyouusethe Graphological premise,itfollows thatyourpresentation must center around the accepted limits and practices of Graphology. Another excellentpremiseis the psychological approach. It is possibleto present yourselfas a person so skilledat people reading, that, givena fewcluessuchas handwriting, favorite color,etc.,youcan identify the person's concerns and the most probable outcome of that concern. 7

John Riggs

Some may take an occultic approach - the idea being conveyed that the performer is gifted with certain mysterious powers to push aside the mystic veil, and peer into eternity. A good approach, but risky if you live in the south! The Astrologer is another premise. In fact, a rather excellent treatment of this theme can be found in Henning Nelms' Maeic And. The Empath is a good identity. This is the idea that you have developed such sensitivity to people's feelings, you can somehow 'sense' the person's needs and respond to them. Kind of like being a Psychic "Dear Abb s". If you take this approach, you mr.st present your impressions and answers in terms of emotions and feelings. You can guise your analysis around Astrology, Numerology, Graphology, or any of the numerous 'ologies', but be darned sure you know what you are talking about! There are a lot of amateur Psychics out there! Once you decide on an approach, the best thing to do is to make up your mind to learn as much about 'the real thing' as possible. This will not kill you, and will certainly inspire you with new presentational angles. Metaphysical and Psychological studies are fascinating in themselves. Once you have decided on your premise, keep it as clear and as focused as possible. Don't cloud the issue!

Row Many? People are concerned with answers to their questions. Ideally, then, it logically follows that you should answerthe questions, and as many of them as possible. Questions sealed in envelopes take time to open; returning the questions to their owners takes time - nluable time that, in the audiences opinion, could best be used answering their questions! I know this is true from trial and experience. I used to do a PsiGratico variant as part of the Q & A act, and answer five real questions and two 'gag' questions. I would return the slips ofpaper to their owners, along with the check-sheetthatis a vital part ofthatexcellentroutine. After every show, I was bombarded by dozens ofaudience members who pulled their slips from the leftovers, and who wanted me to 'tell themsomething'. OK., so I'm giving away an extra hour of free show. I am reluctant to refuse, because the more people I can touch directly, the more shows I will likely book. . 8


Also,theskepticswantedmeto 'read' them, to assure themselves that I hadn't plantedthe questions. Their puzzlement was almost as satisfying as anything else connectedto performing. Am I crazy, orwoulditbe betterto do allthis aspartofyour regular show and get paid for doingit? So, The logical conclusion seems to be to answer as many questions as possible.

Bow Fast? This calls for a rapid-fire methodology. My preferred method appears later. An integral part of holding the audience's attention is the possibility that "I'm Next!" I also do not think it necessarily strengthens the effect to read aloud every question for verification. It is possible to phrase the answer so the audience 'picks up' on the question. In obscurecases, it is advisable to referto the question indirectly, in the course of answering it, to convey the question to the rest of the audience. So, the effect, as I see it , stripped to the bare essence, is this: The performer grabs a slip, calls off the name,and through whatever Psychic agency, provides somekind ofanswer. A littlecold-reading is thrownin for goodmeasure. The sliphas then servedits purpose, and is discarded.

The Five-Question Presentation The Five-Question to me has always been: Whyfive? Why not four or six? In the literature, there are examples of Psychometry routines ¥ usedas manyas twentypeople. It is the consensus ofmodern performers that four participants are not enough, and five seemsto be the optimum number, to get your point across. Perhapsfourandsixarenumbers that aretoostable? In Numerology, five is the number thatrepresents change and variety. Maybethat is why we like it! Limiting the numberofspectatorsparticipating to five can be a very effective part ofa Psychometry or Character analysis routine. Ciardi's Beyond Psi-Grafico is a state- of- the- art routine of this nature. Using Q & A methods, a performer can demonstrate startlingly convincing skills in people reading. My thoughts on this version are in Chapter Four. 9

John Riggs

But, this is a se.parateeffect from answering questions, and indeed, can be performed very successfully in the same program that concludes with a Q & A segment. I firmly believe that Q & A should encompass as many audience members as possible. Ideally, everyone who has not directly received a reading should be setting near someone who has. Personal validation of the phenomenon may be necessary to eliminate the theory that you 'planted' the questions. It is not inconceivable, to most people, that you could have planted five questions in an audience of over 200 people. The great tum -of -the- century Mentalist Anna Eva Fay (who, incidentally, used a pre-show impression device) answered questions at the impressive rate of three per minute!

Psi-Graflco A ground-breaking routine by Dr. Charles Scott (Cicardi). The performerhas a group ofpeople write down, on 3 x 5 cards, some specific information about themselves. This couldbe a fantasy, some celebrity they admire, theirfavorite color, astrological sign, etc. The informationon each slip is clairvoyantly 'read' by the performer, and then opened in order to give the unknown participant a graphology reading. Using the traits discovered in the person's handwriting, the performer fills out a check sheet of graphology traits, and unerringly returns the slip, along with the personalized report, to the correct person. This routine originally appeared in Magick# 412. It uses an easilygimmickednotebook, containing the padded Graphology reports, to allow you to obtain the information. Psi-Gratico can be used as a complete Q & A, but I think it is better, unless you are working a very small living-room or office show, to use just fiE participants, as Cicardi himself suggests in the bonus insert 'Beyond Psl-Graflco', and as he performs it on his television program Mind Probe. Chapter Seven is devoted to Psi-Grafico and some of its variants. SuperScript The next evolutionary step from Psi-Graflcc emerged from the devilishly clever mind ofLee Earle. Superscript allows you to return the 10

The Compleat Fonune-Teller

analyzed and answered slipbackto theaudience participant in an elegant Graphology brochure, thatshowcases theirsignature alongwiththoseof celebrities. It also showcases someofyourmoreimpressive propaganda in re: your availability to be booked for all occasions! A combination of methods makes this presentation as sanitary as couldbedesired. Itis a commerciallyreleased productavailable from Lee Earle through Binary Star. Like Psi-Grafico, this can be utilized as a complete Q & A act, but I feel it is at its strongest as a characterreading! Graphology demonstration with five participants. Richard Webster's Crystal Ball Reading Richard describes a verydirectpresentation wherein he obtains the questions with a little pre-show clipboarding. He then commits the questions to memory. At somepointduring hisshow, heremoves a crystal ball, gazes intoit, and reveals the information he previously memorized with liberal doses of cold reading tossed in for flavor. Thisidea is worthits weight in goldfor the Psi-Party worker. It is coveredin more detail on the Marketing for Mentalists tape available from Brian Flora. Kreskin's Slip Reading . This is the old Dunninger Mentalism act, wherein audience members fill outslipsthatarethengathered andplaced in envelopes. The performer boldly steals a few handfuls of slips. - He secretly opens and reads them under cover of a notepad. This handling can be found in Nelson's Encyclopedia !!f Mentalism. I consider this method absolutely worthless for the modem performer, who may be working anywhere from someone's living room, to a banquet floor, with alert spectators breathing down the neck. The Volta Hull Supper Club Mindreading Act This routine introduces the reversible card principle, which is the sneakiest and boldestprinciple in Mentalism. Briefly, the idea is that whenyouremove a folded cardfrom the basketor box,youquickly refold it so that the writing is on the outside! Combining this method withthe one-ahead, you get my favorite strategy, discussed in greater detail in Chapter Six.

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John Riggs

Ralph Re&de's Improved Anna Eva Fay Method (Tarbell Vol. 4, page 233) This is an improvement on a preferred impression method of the great Q & A queen of the tum of the Century, Anna Eva Fay. Further updating of the basic method by a contemporary performer, using modem materials (such as Formica veneer), would revive this excellent method, which is hidden amongst a welter of horrendouslyimpractical, (if historically interesting), contrivances. Also check out Ralph's Tabulating System, immediately following. There is a great deal of gold hidden in ThrOOIl, if you can sort through the 'filler'. For instance: Sterling-Tarbell Astrological Mindreading Act <.Im:htJJ., Vol. 6, page 198) Once again, a convoluted method, and a weird premise, but perhaps one that could be updated. Gets "two thumbs up" for sheer ballsiness from yours truly.

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The Compleat Fortllne-TeUer

The Methods "...In order to read ufe andpredict the probable course oflife, one must understand the basicfacts oflife. Summed up - he was telling me that to achieve our goal - we must seek our goal in communion with others. Those who admire us - who respect us - who love us. Here is a natural rule ofthe Universe... " -Robert Nelson; The Dantu SYstem g[Life Span Readings.

In this chapter, we concern ourselves with the methods used to

obtainthe information. Let's considerthe time frame of the method first.

Pre-.how methods involve having audience members fill out information beforethe show. Theinformation is either(a)obtained withanimpression device, or (b) the slip or slips containing the information is stolen out without the spectator's knowledge. The first approach, using an impression device, is a preferred method-of-choice ofmany leading mentalists. Thismethod offers several advantages. First, it allows the spectators to keep possession of their slips for posterity. It also, from the performer's view, offers him the advantage of being able to think about the information in advance, and screen his questions. This is an important point. You must incorporate a way to screen your questions. It is quite conceivable to pick out five slips in a row that ask: "Will I marry so-and-so?" and "Will I win the lottery?". Andthere goes your dramatic ending down the pipes! I used to go through my leftoverquestions at the end of a show, and grieve over thejewels left unaddressed in the bottomofmy basket. I used a one - ahead method, and consequently had no way to screen the questions, completely missing the opportunity to mine out those nuggets ofgold that couldhavebroughtthe house down. Keep screening in mind as we discuss other presentations later in this book. 13

John Riggs

Stealing the slips before the show has its points, too. It allows you to screen your questions, picking out the strongest and most effective questions to use during your program. But always bear in mind that everyone in the audience thinks his or her question is important, no matter how mundane or mediocre we may think it is. The subterfuge of slip-stealing also provides the performer with a sanitary method, as nothing happens during the show to provide any clue as to how you are receiving the information. Slip - stealing methods run the gamut to the bold one-on -one approach described in Richard Osterlind's book SurrQupdaJ, Cepter Tear ap
During the Show Most of the methods I have felt comfortable with have been those that allow me to read the questions in realperformance time. The two most useful methods are the One-Ahead and the Reversible Card Principle.

The One-Abeada The Mentalist'. FrIend The One-Ahead is so well known that only a brief description is necessary. The one-ahead is sometimes referred to in some of the older books as the Washington Irving Bishop test. By one of a variety of nefarious means, the performer gains secret access to one of the questions. Drawing a folded or sealed slip from the 14


bowl, he miscalls it as belonging to the person whose information he has alreadyobtained. Answering the question, the performer opensthe slipto verifythe question, thus gaining access to yet anothername and another question. This process is repeated as often as necessary. Eddie Fields is credited with beingthe first Mentalist to come up withtheideaofopeningthe slipto givetherespondenta brief'Graphology analysis. This idea was further developed by Cicardi, Lee Earle, and Bob Mason. It is a poetically diabolical idea, and one worthy of any performer's consideration. Lee Earle pointsout,inhisdiscussion ofQ & A, that onceyouhave called attention to the person's handwriting, it creates a curiosity in the audience to see the writing. This is certainly true. Following the old premise: "Ifyou can't hide it, paint it red", Both Cicardi and Lee Earle make a formal production of handing the question back, along with a Graphology Check Sheet. For itemsin the publicdomainwhichfollow these guidelines, see Cicardi's Psi-Grafico, and Lee Earle's Remote Control, both published in Bascom's Magick. Tbe ODe-Ahead aIld '0. .' Questions

A traditional way to get into a One-Ahead is by using a fictional question for the first slip. I feel this is inadvisable, because (a) it is not a verystrongwayto openyourprogram, and (b) itisa prettytransparentway to read the secret information. However, fictional questions are the Mentalist's SecretPal. During any Q & A routine,it is advisable to punchup the presentationwitha few sensational or 'gag' questions. A valuable source for suitable material is Robert Nelson's Sensational Answers to Ouestions publishedby Hades Publishing Co.··

However,I think it ispretty easy to makeupyourown gag questions. Afteryou do Q & A for a while, you will get quite a few jewels fromthe comedians in your audience, anyway. Another good source is the Dear Abby colwnn, found in virtually every newspaper. Now, suppose you have answered a couple of questions, and the issues are pretty tame. You draw a slip from the bowl, and you decide it is timeto spice thingsup with a good sensational answer. You look at the name, and your Psychic alarm goes off (method acting)! I pause for about ten seconds, just looking at the name, until 15

