PonderingsA Collection of Mental Ideas

by Sean Waters

PonderingsA Collection of Mental Ideas

By Sean Waters

© Copyright 2007

I dedicate this book to my wonderful and loving wife, Jennifer, who supports my strange need to entertain and create. I also

dedicate this book to my son, Caleb, of whom I am very proud. He was a born charmer and entertainer. To his brother or

sister, who is at the time of release, yet unborn: I can only offer my most sincere apology for having a dad that is so strange.

Sorry, in advance!

We are friends! Please do not copy, distribute or duplicate this book in any form. You have paid a fair price for this book

and giving it away will psychologically cause you to devalue the work that has taken me ten years to develop. I am glad to save you that time. Performance rights are assumed with purchase, though recorded performances must be approved by the author.

Table of Contents

IntroductionComments from Charles Pecor .............................................................. 1

ForewordA justification for existence ..................................................................... 4

Red-HandedA direct suggestion based psychological card force ............................ 6

Washington DeCeivedA memory effect takes a left turn at Uri’s place .................................12

HTP Design duplication with a difference ..................................................16

PC PrincipleA psychological method and some notes ............................................25

(K?nt)A prop-less mind reading miracle(knowledge of the K.E.N.T. method required) ..................................29

Double MaltDon’t knock it, till you try it ..................................................................34

Why Try?He is starting to believe. .........................................................................40

AvalonCoincidence Imagined (complete with conversational hypnosis) ............................................42

Parting CommentsSuch sweet sorrow ..................................................................................50

Introduction

I met Sean Waters three years ago and we have “sessioned” every four or five weeks since then. We also have spent time communicating by phone calls and emails. I would like to think that our relationship has been mutually rewarding and enjoyable. Sean is a devotee of both card magic and mentalism. While I do not share his passion for performing with cards, nor do I have his knowledge of this field, I do enjoy watching entertaining card effects. Of course, over the years in the craft I have acquired some knowledge of card magic and one of my great pleasures is, occasionally, being able to show Sean something with cards with which he is not familiar and which gives him “pause to think” (ask him about the deck switch sometime). It is in the area of mentalism and psychic entertainment that our interests strongly overlap. Sometimes our sessions will center on exploring a specific effect like Confabulation or methods like the Center Tear. At other times, we will “show” each other “works in progress” or we will discuss techniques of presentation and the “philosophy” of performing mentalism. We share a number of views including the notion that it is pointless to perform mentalism for magicians, especially at a club meeting. In the last few years, I have

Ponderings2

been spending more time doing theatre so these sessions with Sean have been invaluable in keeping me “grounded” in my enthusiasm for the study of the “mystery arts”. I have been encouraging Sean to release some of his material and to share some of his thoughts on performance. I am delighted that he has done so in this eBook. The material you will find here demonstrates some of Sean’s strengths. He is never content to leave a routine as he finds it. He looks at it from many angles, always attempting to smooth out the rough spots and increase the “logical disconnect”. He is not afraid to experiment. I have been a member of the P.E.A. for over ten years and I can assure you that his creative thinking could hold it’s own among that group. Sean “personalizes” his material. I recall many years ago hearing Jeff McBride give this advice to a group of magicians during a lecture. This was perhaps the most important point, but his audience was far more interested in learning how to make a burning torch disappear. Sean’s flair for personalizing allows him to interact with his audience on a fairly intimate level. Sean’s performance style also contributes to his effectiveness. His personality is charming and engaging. I find that far too many psychic entertainers take themselves far too seriously. They think they are “working strong” when, in reality, they look just a bit, well, silly. Much of contemporary mentalism hinges upon the premise that what is happening is based upon the performer’s knowledge of psychology. Themes like voice stress, body language, reading “tells” and so forth, abound. The difference between Sean and 90% of the other “psychic entertainers” is that Sean actually knows what he is talking about. The expertise adds a high degree of authenticity to his work. Sean has referred to me as his mentor; I humbly accept that designation. But the knowledge and the enthusiasm flows both ways. If the old adage, “when the student is ready, the master will appear” is true, then the corollary is also true. I have certainly learned as much from Sean as he has learned from me. I find my own work has been renewed and refreshed by our contact.