John Riggs

everyone is thinking" Uh-Ohl", "Ladies and Gentlemen, J guess some ofyou didn't realize that we were going to read these questions aloud, and right now, the person who wrote this question is probably cringing! "1 will not call out your name, sir, but let me give you myfeelings on the subject. This is not the time nor the place to come out ofthe closet! Society is just beginning to open up and become more receptive to your preferred life-style, but we still have a long way to go, and ifyou do this now, you will certainly endanger your standing in the company. "Tellyour closefriends andfamilyfirst, and see how they react, and this will give you the support you so desperately need. See me after the show, or call me, I give private intuitive counseling sessions, and I'll help you all that I can." Pocket the slip and move rapidly to the next question. Wow! Kick their booty! Butnot only have you spiced up the evening (and the rest ofthe week, as they try to figure out who is hiding in the closet -hee, hee!), but you have revealed that you do private readings, ami, taken the opportunity to memorize tbe name and question of tbe real owner

oftbe slip! With a couple ofgag questions, and a good memory, you are loaded with a couple of concrete facts that you can parlay into a superb ending. Many years ago, George Anderson released a book called DypaThis indispensable essay describes a method for doing a Q & A act absolutely cold, with nothing written down. The idea is that individuals from certain age groups, and certain social circles, have major issues in common. Corinda also has a 'Table of probabilities' which, if you can interpret it, gives you the same sort of information, It is in the chapter of 1J Steps on - you guessed it - Q & A. Statements about these commonalities are thrown out to audience members, and the odds are very good that some or most of them will hit! It is an elegant idea, and one that was just made for a climax for a Q & A presentation! Say you havejust answered, using the One-Ahead, about five or six questions, and two 'gag' questions. You have also taken the opportunity to memorized a couple of names and questions. Do this: "Ladies and Gentlemen, I do not have time to answer all ofthese questions, but let me address a few that J feel are most important. "Someone in the audience is concerned about their husband's 16

The Compleat Fonune-Teller

mother's drinkingproblem. I willnot embarrass you bypointing this out, but you know who you are. Ma'am, you must certainly seek help, notfor your husband, notfor your Mother-in-Law, butfor you. "You must learn to handle yourselfin this situation. See me after the show, and I can put you in touch with someone. Or: "Someone here is depressed; he is discouraged by his lot in life, and feels that he should have accomplished more. Sir, I feel that there is no needfor you to be discouraged. ''If you look at those around you, those who you envy, you will realize they had head starts in life that you didn't have. In fact, considering your background, where you started, and what you have made ofyourselfby your own efforts, you should be proud! "Someone here...someone is concerned about their brother. He is a musician? Oh, do you mindifI discuss this one with you? Abbey, Abbey Jones? Your brother is a songwriter, is he not? Myfeelings are that ifhe sticks with it, he will be quite successful. Sendhim my best regards, OK?" Ofcourse, you have invented everything exceptthe information that you memorized from the 'gag' slips! There is another source of information that should not be overlooked. Quite often, you will hear from people who work for a company at whose banquet you are scheduled to appear. They will offer to give you some 'dirt' on key personnel at the company. Do not overlook this splendid opportunity! I am careful to explain that my act is usually performed 'cold', that I do not rely on pre-show information, but if they know something funny about, say, the president, I could work it in - for entertainment purposes. This information is printed on a label, which I attach to my microphone, back ofmy notebook, or some other easily-accessible place, for inclusion in the Dynamite Mentalism part ofthe show. I also developed a method to cull out the slips ofthose whom I have some good 'dirt'on. ThismethodisinChapterFour,andiscalledSorting the Soiree.

The Reversible card The reversible card idea is generally credited to Burling 'Volta' Hull, having appeared in his manuscript Volta Hull's Supper Club 17

John Riggs

It was, apparently, ignored by most people except

Orville Meyer, who learned it from Charles Scott, and who contributed several handlings to Bascom's Magick. Which is where I first heard of it in the early 1980's. The general idea is that ifa question is written on a card, and the card folded in half, it is possible to refold the card, so that it looks exactly the same, and yet you can read the information. The method requires that the writing is restricted to one-half of the folded card, so that the message is not visible from the front, but this is easily accomplished by having an area defmed on the card, clearly identified as the'writing area. The remainder of the card can have designs, logos, instructions, or booking information printed upon it, as long as both sides of the card appear identical. In brief, the questions are refolded as they are removed from the box or basket, and the performer secretly, yet openly, reads the question! He then pretends to get 'Psychic vibes' about the question, and gives his Olympian response. The slip is discarded, and the procedure repeated ad infinitum. If the audience has been instructed to write their names on the outside of the folded slips, the performer can pretend to be studying the person's signature, when, in reality, he is reading the question. If you have balls of solid brass, this is the method for you! BUnclloldecl Q fI A • The cat's Pajamas

.'

If you are familiar with the principles of Sightless Vision, there is no need to have the questions folded, sealed, or anything else. They are gathered in a basket, and you 'see' them with, apparently, your 'third eye'! This strong procedure, with different methodologies to read the questions, can be seen performed by the two modem masters of the Q & A act, Cicardi and Glenn Falkenstein. Watching one performance of either of these two is a post-graduate course in Q & A! Of course, any message reading method can be with the blindfold, making the demonstration absolutely impossible from an audience's point of view. I personally do not use a blindfold while performing Q & A. I want to be able to make empathic eye contact with the individuals as I 'read' them. My eyes are my strongest feature, and I like fixing my querent with 18


a Svengaliesque gaze ... I use a blindfold while demonstrate Sightless Vision; and I use other Psychic gifts while demonstrating Question-Answering. Just me; I tend to be a minimalist whenever possible.... Other Methods, Other ERects

A brief thumbing-through of Bascom Jones' Maeick Yielded the following items ... Magick # 205, pg. 1022. A method by Syd Bergson, wherein the participant writes the question on the center section of a card folded into thirds. The card is reversed behind the back, and the message read as the performer bums the card. # 195, pg. 972. Zodiac, by the mysterious Dr. Z. This is a psychometry effect, wherein the performer uses three grades of pencil lead, in the pencils handed to three participants, to identify the writers. #177, pg. 882. Sun Sign, by Jack Bridwell. This presentation uses the center tear to gain access to the person's sun sign. Then, you read the stolen center behind the screen ofthe daily newspaper, as you read aloud the person's Horoscope from the paper! #169, pg. 843. Vibrations, by Dr. Nathan Stark. Excellent Psychometry effect with business cards. #317, pg. 1582. Photo SessiOD, by D. B. Draginis. A psychometry effect with polaroidpictures ofthe participants, sealed in envelopes. Uses the standard marked envelope method. #320, pg. 1637. Private Stock by Dr. Barrie RichardsoD. Singleperson message reading, using a slightly-transparent manila envelope. #328,pg.1637. Psi-Eye, by Ted Karmilovich, Jr. Asingle-person reading method. #331, pg. 1653. October/Scam, by Dr. Barrie Richardson. A 19

John Riggs

very good single-message reading method. or getting a one-ahead. #334. Psi-Pad. by AI Mann. Single-person reading method using an automatic center- tear method. #214. Stratagem by Fred Sheilds. Useful for the private reader. as it uses a gimmicked stationary box. #234. The Phoenix Effect, by Karroll Priest. delightful, this is a single-person reading effect.

Weird and

T. A. Waters has several excellent renditions in his book, MiDda Interestingly enough, Mr. Waters discloses a method for doing a Horoscope pitch. in a bonus insert that appeared in Magick, dated November 26, 1976. The title of the article is Secrets o(ajJorosCQpe

.mu:Jw:. This method was recently 'Docctored up' and resold as a Psychic Pitch for $250. I have made extensive use of Bascom Jones' Magick in this book for a reason. Magick is simply the best source of ideas, methods, and presentational hints existing in the world today. Sadly. Bascom is no longer with us, and one of the disappointments of my life is that I never got a chance to meet him. But I consider myself one of 'Bascom's Boys', as he, more than anyone else, shaped my approach to Mentalism during my impressionable years. There are, of course. many other sources for material and ideas. I will include a partial list of easily-available sourcebooks at the end of the book. The pointbeing made, there is no shortage ofmethods to gain access to the spectator's question. What then?

20


The Aaswen "The most beautiful thing we can experience is the mysterious. It is the true source ofall art and science. "

-Albert Einstein "... We live in such times, that if blatant nonsense is uttered with a straightface, listeners will believe they are imbibing profound • .-J " wlsuom... -Ray Hyman, Linking Ring Parade, October, 1986 "... You ought to know, Ray!... "

-Whillicker, private correspondence, 1989. Whatan intimidating concept! Answering personalquestions from total strangers! Are we up to it? After all, with our jaded understanding of Psychic techniques, we knowthatwe cannotcounton getting the answersto these questions from some wonderful magickal source. Wemust instead rely upon our own wits, experience, and the work ofthose otherswho have already walked this ground before. Firstofall, we areprotectedbythefactthatthere areveryfewpeople inthe audience whowillwantto addressserious personalissuesina public venue. Most ofthe questions you will get willfall into one of a veryfew categories; the Fortune-teller's stock-in-trade: Career Love & Sex Money Family Tnvel Health Lost Objects & People 'Gags and insults' Within theseparameters, andusinga littlecoldreading, it ispossible to provide satisfactory answersformostofthe questions you will receive. Here are some guidelines to keep in mind, at the risk of being repetitious: Be positive: One of the habits that bother me about some of the "shut-eye" Psychicsishow gloomy theyare. I believethatMentalists who 21

JohnRiggs

are interested in working good gigs need to see themselves as being in the Motivational business. Hopefully, people should leave the show feeling quite a bit better that when they came. If you like to work. Avoid giving advice: If you encounter a question that is too 'hot', do not be afraid to either pass on it, or, ifyou are qualified to do so, request that the person should consult with you privately after the show. It is not appropriate, in an entertainment format, to dwell on certain subjects, or to provide psychotherapy! Of course, never give legal, medical, or financial advice. People believe what you say: Even if they say they do not, people remember what you say. Mentalism, especially something as strong and as personal as the Q & A, hits the subconscious mind like a sledgehannner. You have heard the stories about people who saw a fortune-teller 'on a lark' and were told something that worried them for years! Don't do it. Keep it moving. Don't strain and hesitate on every question. Vary the pace a little. Some answers pop into your head almost as fast as you can talk. Some answers are a little more difficult to receive. Some you don't get anything at all! Drama... We live in what I call the 'eight second attention-span society'. Television has reduced our capacity for concentration to eight seconds. If you watch your next movie or TV show, count the seconds between 'cuts'. Rarely, if ever, does the camera stay motionless for as long as eight seconds. If your natural pace is leisurely, do not force yourself to work unnaturally fast, but try to keep the pace interesting! Study 'Troubled People' books. You can get a lot of reassuring lines from the Pop-Psychology books. I am known locally for .my seemingly-endless supply of inspirational and situational quotes for all occasions. It is easier to draw upon a storehouse of previously-learned knowledge that to improvise potentially dangerous answers on the fly. Beempathic: Put yourselfin the otherperson's shoes. How do they feel? What are their expectations? Screen questions'on the fly': Do not be afraid to reject a question as inappropriate. These can be anything ranging from 'gag' questions ("How high is up?") to personal attacks on the performer ( "I can't believe 22


we are paying you to do this!"). Be imaginative, intuitive, and colorful: A lady once asked me which ofthree men she wouldgo to a formal with. Shewas a veryclassy and reserved lady, so I told her: "I thinkyou will select the quieterone". She seemedto like the answer and nodded her head. Usesensational questions: I 'salt'the bowlwithslipsbearingeither no signature or an obvious pseudonym, such as thename ofthe president. When I draw this one out, seemingly at random, I say: "Here is someone who wants me to tell them their name. Do you want the one on your Driver's licence, sir, or the one you use at Motels?" You can alsohandan unsigned 'saltedslip'to a spectator in thefront row, withtherequestthat they try to telepathically 'send' youthequestion. Since youhave plantedthe question, you can makesureit is entertaining! Some ways to ring in 'salt' are discussed in Chapter Four. Try to determine if the positive outcome is actually the best answer. Sometimes, itisnot! Forexample, I oncegota questionthatread: "Will my daughter marry Greg?" Having been caught in this situation before, I knew that the mother mayor maynot approve ofthemysterious Greg. I proceeded as follows: "You are concernedabout someone close to you, a relative?" She gave an affirmative. "This seems to involvea thirdperson as well, about whom you have mixedfeelings. " _ Her eyeslitup! "This situation seems to center aroundan event that is usuallyassociated with a lot of happiness. Would it makeyou happy?" Shegot a rueful lookonher face, so beforeshecouldreply, "Ifeel thatyou donot quiteapprove ofsomeone whom your daughter is involvedwith. Am I right" She agreed. I continued: "Your daughter isa biggirl now, andwillhaveto learn her own lessons. I seeyou as a verycaringperson, andthe bestthingyou can offeryour daughter is your unconditional love- and support. " Another way to get the goodson Greg wouldbe to start out: "Does thenameGregmeananythingtoyou?" and gauge the reaction. You may haveto go no farther if she grimaces in pain. If she gives an emotionally neutral affirmative, ask: "Is this a person you like?" And proceedfrom there: If she likes Greg, I say: ''1 see a coming together of souls, a joyful union ofpartners, a celebration ofaffection between twopeople whoaredeeply in love. I see twin flames burningtogetherat the alter ofeternity. My feelings are that this will be a period ofgreat happiness". 23

John Riggs

The question is: 'WillI be healthy". This is one question that can land you in a whole world of trouble. I say: "1 see you as a very strongperson, very strong inside, with all the necessary emotional tools to deal realistically with the negative influencesinyourlife. You may tend to worryandfret aboutthingsyoucannot change, and wish that you had a schedule keeping you informedoflife's events. Knowing exactly what you are dealing with is an importantthing to you. I believe that ifyou take good care ofyourself, keep the proper positivementalattitudes,andseeyourdoctoraboutanyhealthissuesthat comeup,youwillwardoffany negativeinfluences,enjoylife to thefullest and reap the rewards you deserve. OK?" Its hard to go wrongadvisingsomeone to go to the doctor if theyare sick! But try to make it sound like an Delphic announcement... Remember that you do not have to answer the question directly. In my presentation, I seldom,if ever, visibly open the questionto verifyor read the question aloud. I pick up a slip, give my answer (alwaysbearing in mind to get as many affmnatives as possible) and go on to the next person. Sinceyouareworking(fromanaudiencepointofview) withPsychic 'vibes', the answer you give can be a bit circuitous. But it always be positive. Question: 'Will I winthelottery?" Answer: You areconcernedwith money. I sense a highly developed material instinct, and I see that enjoysurrounding yourselfwith nicethings. Sometimes, youseemto wish that money bags would drop out ofheaven! ''You may be temptedto gambleto gainthe quick wealthyou dream about. However, in a Lottery,the odds areabout 32 millionto oneagainst you, and you may do better investing your money in securities. OK?" Question: 'Will I get into school this fall?" Answer: "1 see you entering a new course in you life, taking a new direction this..fall, I believe. I see you as having a greatdeal ofhiddenpotential thatyou will develop during this period. ''You areapproachinga crossroads, witha decisionto bemade. You willsurprise yourselfwitb the thingsyou accomplish. Your heart'sdesire willbewithinyourreach. I thinkyou willdo well in school, afteran initial settling in period. OK?" Always treat your querents with respect. I shouldn'teven have to say this, but a lot of Mentalists have borrowed some obnoxioushabits 24

The Compleat Fonune-Tdler

from their comedy-club counterparts! I do not think we should insult a personor makehimuncomfortable. Ifyou insulta person'stieor suit,how doyouknowit was nota presentfromhis wife (whoisprobablysittingnext to him!)? Question: "Where did you learn your tricks?" Answer: "I have made a study ofthe manyforms ofnon-verbal communication that we use in our day-to-day communication with each other. I have taken abilities that we all possess, to one degree or other, and developed them to the degree you see tonight. Nothing I do is a magician's trick, nor is it associated in any way with the occult. "These are perfectly natural abilities, that I happen to have been born with a talent".

See, I take the opportunity to rephrase the question to erase the implied smear against the claim to Psychic Power that I never made (?)! It sidestepsthe directconfrontation of a skeptic(nevera goodidea, in my opinion). Butyoushouldlet the skepticsknowthat youare awaretheyare out there! Question: "What is the meaning oflife ?" On a goodnightyou will get about three of these. I save them, if I have time, for the Dynamite Mentalism part of the show. If I draw it during the 'machine-gun' phase, I committhe querent's name to memory and pass on the question, or use a 'gag'. I have written a speech, based on my own philosophy, and drawing from the positivethinking andmotivationallore,tbatanswers thisquestion inveryschmaltzy but endearing terms. I do not includemy spiel here, but leave it to you to composeyour own. This is an opportunity to really lay it on thick, and get your message across! Cull out a 'hot' question to end with. During your presentation, spot out a hot questionto save for last. This should be a funny or unusual question. Thisculling procedureis easy ifyou use a pre-showmethod. It becomes a little trickier during an 'on the fly' method. I give you my thoughts on how to accomplish this goal 'on the fly' in Chapter Six; the chapter on 'Whillicker's Favorite Method". Probablythebest wayto gain experienceis to go outanddo a simple Q & A routine, using your favorite method. Developyourideasslowlyandcarefullyfrom thissolidbase. Above 25

John Riggs

all, listen to your aU(Uence! Deliver what they want. You don't want to have to work for a living forever, do you? I suggest to anyone interested in specializing in the Q & A act to watch the 'real' Psychics at work. You can see an abundance ofTelevision Psychics (sort of the New Age version of TV Evangelists, I suppose!) on the networks. Observe how they work an audience, and incorporate what you learn into your own presentations. If you have the qualifications and ethics to do private readings, a Psychic Fair is a good place to gain experience with lots ofpeople. If you can stand the pace, it is a great way to do dozens of readings in a weekend. On a good weekend, I used to do between forty and sixty fifteen- minute readings (at $10, net, each. This is excellent training in fielding difficult questions. If you don't want to be a player in this game, go to the Psychic fair and watch other Psychics at work. You can learn a lot! ,....

,.....--- .........

<,

/"

I know! <, ( We'll get \ I , that Psychic dude \, for our sales /' ' <, meeting! ,// .......

_--,....

26

The Compleot Fonune- Teller

John Riggs

-,

28


Tarot Psychometry In this effect, the performer introduces a deck of Tarot and briefly explainsthe meaningof a few of the cards. The deck is handed over to audiencemembersforshufiling. Thedeckisretrieved,andplacedina box. Handingthe boxed deck to a spectator, the performerasks himto remove a card, cautioning the participantnot to let anyone else see his card. The box is handed to several different spectators, who each select a card. Now, each spectator is handeda box ofbusiness - sized envelopes. Theperformerasksthe spectatorsto takean envelopeandplacetheircard, along with any personal object, within the envelope. The envelopes are thensealed,gatheredby an indifferent spectator,mixed,andhandedto the performer. Selectingoneofthe envelopes, theperformerholdsit to hishead and concentrates! He starts delivering a Psychic reading to the (as yet unknown) spectator. Ripping open the envelope, the object within is dumpedout into the Psychic'shand, and the performeruses psychometry to receive more specific sensations about the individual. The reading becomes more and more specific, and the performer returns the object back to the spectatorto whom it belongs! Then, removing the Tarot card from the envelope,the mysterious one tells the spectator's fortune, using the card as a basis. This procedure is repeated with all ofthe spectators exceptthelastone. Withoutopeningtheenvelope, theperformerdescribes the person's character,then tellsthe individual'sfortune- naming the very card sealed within the envelope!

Method: You've got to admit - it sounds pretty strong. It is. This routine follows Uncle John's Second Rule of Mentalism - Show No Mercy! In most Psychometry routines, the envelopesare secretlymarked. The envelopes are also where the heat is focused fiom tuspicious spectatorswho are too callousedand too left - brained to appreciateyour cold - readingskills. I have often seen spectators examine the envelopes and cards after a performance of Psychometry. Not only at some of my 29

John Riggs

shows,butothersas well. T. A. Waters reports similarexperiences in his book on Psychometry. My markings on my envelopes were subtle, and remained undetected by the skeptics - and often, unfortunately, by me as well. In this routine, the envelopes are not marked. You know which envelopebelongs to each spectatorbecause you fOrced the Tarotcards on them! This force is based on an idea by Gene Neilson whichappearedin M.a&kk severalyearsago. Gene used it to force a readingon a sitter. The idea was further developedby Derek Renfro in a handling called Tarot • Tin, first publishedin SYZY2Y· YW.....l. The Tarotcards are in a box with a llil, similar to a small shoe box. The lidof the boxis onthe bottomof the box, whenthe cardsare removed. Hidden within the lid are your force cards, in a known order. The cards are discussed, then handed out for shuffling. When they are returned, the cards are placed in the box and the lid replaced on top, dropping the force stackon top. I actuallyuse a small drawerbox (not the magicalkind!) and the cards are wedged in the top. Shuttingthe drawer drops the small stack on the deck! Now, whenyouhandtheboxeddeckto a spectator,havehim remove the lid and take 'the card'. He will take the top card, falling into what WilliamJamescalleda 'forced option'. Havethe spectatorhandthecards to someone else, and tell them to take the next card. Repeatwith as many spectators as you like. Whentheparticipants sealtheircardsinto theenvelopes,alongwith their objects, it is a simple matter to glimpse the card as you remove the object. You startthe cold readingbeforeyou open the envelope,then you remove the objectto obtain better vibes. As you remove the object, you Younow know who the spectatoris, and glimpse the card within. can reallyrefineyourreading, especiallyif you have obtainedsomesecret 'dirt' on them! Ofcourseyoucandivinethe lastperson'scard, sincethe forcecards are in a known sequence, the last person has the card missing from your stack.

AND

SOME PRESEN·fA·flON!

30

ABOUT

The Compkot Fortune-Teller

Ifyouwam to obtain maximum resultsfromthis routine,youshould control which person gets which card! After all, youhand the box to the first person to removehis card, do you not? Then,you can instructhimto handthe box to "... That lady over there... "; seemingly a randomand arbitrary choice, but you leavenothing to chance, do you, you sneaky rascal? So, ifyouare up on your Tarot Archetypes, youcan forcecardson individuals who resemble these archetypes. The Hermit could go to a mousy, quietindividual, withthe suggestionthat he is retiringand solitary, and could benefit from more assertive action. The Magician, whichrepresentspower,manipulation, and masculine energy, could go to an extroverted, crafty salesman. The Emperor could find its way to the CEO of the company. The High Priestess, with its implication of intuitive knowledge beyondrational thought, could go to the empathic office "Ann Landers"! How about The Fool going to the "Class Clown"? One good archetype deserves another! I think it is perfectly safe to force all five cards from the Major Arcana. It mightbe bardfor an uninitiated audiencememberto figure out the six of cups, for example. The names of the Major Arcana cards are printed at the bottom ofthe card, and are easily remembered. I suggestusingthe Rider -Waite Jumbodeck forthisroutine. Some of the newer decks are pretty esoteric!

31

John Riggs

Zodiac Psychometry In this variation, a deck of Zodiac cards is handed out, with the request that five spectators remove the card representing their sign of the Zodiac, and seal the card, along with a personal object, into envelopes. They are invited to keep the remainder of the cards as a souvenir. In a manner similar to the preceding effect, the performer starts the reading with the unopened envelope, then removes the object, refming the reading, then identifies the Zodiac sign. Remarking on the qualities of the particular sign, the performer returns the card, envelope, and object to the proper spectators! The last person's sealed envelope is returned to them, with the remarks that they are a typical Gemini ( for example), always holding out for last!

Method Since we cannot force the card on the individual participants, you would think this would rule out the methodology described in the preceding effect. In fact, it does rule it out, but we go use a variation. Each person is handed a of Zodiac cards. The set contains each of the twelve Zodiac signs. Each set also contains some secret mark on the back or edge of each card, identifying which set its from. I have found the simplest way to do this is to have a small dot somewhere on the back of each card. You may want to use the upper left corner for set number one, the upper right corner for set number two, lower left corner for set number three, lower right cornerfor set number four, and the middle of the card for set number five. Using modern desktop publishing technology, you can manufacture your own sets of cards, personalized with your booking information, and incorporating into the design. the small anomaly..that identifies each set. These can even be produced as your business card, with the Zodiac signs printed on the back. You may want to check out the local New Age 1-,:4

Bookstores for a set of Rubber Stamps with-the Zodiac signs.

Presentation: You introduce the deck of Zodiac cards.and briefly lecture on the attributes associated with each house. If you watch your audience closely, 32

The Compleot Fortune-Teller

youwillseesomemembers reacting withsmall nodsas youare discussing their sign! Use yourpowers wisely, if this happens to you! This is heap bigmedicine thatcanbe used duringtheroutine. You donothaveto cheat! Next, you hand someofthe cards to participant number one, some to number two, etc. Of course,you make sure that set number one goes toparticipantnumberone,setnumbertwotoparticipantnumbertwo,etc... Handing outa boxofbusinesssizedenvelopes, yourequestthateach person remove one. Instruct them to seal their card, along with a small personal object, inside the envelope. Oncethe five participants have sealedtheir signand theirobject in the envelopes, tell themto keep the remaining cards as souvenirs. Or, if youarecheap,haveanindifferent spectatorcollecttheremainingcardsand set them aside. By no means do you want to come in contact with the discarded cards! The envelopes are gathered and mixed. Opening the first envelope, you dump out the object,noticing that the card is from set number three, and is the sign of Capricorn. So, Participant number threeis a Capricorn - "... With their headin the clouds and theirfeet on the ground .. " Continue in this vein until you reach the last envelope. No grand ending - just read the person, open the envelope, and return their card. Need I pointout that the participants couldwrite a question on the back of their sign? It would be possible to determine the last person's sign with an application of Ray Grismer's What's My Sign? or other sneaky preshow method. Or, you couldpeek over their shoulder and glimpse their card at the very beginning! Whichever way, it plays strong!