Introduction 3

• Read and reflect on the material in this manuscript• Personalize it for your own use• Perform with courage and enthusiasm

(By the way, Sean and his delightful wife, Jennifer, are great audience members as well)

Charles Pecor (a.k.a. “Picard”)Actor, Mystery Entertainer, Author

Macon, GeorgiaOctober 2007

Foreword

I am deeply honored and consider myself blessed to have you read my thoughts and routines. My opinion doesn’t ultimately matter. You will decide for yourselves if these ideas have merit (for you). That being said, I do take Darwin Ortiz’s sentiments seriously; that routines should not be published arbitrarily. They must justify their existence with either superior methods, better presentations, or by a difference in scope. Darwin mentions that these criteria can be “subjective”. I hope that within the comments of each the routines, I have made an adequate argument for them. I believe these routines will justify their existence by providing a niche’ that remains unfilled in current magic literature. I am a serious student of mentalism and magic. I spend a fair amount of time, effort and resources on my magic education. I cannot understand a performer who is not willing to do just that. I genuinely contemplate my own “vision” for each of my routines. I also work diligently to create my own effects, while expounding some routines that have been developed by others. That is from where the name, “Ponderings”, comes. I hope that you will find that my routines have either amplified the impact of an existing effect or have provided a more effective method to accomplish them. Sometimes, these

Foreword 5

developments will require additional practice to master (since they are largely “attitudinal”) and require a confidence in your presentation. These “pure” techniques are not pipe-dreams and I assure you that you will have success using these methods, given the proper time. I perform semi-regularly, at a variety of venues and events. I have post- graduate training in psychology and am fascinated by perception, behavior and the world of magic and mentalism. My sincere hope is that you will see these routines for what they are; my attempt to make effects that are more realistic, plausible and “human”. As such, you will intuit a largely psychological “bent”, which is quite popular these days, but is honestly in keeping with whom I am. I hope this honesty of character will appear between the lines. I have divided each routine into four parts (see below). I place these sections in the book with greatest reverence to people of faith. I mean them in the truest sense of the words. I also believe that we are much like our Creator when we “exhibit” creativity. It is one of my greatest joys.

1. Genesis - The origin of the effect

2. Acts - The details of performance

3. Revelation - The hidden becomes known

Notes - Other important thoughts regarding the routine.

Red-Handed

Effect: A direct psychological force with cards. THIS IS POWERFUL AND IT IS REAL!

Genesis: I will first fully explain this routine and then I will “wax philosophical” about impromptu psychological demonstrations and the possibility of failure. I hope the evolution of this method will become self evident.

I typically visualize a desired effect and then I cannot rest until I have explored every possible method. I am very obsessive! To be completely honest, in this case, the method was discovered by a “confident accident”. A decade ago, one of my best friends in magic, Christopher Brent (an extremely entertaining Texas-based magician) called me and mentioned Kenton Knepper’s “Truly Invisible” routine from Kollosal Killer and Wonder Words. Over the phone, he described the how the routine appeared.

I began to experiment with what I thought was the Knepper method. It began to work consistently because I thought I was actually doing

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someone else’s “proven routine”. After that time, I purchased Kollosal Killer and then realized what I thought was his method, turned out to be very different. Kenton, Gene Urban and Derren Brown are all using work based upon Kenton’s fantastic idea. I will obviously not explain that method, but I will discuss the differences provided by my own routine.

All of these performers use a method based upon “observation” made by the performer. This method is actually suggestion and is based upon subconscious observation made by the participant (of which, they are totally unaware).

The method of forcing the color and suit is much faster than the methods used by the brilliant gentlemen mentioned above. Why is this a benefit? In a word, failure! Those who are concerned about this should be encouraged that my routine doesn’t invest in a very involved presentation. This means a miss won’t “sink your battleship”. Due to this, the “variance” can be dismissed much more quickly and painlessly. My routine does not require such an elaborate psychological setting to be effective.

Acts:Here is the performance (please envision someone performing this for you; it will help as you study this very effective routine). The performer begins by placing a single playing card on a table. He suggests an experiment in mind reading. He states the following:

“Picture a deck of cards in your mind”. “In that deck of cards there are red cards and black cards. Take some of them and throw the others away.”

“You are thinking of red; aren’t you? “ (They agree) “Great”!

“Now in any deck of cards there are diamonds and hearts”. “Keep some of those and forget about the rest.”

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“Now I don’t want you to choose an obvious card like an ace or something. Make it hard”. “Think of a number”.

The performer names the card and it is correct! The card is shown to match.

Revelation:The method is broken down into two parts: 1. The suit (with sub-parts of color and suit) 2. The value

1. The color (and suit)

The color and suit will be forced using suggestion. This (same) method will be used for the color and suit. Picture these actions while you read the method. Visualizing this method is essential to learning it.

You will say “Picture a deck of cards in your mind”. “In that deck of cards there are red cards * and black cards*.”

What you will do is “mime” holding the cards with your hands lifted and separated in front of you. You will hold out your hands while you mention red and black cards. With no attention placed on your hands, you will mime holding red cards and black cards in two different hands. When you say “red cards”, you will slightly shake your left hand (as if you were demonstrating holding them), then you will slightly shake your right hand when you mention the “black cards”. This slight shake suggests to the participant which hand is “holding” which color. They should only be aware of this on a subconscious level. You must not focus on your hands while you are speaking. This method is very similar to the “triangle and circle” suggestion described by Banachek in his brilliant, “Psychological Subtleties”. Practice coordinating the hand movements with the statements so it becomes embedded into “muscle memory”. This will not work if you have to think about what you are saying and doing. Practice this. It will be worth the slight effort.