33

John Riggs

Pellet Psychometry Effect: Before the show, audience members write down questions they would like answered by the Great One. These slips are screwed up into little balls, and gathered in a bowl. One by one, the Mentalist holds a ball at his fmgertips and presses it against his "third eye". He identifies individuals, and answers their questions! The balls of paper are never opened throughout the routine. Method: Pads ofpaper are freely distributed before the show for the audience to write their questions. Some ofthe slips are on your favorite impression device. I use the Fields Device from Magick. I try to get about a dozen impressions. These are memorized, using yourfavorite mnemonic system. Another way would be to gather the balls in a bowl, and steal out a handful. Give the bowl to another spectator, or the program chairman, to gather up the rest while you go to the powder room to freshen up ( and memorize your slips). During the show, point out that there are pads of paper and pencils on each table, and "...If you haven't already done so..." You ask the spectators to write down some question that they would like you to answer. Phrase your request to fit your theme, of course. The balls of paper are added to the bowl in the chairman's possession, and placed on your table. One by one, you remove balls ofpaperand go down your mental list, calling offthe pre-memorizedinformation. This will knockthem dead, and the skeptics will lose their minds trying to figure out how you are reading the balled-Up slips! Don't forget to add some sensational answers, to add that spicy flavor audiences love. Put the used-up balls back in the bowl as you pack up after the show - no evidence! This method gives you the convenience ofa little pre-show question . .-screemng.

34

Tire Complellt FortIlne-Teller

Mark PsimaD's Clearly Telepathic Effect: Questions are written and gathered in a transparent ZipLoc bag. One by one, the Mentalist removes the folded slips and telepathically reveals the answers to the querent's unspoken questions. Method: Mark pointsout that if you have a bag full of folded slips,you have perfectcover to do the Umbrella move, opening one of the slips as you are evidently mixing the slips in the bag. It is a simple matterto position this card, writing out, againstthe back ofthe transparent bag. This gives you an unrestricted view ofthe name and the question writtenon the slip. Thisinformation could be used as a One-Ahead, or,youcouldkeep repeating the strategy ad infinitum. This method would also work. splendidly in a fishbowl with a flat front and back. If you are working a Rotary Club meeting, you could use the audience member's business cards. This will help you build up your mailing list! See the next item.

35

•

. ..

John Riggs

Fringe Beaelits Effect: The Mentalist his audience members to write questions they would like for him to answer on the back oftheir business cards, fold them into quarters, and drop them into a paper bag. The bag is given to a spectator for mixing, to ensure that nobody has any advantage over anyone else (?). One by one, the cards are withdrawn from the bag, and with uncanny accuracy, the mentalist identifies the owner of the card, and answers his unspoken question! Method: As you mix the cards up, you unfold one ofthem and palm it, writing side out, in the right hand. You visibly withdraw a folded card, and as you bring it into contact with your 'third eye', you read the question from the palmed card. This gives you a One-Ahead. You then unfold the visible card and pocket it, but not before you glimpse the information for your next reading! You must avoid cards of an odd color, unless you use the reversible card stratagem, but Il}ost cards are printed on white stock. This is a great way to hustle business cards for your contact list.

36


Indexed Stratagem Cicardi (Dr. Charles Scott)published a very good way to secretly number indexcards for use in a Psychometry styleroutine. His idea was to use a bluepencilto darkenthe endofthefirstruledlineonthe first card, the secondline on the secondcard, etc. It is a good idea, and I'veused it with much success for years. My contribution to this idea follows: You canbuy, at the office supply store(theMentalist's Magicshop), pads ofindex cards that are perforated at the top for easy removal. This prop was tailor - made for the Mentalist! Mark the first five sheets as per Cicardi's direction. Hand the pad andpencil to a spectator, and ask himto writedownhisAstrological sign, hisfavorite color, or somepersonofhistorical significance thatheadmires. Thisinformation can be whatever youdecide tobase yourreadingaround. He does not write his real name anywhere on the card. Heisthenaskedtotearthecardout,folditintofourths, andholdonto it for a moment. Thenthespectatorpassesthepadto a secondspectator,whofollows the same procedure. This is repeated with three more spectators. The cards are gathered by a sixth spectator,'who mixes them in a bowl, and brings them to you. The procedure with the padded cards forces the spectator's to take the cards in 1-2-3 order, without the need for the performer to hand the cards out in sequence. You can then open the cards, do a reading based on the information within, and return the card to the correct spectator, via your uncanny telepathic ability! Or, by secretlyaddinga sixthfoldedcard( a dummy), youcansneak one of the audience's cards out and read it as you go for your notebook. Open the card and read it, refoldit, and secretlyadd it back to the bowl as you draw out a second card. Calloutthe information fromthe firstcard (One-Ahead, again)and openthe card to studythe participants handwriting. Spotting yourmark, youpointto the correctspectator, saying; "Itsyou,isn'tit?" He will have to agree. Putthe openedcard in yourbowl,memorizing the information, and take out the next slip. Continue until you have read all five persons. 37

John Riggs

Using sneaky means like Psl-Graflco will allow you to return each card to the spectator after you identify him. We will return to this idea in the chapter on Psi-Gratico. As in Tarot Psychometry, you can control which audience members to use in this presentation. I have experimented with the idea of using a rubber stamp on the unlined side of an index card, requesting the specific information. The marked ruled lines are thus on the back of the card. The advantage? When the cards are folded into quarters, your marked comers are in full view. You can now determine who the slip belongs to without opening the card. I have also been marking the cards in negative - using a white-out correction pen. You wind up with a white dot on the blue line. Nothing new here as far as presentational ploys; I just thought the idea with the pads of perforated index cards was worth passing on!

38


Impromptu (1) No-BraiDer Lee Earle markets a prop no Psychometrician should do without the No-brainer bags, which allows you to identify your individuals without an necessary memory work, or new knowledge that you didn't learn in Kindergarten. These props are elegant and unsuspected. I cameup witha bagidea on my own,which I used for a whileand may use again, now that I'mreminded of it You use lunch-size paper bags, still in the wrapper, for your participants to put theircarkeysin. Theytwistthe tops shut, andthe bags are collected by an indifferent spectator. He mixes themand hands them back to you. You proceed to receive Psychic impressions from the keys, and return them to the owners.

Method: Paper bags have a trademark stamp on them. I had a set of five stampsmadewhichhas different serialnumbers onthem. Andaddedthem to the bag. Thesenumbers had the last digit in sequence from 1 - 5. UsingLee's No-Brainer idea,youcoulduse the samestamp, but in five different colors!

,,

•• 39

John Riggs

Sorting the Soiree It occurs to the performer that it would be really nifty to be able to sort out specific audience member's slips while they are being gathered. This way, you could concentrate on the more interesting and politicallycorrect members of your audience. The perfect method to do this is with the agency of a Transparent Change bag. I use the Zip Loe model made by Valerie Neillson, and marketed through Jeff Busby. The handling is sweet. As you or your assistant promenade through the audience, collecting questions, you let the people drop their slips into the bag. As you approach your targeted mark, you open the bag to the back side, allowing the slip to fall within the second compartment within the clear bag. You can use this slip to your advantage, or even gather four or five dignitaries, and base your presentation on these five 'live wires'! Youcoulddo the same thing with (Godhelp us) a regularchange bag, ora paperbag with an inner compartment. I like the apparent guilelessness of the transparent bag. Even if you only use this stratagem with one person, on whom you 'got the dirt', it can really give your show that extra umph that we all crave so desperately. A related idea is used to 'ring in' spicy 'gag' questions. A large manila envelope is used to gather the questions. The envelope is partitioned in the familiar manner. Behind the partition are several slips, bearing illegible or missing signatures, and containing your 'gag' questions. When you feel like it, produce one of these dummies, and comment that the signature is unreadable (or missing altogether). Hand the slip to a spectator, and tell them to telepathically 'send' it to you. Play it up!

40


Darkroom Q fI A An ideathat is worthreconsidering isonethatwasverypopularback

in the 40's. Routines by Nelson, Meyer, and others appeared in the literature of the day. The effect was that you had the querents write their questions on cards, then they were gathered in a paper bag. The lights were extinguished, andthe voiceof the performer was heardinthe darkness, calling out names and answering questions. A version by Paul Curry called Nyctalopia appeared in the Annemann's Jinx, and can also be found in Practical Mental Effects. The method involved a hidden flashlight and an impression device that was, to say the least, diabolical in conception! Look it up if you are not familiar withit - it is worthits weightin plutonium as anexample oftotally ingenious methodology. However, the methodthat I am reconsidering involves coatingthe surface ofeach card with phosphorescent paint. Thisway, they can be read in the darkness of the bag, when the lights are out. The cards are 'charged' by exposure to light, and, in the dark, you tum yourback to the audience and read the cards! A variation by Nelson involved coating one card with paint, and using it as your light source! The writing should be done with blackfelt-tip pens,for the sake of the performer's eyesight. None of us are getting any younger! These days, there are manyhigh-tech tiny lightsources. There are small, and inexpensive keychain flashlights that wouldservea darkroom workerwell. Look in the scientific catalogues for 'coldlight' electroluminescent screens.

41

John Riggs

The Mind-Reading Balloon Bear It reads like the classic joke - the guy whose business card reads: Mentalism Ie Baloons. Well. I lived it, and the audience loved it. I had been doing my rendition ofRudy Hunter's The Buddha and The Teddy Bear, from his book of the same name. I use a different means of gaining the info than Rudy, based on the original Corinda Whispering Buddha routine. In essence, a girl tells her private concern to your teddy bear. You take the teddy bear back from the girl, and the bear gives you her thought. You reveal the thought, then you intimate that your teddy bearwants to go home with her. You let her keep the bear. See Hunter's book for his detailed (and excellent) handling. Well, one time, doing an out-of -town show, I forgot to bring a teddy bear! No problem. My evil Twin, Abracadabra Jones, is one of those shameless Magician types who twist balloon animals. He happened to leave his stuff in my car, so I twisted a balloon bear that A. J. (also known as the 'Rembrandt of Rubber'). taught me. Comes the showtime, and I check on the bear. A slow leak had reduced him to a grotesque apparition resembling the Elephant man. Presenting a lady with this monstrous artifact would result in shock and horror. No time to make anew one - stick a couple ofballoons in the pocket and wing it! I hold up a card with the words: Love, Money, Career, Health printed in large letters. I select my target and have her mentally select the word that best represents her concern. If you pick a lady in the right age range, nine out often times she will pick 'Love'. I take out the balloon, blow it up, and tell a story about my teddy bear as I twist the balloon. The audience was riveted. I gave her the bear and told her to whisper the word in his ear: Per the original Corinda method, it is a simple matter to lip read the word. Taking the bear back, I hold the following conversation: "Patrick says he is sorry that you haven't met your prince yet. He says you have gone through a lot o/frogs looking/or your prince. He says that you will not have to wait much longer- The person/or you is on the way. Sooner than you think. "What's that Patrick? You're sure? Ok. He says that until youfind

42

The Compkat Fonune-Tdler

yourprince, he willgo homewithyou to keepyou company. " AndI give her the bear. Biggest damn round of applause I ever received! I guess the reason was, apart from the warm fuzzy factor inherent inthe idea(Rudy's ingenious realization), thefactisthatI looklikea cross between Mephistopheles, Orson Welles, and Hank Williams, Jr. The resulting incongruity of such a Mentalist twisting a passable balloon animal borders on the Surreal. They saythat confession is goodforthe soul. I'mgladI gotthat off my chest. Thank you for listening - now I feel cleansed.

43

John Riggs

TbeSleutb T. A. Waters, PS'chometrician supreme, says that by using deductive reasoning, like Sherlock Holmes, you can add some startling details to your Psychometric readings. Why not take this idea and run with it? Instead of being a Psychic, you could build an act around the premise of the Master Sleuth. Some strong Graphological demonstration (like Psi-Grafico) could be used to warm the audience up. Then, the personal objects are gathered. One by one, the Sleuth analyzes details of the objects and deduces the personality and personal habits of the owner. It would be possible for the intelligent performer to re-write his cold reading scripts for this purpose. Plus, you can always use Water's idea ofdeveloping your powers of perception and deduction! Then, after analyzing the personalities, he returns the objects to the owners with incredible accuracy! Presentational tidbits suggestthemselves around the themes ofbody language and observation tests. A good market would be private eye companies and police departments.

44

The CompleatForlllne- Teller

PFioe AD Interview With the Lelt Brain This interview was recorded a few weeks ago. It is a discussion between me, the reknowned and beloved 'Southeast's Greatest Charlatan', andmyevil twin,whois a magician, andwhoworksunderthe nom de illusion Abracadabra Jones. As you can see, we differ on several philosophical points. JR:

AJ:

JR:

AJ:

JR:

AJ:

JR:

AJ: JR

Don'tyou feel that Magicis hardlyan adultform ofentertainment? I mean, rabbits out of hats, coins out of body orifices, etc...no motivation! Just showing off... No, I do not agree. Magicappeals to the childwithinthe adult. For a brieftime, I can transportthe audience intothe childhood state of fantasywhere anything is possible. Also,by doingclose-upMagic, I can affect the audience intimately on a one-to-one level. But most people are afraidofMagicians. They think that they are about to be made foolish. Yes, the Magician must overcome this with the pleasantness and professionalism ofhispersonality. It isregrettably true that Magic's worst enemies are Magicians. However, it is possible to present Magic in a wonderfully pleasantformat, that leaves the spectators happy and cheerful when you leave. Or relieved that you did not producelingerie or spongedongsfrom their pockets! That shot was beneath even you! I only did that once, at that Bachelorette'sparty! But let's talk about you. How do you justify lyingto your audiences? All actingis lying. SirLawrence Olivierpointedout in an interview that good actingwas goodlying. I givethe audiencesomething they desperately want - belief in a power that can transcend the boundariesofthe spokenword,andperhapsputusintouchwiththe primal secretSavethe motivational crap for your audiences! I know you are in it for the money. One thing we share in common is a strongmaterialistic urge. Who was it that got$300fortwo hoursofCardtricks? But youknowthat 45

John Riggs

AJ: JR:

AJ: JR: AJ:

JR:

AJ: JR: AJ: JR:

AJ: JR: AJ: JR:

we need money to allow us to pursue our chosen life-style (performing), and the best way to make money is to charge for what we love to do anyway My audience understands at the outset that what! perform are tricks ... I do not do tricks. Magic is so left-brained! The constant emphasis is 'How do you do that? How did I do that? How will I do that?" All Magicians are fascinated with method. This fascination is communicated to the audience. All Magic audiences are fascinated with method. How can you inspire anyone when they are trying to pierce your innermost secrets? The methodology of Mentalism is usually minimalistic. We appeal to the right brain. We dramatize the MAYBE - the hidden potential of the human mind. Surely you must realize this is more grown -up than Magic ... So, where does the Inner Child get to play among all this mind stretching portentousness? Er, ah... I'll get back to you on that later! (pressing his advantage): Also, how do you justify the ethical stance you adopt? For goodness sakes, you even do Psychic readings! I can't stand it. All of our lives we are told what we are not good at. By our parents' and by our teachers, we are told: 'You can't. You won't. You shouldn't." I say: "You can. You should. And you will." Where is the harm? You encourage a false belief. In what? Yourself? God forbid we should not believe in ourselves!. You know what I mean. Christian thought... The parts ofthe Bible I like to read speaks very favorably about what I do. Jesus preached acceptance. Acceptance of the self and of others. UnconQjJional acceptance. Anyone who puts strings on salvation is not practicing the teaching ofJesus. Faith is not a blind leap into ignorance. It is a leisurely stroll into the light... Sounds New Age to me. Sounds very old to me. False Prophets... I am not a Prophet. Jimmy Swaggert is a Prophet. Oral Roberts is a Prophet. I saw Pat Robertson do a Q & A act on the 700 club once. The only difference is that he did it in the name of God. I do it in the name of entertainment. Who is encouraging false beliefs, now? 46

The Compleat Fonune-Tdler

AJ: How do you deal with people who accuse you of practicing unholy acts? JR: Very gently. Obviously, they have never witnessed true evil. They musthaveneverseenthepicturesofthe Holocaust. Theymusthave neverread aboutthe Inquisition. Andtheymustcertainly notwatch the news! Tothink of a book test as a manifestation ofthe Lord of Evil is ridiculous. I will have no part of it. I treat them gently. They have a character disorder that I think of as the 'Religious dysfunction'. They have accepted that to be spiritual meansthat youhaveto stop thinking. Theyare frightened, and have soughtrefuge in ignorance. It is not my place to fix the damage thattheirfamily or theirupbringing didto them. Nor would theyacceptmyhelpeven if I offered! I try to put new ideas in front ofpeopleto consider. You mustalsorememberthatsuchpeoplelike to seem superior to others. They quite often sit throughmy entire show, with their back to me, or glare at me, or write me hate mail during the Q & A. Hostility is not spirituality. I ignoretheirhostility, andtreatthemwith the samecourtesyI treat themoresanemembers of my audience. AJ: I don't think it is very charitable to call them insane... JR: I don't think its very charitable to try to ruin a show, one that the company paid goodmoneyfor, for everyone else. What else could you call it, whensomeone tries to force everyone else to accommodate theirpet superstitions? Its notjust me they'reattacking. Its the remainder ofthe audience, those who take the show in the spiritits intended, who sufferthe brunt ofthese individual's lack ofconsideration. Iftheywantno part inwhat I am doing,why don'ttheyjust leave, and quit trying to ruin it for everyone else? They crave attention, and this is how they get it. Its anotherform ofheckling, but not a very nice one. Al: Do you run into such people often? JR: Not as often as you mightthink. What they refuse to consider is that maybeI worshipGod in my own way, and that is between me and God. Perhaps my performances are a manifestation of my spirituality. I do notmakea spectacleofit. Ifsomeone asksme, and they do, why I am so happy and full of life, I will tell them. My spirituality sustains me. I am grateful for my life - the good and the bad. Although I believethat nothingin life is bad, in the long run. 47

John Riggs

AJ: JR:

AJ: JR: AJ: JR:

AJ: JR:

AJ: JR:

AJ: JR: AJ: JR:

AJ:

'Nuffsaid. Is it the role of the entertainer to be a therapist? It is the res.ponsibility of the entertainer. If I do a Mentalism show, that includes audience readings, I am confronted with severalpeople after each show, requesting private readings. I notice you always carry an appointment book with you at each show. That's right. I pencil them in on the spot! Monetary motive again? I would be lying if I was to say that I didn't make money doing readings. But I am qualified to help people. I have a background in counseling. I am one of nature's 'ears'. Even if I was not an entertainer, I would still be a counselor. I like people, I am fascinated by how hard most of us work at being unhappy and frustrated, and I try to point out the - well, the silliness of being your own worst enemy. 'An ye harm no others, do as thou wilt'. I've heard you say that all psychotherapy is entertainment. Yes, I've come to believe that most people seek psychotherapy because they have too much time and not enough encouragement. Or challenge, which amounts to the same thing. I still think you should use a disclaimer. , There is no market for a fake mind reader. I want to work. I enjoy what I do. People reward me by booking my show. I offer a moneyback guarantee if they are not happy. I sleep well at night, knowing that I have made a positive difference in the lives of many. For one hour I try to show the audience what we can potentially become- if we only believed in ourselves. I believe in happiness and peace of mind. I believe in doing what you love. Happy people do not start wars. I do not think I have ever caused a skeptic to change his religion. I sleep well at night, knowing I have made people happier. As do I. On that note, let's shake and be friends, OK? All right, but I'm still a little uncomfortable about this Psychic thing... When we are doing the Psychic bit, just sit back and let me drive. In return, when you are doing the Multiplying Rabbits, I won't tell you that you are wasting your time. Agreed? Agreed.

51 nb

60fij fineb ijappif9 eeer affer. 48


J,;v Wbillieker's Favorite Metbocl "...Flattery can be a sin, a deadly weapon, and a medicine depending upon how it is usedand when. The Mentalist should study the uses offlattery and particularly so when it comes to readings... "

-Corinda; Thirteen Steps to Mentalism Ok, afterteasing you all daywithpromises ofthe routine, hereit is. I wantto pointoutthat this method is veryminimalistic, leaving mymind freeto concentrate withthereading oftheperson, andtheFortune-Telling. First, Iwanttodescribe thedesignofthecardIuse. Aftermanyyears of assuming that adult audiences can follow instructions, I finally grew tired of cards that were filled out wrong, folded wrong, and often containingweirdstatementsthatI coulddonothingwith. I decidedtomake thecardabsolutely idiot-proof. It nowworksabout, oh- 80%ofthetime. If you cut an 8 1/2" x 11" piece of cardstock into sixths, you have theproperdimensions ofthecard. I laythemout,sixup,oncardstock, and have themprinted bythethousands. Thedesign ofthecardI currently use is illustrated on the next page. You will notice thatthecardis setupforthe 'Volta' Hull Reversible Card ploy. Thisidea,plusthe one-ahead, plusdramatic theatrics worthy of theBarrymores, are usedto create the impression thatyoucan answer any question, almost as fast as you can grab slips. This presentation grewfromthe original handling ofBurling Hull, and the various bits and pieces fell into place during performance. The handling allows youto screenquestions, to pass difficult questions when necessary, and to 'cull out' cool questions for your blockbuster ending. Plus, the "cheating" cannot be detected, is not suspected, and you can checkyour information out again if you forget it. Atthe endofthe show, the answeredslipsare stillfolded, andinthe orderyouanswered them. Thankyou,thankyou- youcansendyourlove offerings to me, care of the address at the back of this book.

ERect: The performer passes out cards to each member of the audience, with the request that they fill the cards out according to the instructions 49

John Riggs

printed on the card. The instructions call for the individual's name, and also asks for one other item: This is to be a question, one ofa personal nature, and one into which the audience would like you to try to provide some insights. To demonstrate, the performer takes a blank slip and shows how to fill it out and fold it. The cards are folded into quarter, in order to keep them 'from springing open prematurely" (?).Once the questions are recorded, the slips are gathered in a glass bowl, and placed on the table in full sight. The performer removes a folded slip from the bowl, and holds it above his head. At no time does he look at the slip. Slowly at first, then gaining speed, he telepathically divines the querent's name! Then, he answers the question, in terms that leave no doubt in the audience's mind that he is 'in tune' with the questioner. The spent slip is taken into the other hand, and a second slip withdrawn. This procedure is followed with numerous slips, some of the on target, and some are skipped answers are specific, some are not altogether. But several dozen questions are directly answered, names of loved ones are given, and the slips neatly stacked in the performer's hand. Placing the stack of spent slips on the table (or in a glass), the performer grabs a handful ofslips and answers several questions, one after another! These slips are tossed to the floor as they are spent. The impression is that the Psychic is receiving answers almost faster than he can verbalize them. This machine-gun presentation segues into the performeranswering some anonymous 'hot' questions, and then ends with the Amazing One announcing his predictions for the coming year! At the end of the performance, the slips are placed in a glass for the querents to sort through and keep as a souvenir, if they wish. There is no evidence of chicanery of any kind

Method(s) (1) The slip that you use to demonstrate the 'filling and folding'

procedure becomes your dummy slip for the one-ahead. Follow: Your slip, after it is used for demonstration purposes, is absentmindedly placed in your right pants pocket. Then, as you gather the slips from the audience, you steal one. Keeping the stolen slip concealed in your hand, you give the bowl to the program chairman to gather the remainder of the slips. 50

1:\1 & A

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! The card is filled out, and then folded into fourths, The signature is on the outside, I do it this \JJCIY in case I VvOnt to incorporate an analysis of their signature so that I can scrutinize a difficult-ta-read question! I


Whenthe bowlofslipshas beenreplacedonthetable,youreachinto yourpocket, seemingly to withdrawthe demoslip. Actually, youremove the palmed slip and go into your explanation. "Suppose your name isJohn Riggs, andyourquestion is: 'How high is up?'. ] will call outyour name, and when you hearyour name] would like you to stand up and say 'here'!" You have, demonstrated with the slipin your hand, actually memorizingthe name on the stolen slip! Old idea.... Continue: "I will try to provide some insightinto the issues that concern you at this time. If] cannot 'getanything', ] willlookatyour question and tell you what] can. "Butfirst, ] will try to use other senses to tellyou whatyou would like to know. " (2). Drop your hand to your side as you deliverthis mouthful, and reverse the card, so that the questionis on the outside, facing you. You do this as you tum awayfromthe audience for a second,to move the bowl closer to the front of the table. This description seems long, but in reality the sequence takes a couple of seconds. (3). As you reach into the bowl (without looking), you read the question in your hand! This is your one-ahead. Trynot to be too obvious about this... Holdthe second slip in the air,and telepathically 'receive' the name. Continue by giving a briefcold reading,based onyourvisual observations of the person, and then address the person's issues, providing the best answer you can to the question (see Chapter Three). (3). As you answer the question, drop the hand containing the slip to yoursideand reverse it! Whenyouare throughwithyouranswer, stack or nestthe secondslipon the first. This is importantforthe 'clean-up'later. The cards are tent-like, and spring slightly open, so this nesting is relatively easy to do. Now, the second name and question is facing you, and you can read it as you draw a third slip out ofthe bowl. (4). Continuein this manneruntil you 'one-ahead' your way into a hot question. Instead ofcallingit out, pass on it, or use a 'gag' question, and placeit on the bottomofthe stack, insteadofthe top. Thisis how you cull out 'hot' questions for your finale. This ploy will also allow you to defer the 'hot' question to a psychologically appropriate time, later on in the presentation. You don't 51

John Riggs

want to bring the house down with your first or second response! (5). Whenever you use a 'gag' question, memorize the name and question that is really on the slip. This gives you some identifiable material for the Dynamite Mentalism at the end of the presentation. When you want to pass on a silly or hostile (or otherwise inappropriate question, simply grunt and say: "Nothing!" or: 'Won't even touch that one!" and toss the slip aside. (6). When it is time to wind things down, place your stack of cards in a glass, reversing the fold ofthe entire stack, bringing everything back to normal for any post-show investigating. (7). Using Anderson's Dynamite Mentalism principle (discussed in Chapter Three), and your previously-memorized information, grab a handful of slips and toss out the information as fast as you can! As you do this, allow the slips in your cupped hands drop out to the floor. The first time you perform this, and see the looks on their faces, you will wonder how you ever lived without it! The impression that I try to convey is that the only reason I quit was from experiencing sheer exhaustion. If you sprain your karma, you have to wear a Psychic truss! If you would like to extend this phase ofthe routine, you just reverse a few cards as you go, providing you additional material.

Comments: None of these ideas are strictly my own, except possibly the ideas of culling out the 'hot' questions and ofmemorizing the real info during the presentation of 'gag' questions. And of reversing the entire stack as one card. All the above techniques are old, time-tested methods. After years of looking for a new method for Q & A, one that would make all previously-existing methods obsolete, I came full circle and realized the answers I sought were in my own backyard. I put this handling together from the various bits and pieces as I performed the Q & A act for real audiences over a period of three years. Discussion of the Q & A act with such contemporary Maestros as Lee Earle, Charles Scott (and numerous other, lesser lights), helped me hone the presentation. I must also credit such people as Bascom Jones, Burling Hull, Orville Meyer, and Gene Neillson; individuals whom I have never met, but whose thinking and ideas I gratefully absorbed. 52


Once I had the premise (remember Chapter One?) firmly in mind, the premise shaped the method, rather than the method shaping the premise. I sadlytossed out someclevermethodsin favorofa moredirect presentation. Perhapsthis is the majordifference in thinking betweenthe Magician in me and the Psychic Entertainer? I always end my shows with the ThomtonIHoy Hurling the Headlines. My predictions tend to be, for the most part, humorous. I do notincludethemhere,becausetheywillbe datedbythetimethisbook sees print. Oh, yeah. I mentioned that Dear Abbey was a good source for sensational answers. Here are a few I culled out recently: "This is for the lady - I won't mention her name - who hates her husband's beard. Ma'am, I do not believe that the beardis the onlysource ofthe trouble betweenyou andyourhusband, butI believe that ifyou were to somehow communicate to him the idea that ifhe shaved his beard that - well - that SEX would be more forthcoming, whether that is the real reason ornot, I think thatyou wouldfind that the beardwouldvanish like Magic! Men aren't that hard to figure out - or to motivate!" "Uh, I don't want to address this sort ofthing in a public venue... Oh, heck, you know who you are. I think a letter to your neighbor's wife wouldput an endto his monkeyshines, without the need ofstarting afeud between him and your husband. Its his wife's place to make his life miserable, not yours!"

A presentation I have beenusinglately, for certaingroups,involves the additionof a littlepre-showwork. I designedsome slips( as opposed to cards) that look like the cards. Beforethe show,I get a few spectators to get a headstartbyfillingouttheirquestions. I use a variantofthe Ralph Reade impression device cited earlierfrom TarbeD. UsingMnemonics, I memorize the namesand questions. Dependingon the size ofthe crowd, this could be from four to ten questions. During the show, when the cards are being filled out by audience members, I say "..If you haven't already done so, please write your question and sign your card. Just place them in the bowl as it comes around. "

What happensis that the people who filled out the slips before the show toss their slipsin with the cards. The slips and the cards look alike, but the paper stock is different. 53

John Riggs

This allows me to avoid the pre-show slips, and do the one ahead with the cards. I can tell the slips apart from the cards, because of the difference in stock, but from a short distance, they look the same. When I toss in a 'gag' question, I can add the real info, on the card, to my list of memorized information. Now, for the mind-melt: After I have read several slips (usually, at least a dozen), I remove a crystal ball and roll it between my hands. I continue calling out names and answering questions, usually tossing in three 'sensational questions', as I peer into the ball. In case the audience members compare notes later, the mixture of pre-show questions with real-time questions will throw off any skeptics who once read a Bill Tarr book. I know this is running where no one persueth, but it isn't really that much extra work. I then segue into the future predictions. And so on. Remember, use your powers only for good!

54


Jeoen Dr. Charles Seou's Psi-Gralleo It was withgreatjoy that I received Dr. Scott's kind permission to

include a complete description of his creation, Psi-Grafico. Originallypublished inMagick #412as Psi-Grafico - The $60,000 Act,thisroutine instantly became oneofthetrueclassics ofContemporary Mentalism. Psi-Grafico, intheoriginal write-up, was described as a Q&A act. Several issues later, Dr. Scott wrote a supplement entitled Beyond PsiGrafico. Thissupplement described a handling using a limited number of participants, and usingfantasies rather than questions. In otherarticles, Dr. Scottdescribed several methods for mastering Handwriting Analysis 'on the fly', during performances. In thepresentation aboutto bedescribed, wewill concentrate onthe handling for five spectators. While Psi-Grafico can be used as a killer method for a Q & A presentation (andinfact,thiswashowBascom Jones described it in his original write- up), I'm going to stickto the premise of keeping the two effects separate. We will instead concentrate on the presentational ployusing five spectators, andinsteadofquestions, wewill use other information.

Eflect: Psi-Grafico is a demonstration of Graphology combined with Clairvoyance or Telepathy. Five spectators are given index cards, with the request that they writedown, forexample, theirfavorite color,theirastrological sign,and their favorite fantasy. The participants are cautioned not to write their name, or any identifying characteristic, on the card. These slips are then folded and gathered in a basket. One by one, the Mentalist plucks a folded slip from the basket, and, holding it to his head,he describes the fantasy ofthe (as yet unknown) spectator. He may sometimes correctly guess the colorandthe signofthe spectator, as well. Opening the slip, he proceeds to refine the reading with a brisk handwriting analysis. To help with this task, the performer uses a small notebook, containing a pad of 'tick sheets', describing various Graphological traits. 55

John Riggs

EE

Withdrawn Judgement Expressive Impulsive ED Forgiving Lasting Emotions BL Optimistic Pessimistic Erratic TP Contemplative Analytical Exploratory Intuitive T Stubborn Shallow Controlled Procrastinator Goals Practical Pride WillPower Persistance Talkative 0 Secretive Deceitful D Independent Sensitive Dignity I Irritable Innattention

UL LL

BS E'S

MS

TT

Loyal Caustic Individualism Jealous Philosophical Egotist Clannish Physical Imaginative Confused Acquisitive Resentful Humor Tenacious Determined Generous Cautious Self-Concious Agressive Concentration Diplomacy Ostentatious Self-Reliant Direct Cultured Artistic Musical Psychic Literary Color Sense

COMMENTS:

For a more detailed analysis call:

You can fit these traits with your favorite cold-reading lines, or study the art of Graphology and actually analyze the writing. Dr. Scott wrote several Bonus Inserts for Bascom's Magick on Handwriting Analysis, including several that were meant to be used for Psi-Grafico,

56


!/OIUC-

=*

A Leo (July 23-Aug 22)

•. II

Aries (March 21-April 19)

Charitable Ambitious Independent

Pioneering Assertive Impulsive

Virgo (Aug 23-Sept 22)

Taurus (April 20-May 20) Possessive Detail Sensitive Affectionate Proud

Practical Modest Organized Planner Libra (Sept 23-0ct 22) Beauty Friendly Accommodating Perfectionism

Gemini (May 21-June 20) Many-sided Flirty Logical Contradictory

Scorpio (Oct 23-Nov 21)

Cancer (June 21-July 22)

Passionate Emotional Romantic Traditional

Sensitive Stubborn Adaptable Diplomatic Aquarius (Jan 20-Feb 18)

Sagittarius (Nov 22-Dec 21)

Idealistic Unpredictable Intuitive Spiritual

Self -Reliant Impulsive Generous Capricorn (Dec 22-Jan 19)

Pisces (Feb 19-Mar 20)

Dignified Concentration Reserved Careful

Compassionate Charitable Submissive Easy-Going

For a more detailed reading For information about a fun Horoscope Party Call:

57

John Riggs

He ticks off a few cnaracteristlcs, delivering the reading out loud in the meantime, and then unerringly returns the card, along with the checklist, to the correct spectator! This intriguing procedure is repeated with the remaining spectators, until all five have received a reading and a personalized check-sheet. The effect on a discriminating audience can be imagined. The performer has demonstrated: Clairvoyance, as he psychically receives the secret wish; Character analysis, as he describes the participant's personality; and Psychometry, as he identifies the person based on their individual traits. Audiences are stunned by the directness and clarity ofthe handling, The routine is relentlessly constructed, with as clean and deceptive a. methodology as you could ever ask for.

Method: The secret of Psi-Grafico lies in the easily-gimmicked notebook that contains your pad of Graphology Checklists. On the left side of the notepad is a pocket of transparent material. Dr. Scott originally recommended an Avery product called Add-APocket. I do not believe these are still on the market, and they were unavailable in my part of the country anyway, so I developed another way to add the necessary pocket. First, you must remove any accessories that are on the left inner side of the notebook. I use an Exacto knife to do this. If the notebook contains a small loop to hold a writing implement, I suggest you leave it. It will come in handy. Then with three strips ofdouble-sided Scotch tape, you add a piece of clear acetate that is about three inches tall, and which runs across the width ofthe inside front cover. The illustration on the next page shows this preparation. This will form a small pocket, that you will use to hold each participant's card as you fill out their Psi-Graphic Analysis. It also lets you switch the cards when you do the one-ahead! If you are lucky, as well as diligent in your search, you can fmd notebooks already provided with a suitable pocket. You will also need to prepare a pad of the Psi-Graphic Analysis sheets. A version of Dr. Scott's design appears on the previous page. These can be taken to a printer, copied, and padded together. The 58

This is a good notebook for modification 10 make 1he Psi-Graphico pad. My flaps and pocke1s on 1he lrslde must be removed.

Slip goes In10 pocket

Loop for pen ........-_ __ -_ _ _ __ _.. :". .....+ _..------._---_ ······1····_··· ·········_····_···· ······ . ..... -- .... ....

.....·t.·..---·· :

·.....·····..····

····..· ;:

.-::::r::::=:::=:::=::=:::=:::::::::::::.i:

. ....+ .::t====:==:==::=. •. _ _--- _. ;. .....+ . - _ _

aear acetate piece

-

__._._. ;;.,

.::::j::::=:::=:::=:::=:::=:::=:::=. .....+ --_ _ _. L:.. ........ .......

_ ___ _.._-_ _ _- --__ _. :

__

::::t-::::::::::::::::::::::::::: . .....+ _ ---_ _ _ _ _··· ..t······..···-·····..·_·········_·--_····..-

Double-sided Scotch tape

.

Remove1his pad, & replace vJ1h Graphology

sheets


pad is inserted into the notebook, where the original notepad is usually placed. Theindexcards are secretlymarked, as describedinChapterFour. The first blue line ofthe first card is slightly thickenednear one end. The secondlineofthe second card is thickened. Thethirdlineofthe thirdcard is thickened, and the fourth line ofthe fourth card is thickened. The fifth card is unprepared. See Indexed Stratagem, alsoin Chapter Four, to seehowI assure that the proper spectator gets the proper card without you obviously handing this card to this spectator, that card to that one, etc. Thefive spectators,each identified witha secretly-marked card, are asked to write someform ofinformation on their cards. This can be their Astrological sign, their birthdate, some celebrity that they would like to meet, etc. Your imagination is the only limiting factor here. Remember to remain consistentwith your premise! Theparticipants are furthercautionednot towritetheirnamesonthe cards, nor to place any identifying information. The cards are foldedinto fourths, or eighths, if you are using large cards, and gatheredin a basket by the performer. This gives the performertimeto secretlyadd a dummy card, and to also steal one of the spectator's cards! The dummy card is dog-eared so you can easily recognize it. The basket offive slips is given to an indifferent spectator to mix, astheperformerretrieveshisgimmickednotebookfrom hisbriefcase. The stolencard is opened, read, and inserted in the secret pocket. The closed notebookis removed and held in the performer's left hand. Now,the performerremovesany slip (not the dummy!) and holds it against his 'third eye'. He telepathically receives the information written on the card! Unfoldingthecard,he proceeds torefinethereadingbycommenting on the personality traits observed in the handwriting of the (as yet unknown) participant. The card is placed in the pocket, behind the originally-stolen slip. Observing the secret mark, the performer ascertains whichparticipant he is dealingwith, checks off a few traits with his pen, and returns the original slip and checklist to the correct spectator! It is possibleto give a pretty good reading, sinceit is child'splay to observethe participantas you are 'studying' his handwriting. I try to make the reading so accurate that the audience is tellingme who it is! 59

John Riggs

I also put a few marks on the index card, apparently as part of the analysis, but also conveniently obscuring the secret mark on the card! The above procedure will place the second person's slip in the pocket. You memorize the information, and draw out a third slip. Calling offthe information obtained from the second slip creates the effectthat you are reading the mind of the (as yet unknown) third spectator. The one-ahead principle is so well-concealed here, that even magicians conversant with the principle have no idea how you are getting the information. The procedure is repeated with the remaining spectators, always being sure to save the dummy slip for last! At any time, when your 'one-ahead' is inserted behind the current card, you can point out a few traits to someone in the front row. Clean, clean, clean! To the audience, you have read the minds of five people, described theirpersonality with uncanny accuracy, and returned the cards back to the correct individuals. Quite impressive! Experience will teach you the best way to reveal your stolen information. Each performer will have to work out a way that suits him. Here are a few ideas:

Sons of Psi-Graiico The Graphology ticksheetmight intimidate a few performers. If you have access to desktop publishing technology, here are some ideas: lie

An Astrological checklist:

lie

A Numerology checklist (based on their name and favorite

number?) lie

A Favorite three Colors Checklist

lie

An Aura Checklist (Perhaps with an outline of the human energy

lie

A List of Personality traits (your favorite cold reading lines)

field)

60


The list of lists is limited only by your imagination!

Presentational Tidbits IfyouusetheIndexed Stratagem to'salt'yourfive spectators, there

is some dead time to fill. What to do? I use the opportunity to give the audience a brief lecture on Graphological 'firstimpressions'. Onthree 12" x 12" cards, I illustrate the principles ofBaseline, Slant, and Zones. Thisinformation is available in any book on handwriting analysis. On the back of the cards are my Cue sheets, in case I have a brain freeze and forget what I'm talking about! It is also good to have a few blow-ups of current celebrity signatures, and deliver your pithy and gossipy analyses while your five spectators are working on their cards. If you use the Astrological or Numerology approach, of course, you wouldgive your lecture on the appropriate subject. The more authenticity you can add to any presentation, the more belief investment your audience will commit. By starting with an authoritative, scientific description of your premise, youwill takeyouraudience with you,a step at atime,intothestate of suspended disbeliefthat we all crave so much..

Getting the One-Ahead In a five-person presentation of Psi-Grafico, you must 'plant' an

extrafoldedcard amongst the participant's cards. Thisis becauseyou are working 'one-ahead' and you do not want the basket to be 'one-behind'! One approach is to palm the slip into the basket. I believe in the direct approach, so I 'Balls' my way into the one-ahead. In the Psi-Grafico folder, I haveplanteda cardthat hasmynameand otherinformation, filled inlargeletterswitha blackmarker. I willuse this in a minute, so stick with me! I fill out a card to show the participants how to do it. I do this with a large, blackmarking pen. Then,I secretlydog-earonecomerofmycard. I toss it in the basket. WhenI retrievethe cards from the spectators, I removea slip from the basket. I reject it, then anotherone. It is rejectedalso. The thirdone - "Aha!" -Its mine (not really!). 61

John Riggs

Now, I open tl\e slip and say: "Suppose your name is John Riggs, and your Zodiac sign is Gemini. I would know that you are flirty, multisided, and a walking mass of contradictions." I place the unfolded

(spectator's) card behind the previously-planted card, with my info. "1 will look at your handwriting, and tell you what I really think about you. Stuffso secret, you haven't even admitted it to yourself. I will record my impressions on this handy-dandy Graphology form, and you may keep it as a souvenir of our brief, yet intimate, encounter. II

I have inserted the card and shown the inside of the folder to the audience. Allthat the audience can see is my card (with informationfilled out in large,black marker) and the checklist, because the spectator's card is hidden behind my card! Charles Scott uses this ploy throughout the routine; I just adapted itto giveme myone-aheadwithoutthe need of hiding behindmy briefcase. Sometimes, there are people behind me, and I get a little paranoid about behind-the-scenes action. I can easily hide the action with the folder behind my body. Their are very few angle restrictions on the rest of the actions necessary to the routine, as a few trials will show. I have also managed to introduce the props and the checklist to the audience, and detailed the procedure, so that nothing seems unfamiliar during the routine. I tear out the first checklist, and hand it, with my card, to a spectator in the front row. "Now that I have bared MY soul;" I chortle. "Its YOUR turn!" And I proceed to do my damnedest to knock 'em dead!

Some More Stull . Dr.Scott,performing Psi-Grafico on his show Mind Probe, 'reads' the lasttwo spectatorsat the same time, giving the routine a strongending. It is also possible, since you know the information on the last card, to reveal this information 'cold', without resorting to fondling the card. The idea wouldbe that since the other four people are now out of the way, the 'psychic airwaves' are clear, and you might be able to connect directly, mind-to-mind. Then, after strenuous concentration, you reveal the participant's secret thoughts! And the written slip is clearly visible in the basket! 62

The Compleot Fortune-Teller

You wouldthenproceedtoremovethecardfrom thebasket,confirm that yourtelepathic impressions are correct,and return the card to the last spectator. Anotheridea - Ifyouhaveobtainedsomesecret 'dirt'ononeormore ofthe participants, and you do not trust yourmemory, the notebook gives you an easy answer. Simply writeyour crib sheet on a label, and stickit on the back - or on the inside, if you are nervous - of your notebook! Thiscanalsoserveyouwellfortranslating birthdates intoAstrological signs.

/« . . .

.

.-. ..! I

r: . -. o-

"Damn! I'll never heckle a Palm-Reader again! Who would have guessed he was so touchy?"

63

John Riggs

8{g/w The Ultimate Psychometry "...To stand accused of real wizardry is an affront I will not tolerate; however, I will say that I am the best Humbug Wizard who ever , d... " 1lve The Wizard of Oz I had mixed feelings about releasing this item. It is a powerful demonstration of the Psychometric ability. But I'm afraid that many will think it is a pipe-dream. I'm going to describe the effect, exactly as it is performed, and see if you can come up with a trick that can come close to it in sheer amazement factor

Effect:. Five people are selected from the audience. They are brought to the stage and seated. The five participants are requested to remove from their pocket or their handbag a small object, something that they have owned for a week or longer. Alternately, they could use an article ofjewelry. The object should be small enough to hold in their tightly-clenched fist. The audience members are asked to focus their thoughts toward their object and to 'charge' it with their personal energy. A bag is handed to an indifferent spectator, who gathers the objects, and gentlymixes them up. Alternately, the performer can hold a bag behind his back and gather the objects.. The performer dons a blindfold. The objects are deposited on a black velvet mat, and, in timehonored manner, the performer selects the objects on by one, and delivers' a psychic returned to the correct participants. Now, I promise you, while it sounds to good to betrue, but it is 100% reliable. Ultimate Psychometry uses: No stooges. "" No gimmicks No electronics No tricks No kidding! However, before you attempt Ultimate Psychometry for the first

64

The CompleatFortune-Teller

time, I suggestyougoto thedoctorand geta checkuponyourTestosterone level. Thisroutine requires that the performer has mastered the Testicular approach. I was born with an extra one, so it helps. Contemporary Mentalism, with its emphasis on 'real'skills, suchas mnemonics, cold reading, Hellstromism, etc..., teaches us that gimmicks should be minimal and used onlyas a final resort. Most ofour cleverness, whenapplied to the Pseudo-Psychometry effect, is centered on new and clever ways to mark the containersthat the objects are gathered in. It is not too muchof a reach, for an intelligent audience, to suspect some sort of coding of the containers. Often, you see spectators scrutinizing the envelopes for the secret marks they know must be there. So the obvious approach is to gather the objects into a single container. The container should be as guileless as possible. Alexander Thomas, in his excellent book Turning Thoughts Into Gold, has a very nicemethod todothisusingapaperbag. I actually preferThomas's method for the second routine in the book, Psychic Jewels. So, how do you know who the objects belongto? After torturing myself, in search of the perfect gimmick, I was seized by an inspiration. But first, some discussion about Premise. Well if, as we aretold,the strengthof Psychometry is notthe return of the objects to the spectators, it is the insightful readings given to the individuals by the Psychic performer. If this is the case, why botherwith the secrecysurrounding the collection of the objects? Whydo spectators seem obsessively focused on the returning procedure? Becausewe are. I have seen areal 'shut-eye' Psychometrician take a trayofobjects,holdone up, and ask: "Whose is this?" Whenthe person raised their hand, the Psychic proceeds with the reading. I mightadd that the readings were mediocre, by our standards, but the presentation knocked the audience dead. So, we decideto discountthis Part. True, we are goingto returnthe object to the right person, but only after we talk to him for a while. After we have given him a warm, humorous, upbeat, positive reading. My premise is to pick up the object, tum to the person, and immediately start talking to him or her. My attitude and words are communicating that I have identified the owner, and am giving him or her . . my impressions. I deliverthe reading, gettingas manyhits as I can, then give him or her the object back with my profuse thanks. 65

John Riggs

Assumption- We know that it is possible to create a separate viewpoint of reality on the stage, for the participants, than that perceived by the rest of the audience. A good example of this is the oft-cited Four Sided Triangle from Phil Goldstein's . Also,bear inmindthatanyperformer who works at all with audience reading routines know that a lot of people give themselves away by reacting to the performer's reading. I have this happen regularly with Psi-Grafico. When I tell the audience to keepa poker face andnot give me any clues, at leasteight times out of ten, someone jumps, yelps, or reacts strongly when I start reading their mind. When this happens, I say: "You have three Aces and two Kings in your hand, Mabelf" It gets a laugh... Anyway,we know that people give themselves away when we ask them not to. How much more so will they reveal if we do not make a deal out of it, and if they think we are talking directly to them? Bear with me. Furthermore,if theythinkwe cannot see them anyway,whether they react ornot does notmatter. It neveroccurs to anyone to hide their reactions if it is not necessary. Now,we have all that we need to proceed with Ultimate Psychomlittle secret thing that will make the routine 100% etry, except the successful. I will save the revelation of this piece de resistance for the description of the performance.

Performance "Ladies and gentleman, there is a beliefthat we each generate, to a greater or lesser degree, an energy field, or Aura. To one trainedin ' perceiving the human energyfield, the Aura appears asflickering lights, ofdifferent hues, dancing about the person. 'We are going to conduct an experiment in reading the human energy field. I guarantee that you are about to see something which you have never experienced before! "I would like you, and you, and you, and you, and you to help me please". (Here is the first place where you 'stack the deck' in your favor. Point out two men and three women). 'Would you reach into your pocket or handbag, and remove some small object? This should be something you have ownedfor a little while 66


- a weekor more. Andtjyou wouldlike to use a piece ofyourjewelry, that is so much the better. "Just hold the object in your hand, an do not let anyone see it. "Now, please, come up here on stage and have a seat".

(Another chance to get information. Although you cannot see the object,you can get some sense ofrelativesize. Tryto identify the largest and the smallest items). "I would like you to place your object in this bag. / promise / will notpeek.' (Addressing the audience) Ifthis experiment is successful, ifthe participants are truly concentrating, you are about to see something very special!"

(Secondchanceto get information! Feel the relative weightsofthe objectsas theydropintothe bag. You usea bagthatis notquitebigenough to getthehandtotallyin,sotheobjectmustfalla coupleofinches. Be alert, and listen!) (After you gain confidence, you can let someone else gather the objects. Believe me.) "Just handthe bagto him (lastparticipant) andplease, GENTLYmix the borrowed objects. / do not want anyone to have an advantage over anyone else. "Now, since this is an attempt to directly perceive the human Aura, / will use this blindfold to eliminate any visual cues. Any such clues will immediately activate the analytical left brain, and throw me out ofthe intuitive state that / must maintain if we are to be successful. "I want to see with my mind, not my eyes!" (ThanksBascom!)

(The blindfold is a simple tube blindfold, or, as I prefer,the rolled handkerchiefmethodthat Annemann advocated, that givesyou straightahead vision. This is all you willneed, and I don'tlike usinggimmicks that can be caughtout later. Thereis no need, duringthis routine, for a test-condition blindfold. Being able to see would not make what you are doing less amazing. What can be simpler than a rolled handkerchiefl). (Statusreport: Ifyou arelucky, youhave been able to identifya few, ifnot all ofthe objects. Male andfemale gender-specific objects giveyou further clues. You will have further chances in a moment. (However, even if you do not obtain a single clue, you will end triumphantly! Read on...) (Havethe objects placedon an emptytabletop, placedupon a black 67

John Riggs

jewelry pad. This is an elegant touch that looks very classy. Ball up the paper bag and throwit away,for post-showdissection byany skeptics who are left living at the end of your show. Pick one object up and proceed. It would be good to start with an identified object, but not essential). (Start describingthe object, as best you can while blindfolded, and hold it up so that the five participants can see it. It is vital that the owner of the object knows you have their artifact!!!) (You then start delivering the reading, turning to the seated spectators and talking directly to...who? No one can tell who you are talking to, because you are blindfolded.) (The person whose object you are holding will naturally assume that you are talking to them! Yourreadings should be delivered directly to the person; i.e.: ''You are a person who feel things deeply" ...etc... This will encourage the spectator, who thinks you are talking to him anyway, to acknowledge or otherwise react to the readings.) (My readings are often humorous, and the person usually starts giggling. No one knows exactly where you are looking, because YOU AREBLINDFOLDED! IF YOUWERE NOT,YOU WOULD HAVETO MAKE EYE CONTACf!) (So, you deliverthe reading and watch for the appropriate reaction. Since you cannot see, and you appear to be talking directly to the person, this is a cinch.) . (When you are on firmer ground, you refme your reading. To the audience, you have just identified a person after briefly touching their jewelry! Fabulous....) (Optionalfishing techniquenumberone: Ifyoucannotascertainwho the objectbelongs to, ask them a direct question! Say: " Do youfind this happens often?" Or: "Doyoufindthatyou havefeelings andhunches, that invariably come true?") (Or: you starting to get that eerie Twilight Zonefeeling?"). (Other direct questions: "This ring has a nice feel to it. What kind ofstone is this?" "There is more than one person attached to this. Did someone give it to you?") (Optionalfishingtechniquenumber two: Startbabbling. Watchwho isfurrowingthebrowtryingtomake sense out ofwhat you are saying. "I'm seeing the color blue. A lady in a blue dress-its very old, like maybe a hundredyearsago. She is ina blue dress, and dancing. I hearmusicfrom a music box. She is alone, and smiling. I believe she is anticipating 68


something nice. This may be significantto you in terms ofpast lives, or it couldbeyour grandmother. Doesthis imagemake sensetoyou? "Direct question.) (And if this ploy doesn't suit you, try this. Finish the reading, and then take a step or two toward the participants. As you address the audience, slowly and hesitantly extend your arm, as though to give the object back. They will reach for it! You are blind,and can't see to give it directly to the person, so they helpfully reach for their property, which they are usually anxious to retrieve anyway - before you let the cat out of the bag! Continue talkingto them, complementing them on their hidden talent or powers of concentration). (So, there are two realities occurring simultaneously, depending on where you are sitting). If you are on stage with the performer, you are receiving startling readings about yourself. You assume the performer knows who you are, becausehe is holding your object and therefore, must be talking to you!) (Ifyouareintheaudience youseetheblindfoldedperformer receive information fromthe objectaboutthe person,andthenreturnthe objectto the person! Outstanding...) (Remove the blindfold and dismiss the volunteers. Ask: "DidI get them back to you all right?" Ofcourseyou did, but evenin the eventyou had a few near missesduring the procedure, do you think you willnot get applause for getting three out of five correct?)

TheEad Very few people readingthis will ever try this routine. Thosewho do will haveananytime, anywhere killerthat will elevateyouto gum status among the true believers. Magicians in the audience will scratch their heads and wonder.... Its real!

69

John Riggs

The other night, I awoke screaming from a hideous nightmare: I dreamed that I was working for a big company, and was making lots of money! Horrible, horrible! If I had ever achieved success in the hellish scenario above, desperation never would have made me tum my attention toward being a commercial performer - and I would not now be enjoying the satisfying life-style I now maintain. "Normal" friends ofmine sufferfrom a seeminglynever-ending bout ofwork related stress - which affects their health, their sex lives, and, worst of all, their outlook. Even while thinking that being a performer is an uncertain and somewhat flaky way of means, they envy my stress-free demeanor. I am often told how lucky I am that I can do what I love to do. Luck has very little to do with it, folks - I have worked incredibly hard so that I do not have to work for a living! I believed it was possible and I made it possible, one step at a time. I am also amused at comments about the insecurity concomitant to working for yourself. Well, security is certainly a myth, especially when your salary and your livelihood is in the hands of another. The thought of someone else assigning a dollar amount to the hours I am allotted is intolerable to me. I might not feel that $25 an hour is what my life is worth. I might feel it is worth $500 an hour. My job then becomes convincing others that this is true. 'Nuff said on motivation. I hope you have enjoyed this write up on the Q & A act. Realizing that any attempt to capture the sheer majesty ofthis effect is doomed to fail, I have nevertheless given the matter my best shot. What I have tried to convey is the potential inherent in the Q & A presentation. Practically any, of an infmite number, of presentations are possible to the creative performer, providing, from the audience's viewpoint, with virtually unlimited potentialities for personalized performances. I have performed Q & A for people from all walks of life. I have performed for rural laborers, management personnel, law firms, farmers, sales groups, engineers, and crowds of every motley description and variety. The Q & A is the great equalizer - it reduces everyone to a primal 70


state of amazement! It has, however, taken me years of experience to feel completely assuredthat I canhandleeveryeventuality. Let metellyou a battle story. Thisstory, in a moreexaggerated form, will appear in mymemoirs: Tales From the Front Line. Once, in one of the small neighboring towns, I performed my act, MindBenders! at an eventfor a calendercompany. Theeventwas a postChristmas appreciation dinner for the employees and management. Theaudience consistedofindividuals fromalllevels ofthecompany - from the floorworkersto uppermanagement. Therewas a lot oftension in the audience due to this unaccustomed mixing of castes, and a lot of imbibing of salubrious libation. So I'mdoing Pychometry with five spectators,and I havethe folks on stagewithme, doingthe readings and returning themto theirseats, one by one, utterly amazed. The crowd was with me, and hanging onto my every word. I noticedthat a youngladyhas saunteredup witha ringin her hand. I marvelled at her audacity, to inviteherselfto my stage area, but the best was yet to come! When I had dismissed the fifth spectator, and the routine was supposedly over,shethrusther ring at me and said: ."What canyou tell me about this ring?" No bigdeal- I've done one or two cold readings in my time. Sizing the girlup, I see thatshehas had it rough- probablya historyofalcoholism in the family, dysfunctional relationships, druginvolvement, the works. I try to keepitpositive, as befitting anentertainmentvenue, butshe will have none of it. "Tell me about the time I was raped in Prison! Tell me about Michaelf" She was losing it on my stage! I apologized to her. "I'm not accustomedto discussingsubjects ofa highlypersonalnatureinfront of a largecrowd, duringmy show. Ifyou would like to see me aftertheshow, I will be glad to discuss this with you. " "Bulls**t! Its all a bunch ofbulls**t!" Desperatetimesrequiredesperate measures. I hadto gether offthe stage, and I had tried to be nice. I turned off my microphone, and said quietly (but loud enoughfor people in the front two rows to hear): "1 willbe glad, AFTER THESHOW, to discussthe timeyou werein 71

John Riggs

prison, and the issues surrounding your relationship with your father-" "YOULEAVEMY FATHER OUT OF THIS!" She had reached new heights of shrillness. Her language disintegrated into a tirade ofprofanity and abuse about psychics in general, me in particular, and everyone present. Herdate came up and WRESTLED her from the stage area, and back to her seat, where her impassioned soliloquy continued unabated for several minutes. In the meantime, your humble servant looked out on an audience who sat in utter silence, totally motionless, and with a uniform look of pleading on their faces. Do something! At his moment I knew that most of my friends, who were Magicians, would have started crying. Recognizing a turning point when I see one, I did the only thing. possible under the circumstances - I proceeded to tell a joke. It was a humorous story involving a local politician of dubious morality, that I customarily used to break the tension later on during my show. It is a fairly long story, which gives everyone time to shift their interest to the denouement. It worked. When I delivered the punchline, the house broke up. I continued with the show, while the poor guy dragged his date out of the door. It turned out that this had been his first date with her. The manager assured me that she wasn't 'one of us'. I wondered ifthe couple ever had a second date, and, if so, ifthe guy had managed to keep her out of jail on an assault charge. When I was being blindfolded with tape for my Sightless Vision routine, I pointed out that the cloth tape was the second stickiest thing known to man, "...The only thing stickier being that situation I was in fifteen minutes ago ..." This broke them up again, and everything was all right after that. In retrospect, I realized that nothing could ever occur during a show that could rival this experience. In fact, I sort of wish that poor disturbed girl could come to my shows more often, to spice things up! It would be a lot like the daytime TV talk shows.... I believe in doing whatever it takes to deliver the product. When I was foolish enough to perform the Blindfold Street drive, I always had about five of my stockiest friends ( all named 'Vinnie', oddly enough) placed strategically in the crowd to deal with troublemakers. I am amazed, and a little touched, at performers who assume that the audience is always friendly and receptive. 72


A quickreading ofthehistoryofHoudini,andofthebulletcatch,will giveyouplentyofstories ofspectatorswho thought nothing ofputtingthe performer's life at risk, in order to 'show him up'. "Assume the best", my Grampaw advised me, "But be prepared to deal with the worst". CharlesScotttoldme a storyworthpassingonto future generations. It seemsthat Master Mentalist, Curmudgeon, and all-around bold rascal, David Hoy,(whom historyremembers as Dr. Faust) was performing his Blindfold act in a theaterin a town where, it seemed,that sort ofstuffwas illegal. A sheriffcamein, and while the goodDoctor was still blindfolded, presented him with a summons! David read the summons out loud, still blindfolded. I assume the localnewspapers and press were alerted to this anomalous occurrence. I wonder how muchyou have to pay a Sheriffs Deputy to delivera bogus warrant? Stories like this only go to prove that the performer who has mastered the Testicular approach will get the blue chips. And what fun he will have! Remind me to tell you somedayabout the timeone of my corporate clients booked me as a Palmist in a shopping mall in a store in a small, conservative city on National Prayer Day! Be excellentto yourselves. And for your audiences. Your Pal,

John Riggs

May 10th, 1995

73

John Riggs

I will not insult anyone's intelligence by suggesting such classic and indispensable old chestnuts as :

Practical Mental Effects 13 Steps to Mentalism Passages Magick The Collected Mental Mysteries of William Larsen Sr. Ifyou do not already have these, and list them among your most wellthumbed tomes, then get 'em ASAP.

SuperScript by Lee Earle. The videotape discussion on Q & A included with this set is worth watching again and again. You either love Lee or hate him; my stand is obvious.

The Classic Reading by Lee Earle. A write-up and elaboration on Bertram Forer's Personality sketch. readings during your presentation.

Good material for 'filler'

Docc's Perfect Mental Club Act by Docc Hilford. Available through Flora and Company, this limited edition video release set off fireworks in my head. A stunning premise for the bold worker, and a great way to get your foot in the door of clubs where you would like to pitch private readings. I offer to give the club a free twenty minute Psychic show, in exchange for letting me do readings (at ten dollars each) for the rest of the night, or until I have made my rent money. A real life-saver if you do not work for a living!

The Encyclopedia of Mentalism by Robert Nelson. Describes all the old methods. These guys must have been crazy. Faro boxes, movie projectors, etc. Who were they trying to impress with these convoluted methods? Dunninger's act is described in detail, and there is a great deal of useful information to the reader. Nelson's cynical advice is right on target to the contemporary Mentalist.

The Dante's System of Life Span Readings by Robert Nelson. One of the all time great 'cradle to grave' stock readings. The preliminary 74


discussion of the cold-reader's premise is priceless. I like Nelson's stuff. All of it. Tape Twoofthe Q & A Tape setbyBrianFlora. Tape one, in myopinion, ain't worththe iron oxide its recorded on. Sony! The Awakening of Intelligence by Jiddu Krishnamurti. Wonderful insights into your own mind, and therefore, the minds of others. Effective Speaking by Dale Carnagie. Still one of the classics. The Dead Zone by Stephen King. Contains some of the best scenes concerning Psychometry ever written. This is the real stuff; what its all about. I use a lot of episodes from this book as a performing premise. I also stolethe ideaofacting likeI hada headache, and am totallyexhausted after keybending or mindreading, from this book. When I've really nailed a small audience, I lay it on pretty thick, rubbingmyeyes,speaking slowly-butneveradmittingthatanything is wrong, brave little me! I love it... Shadowlands by Peter Straub. More of the above. Mind, Myth and Magic, by T. A. Waters. Great stuffon Psychometry andthe Q & A. One method, whereyouburnthe sealedquestions, delighted me so muchthat I laughed fortwentyminutes at the sheer brass of it all! One of the interesting ideas on Psychometry was to get some distance from the (marked) envelopes containing the borrowedobjectsbylayingthemoutonatraybeforeyoucommencethe readings. I won't violate confidences by relating Tom's idea, but it reminded me of a similar strategy I came up with on my own. Before I developed my Ultimate Psychometry, I used to perform Psychometry usingLee Earle's No-Brainer bags, which, I understand, is thematically similar to an idea used by Fogel. In essence, the bags 'color code' the objectsto the spectators. I had the spectators mix the bags and hand them to me. I removed the objects, one by one, and placed them on a tray. The designenamelled on the tray contained the samefive colors coded 75

John Riggs

into the bags. No-Brainer, part two. My next favorite method is Alexander Thomas's from his book, ]'urnina Ihouahts into Gold. Can't reveal it here, but it is worth ten times the price of the book. All the objects are gathered into a single container. This method, along with some hellacious presentational ploys, makes for a preeminent performance piece. Dr. Barrie Richardson also contributed a related idea, using a single container, to Magick. Do you all think I read too much? .......

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John Riggs - Compleat Fortune-Teller

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