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To suggest the color you will simply mime “handing” them the force color (which you are invisibly holding) as you say “keep some”. You will also eliminate the others by miming “throwing” the non-force color cards over your shoulder as you say, “throw the others away”.

Their subconscious mind now “knows” which color they have been “handed”. Seriously!

You will reveal the color and then simply repeat the process for the suits. Keep this in mind; the subconscious mind always picks up on patterns. Always use the same hand to force the color and suit. In other words, always mime “handing” the force color/suit with the same hand. This helps them accept the suggestion and it will help you absorb this method psychologically. This will increase your confidence and the effectiveness.

2. The value

I simply use the age-old force of the number seven. I typically use the “seven of diamonds”. In the closing notes I will mention other options.

You say, “Don’t think of an obvious card, like an ace or something”. This will effectively eliminate the court cards.

Now you say “think of a number between one and ten”. I realize this wasn’t mentioned above (I didn’t want you to jump ahead). As you know, this will typically be answered with “seven”. But we will also add one more convincer. We will say “make it hard” which for some reason suggests a higher valued card. This observation was shared with me by my magician friend, Christopher Brent. For whatever reason, this really works. Trust me.

If you have followed the script and accompanying gestures, you will now have successfully forced the seven of diamonds (or whatever suit/color you would like). Your participant will never forget it. Honest.

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NOTES:Must Read Texts:

I cannot recommend enough that a person study Kenton Knepper’s invisible dealing process in the routine, “Truly Invisible” found in Kollosal Killer.

One should also read Derren Brown’s verbal/psychological card forces found in Pure Effect.

Another excellent source is Richard Osterlind’s, “Miracle Thought Projection”, which is in his out of print book, Dynamic Mysteries. I am surprised that I do not find more performers mentioning his excellent method. In fact, I quite often repeat this effect by setting another card down and forcing another using Richard’s well-described method. This is also a great recovery for a close hit (if it doesn’t work perfectly the first time)

Other thoughts: It should go without saying that experimenting with and practicing these techniques is a must. You must rehearse the statements with the actions until you don’t have to think about them.

Outs: I used to place the seven diamonds on top of the deck and then reverse the five of diamonds the center and then place the three on the bottom of the deck. Of course, this preparation would have been done prior to the experiment. These three cards provide “outs” for the most common selections when people are asked for a number between one and ten.

Do not restrict yourself. There are tons of methods out there for “forcing” a particular value. Use any combination of them you like. Sometimes, I will use the “Red-Handed” method for forcing the color and suit and then use another method for forcing the value. Jazz it. I

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often use Derren’s “suggestion” for the value of “three” and use my method for the suit. They work perfectly together.

Some people may object to repeating the force technique for the color, then the suit. Keep in mind; this is a subconscious technique. This is not equivoque! Done correctly, the method will remain “invisible”.

“Missing” is a state of mind. If you do not get a direct hit (but get close) you compliment them on their “intuitive prowess” and show them how close they got to reading your mind. If you were psychologist performing an experiment, you would not be afraid of a miss. You would simply remark about the result and mention that it was close to the “target”. Our own response suggests how the audience should react. Remember this and you’ll never need a parachute. Act as if it truly is an experiment (that may work) and proceed as such. I do believe these types of routines should be used in an appropriate setting, much like that of Rick Maue’s excellent “Terasabos” and Patrick Redford’s brilliant, “Prevaricator”. These rely on purely psychological techniques and are very powerful routines, effectively placed. I could say much more about the notion of “missing”, but I won’t.

Washington DeCeived

Genesis: An impressive, impromptu memory effect takes a left turn for an amazing remote view.

I have placed this effect near the beginning because it is convenient and effective (and somewhat short). If you like this one, I think you’ll enjoy much of what will follow in collection of ideas that I have amassed over the years.

I agree that even standard mentalism fare can be presented in an intriguing and interesting way for a lay person. However, these demonstrations often will suffer from an obvious, telegraphed destination. This routine is an impressive feat of quick sequential memory, but has an “M Night Shyamalan” ending. This denouement utilizes an intrinsic feature of American currency.

Washington DeCeived 13

Acts:You mention that you have been working on some memory techniques and you offer a “test conditions” demonstration. You have a person take out a US dollar bill. You explain that you will visualize a chain of the letters and numbers that comprise the serial number of the bill.

You further explain that the average person can hold up to 7 units of information at any one time. You mentioned that your demonstration will involve 10 units (2 letters and 8 numbers of the dollar bill’s unique serial number), which is nearly 40% more information. You have them somewhat quickly read off the letters and the numbers. You recite them perfectly in either order (forwards or backwards).

Say: “Now… look at the images on the bill.”

“Imagine you are at the location you see printed there.”

You now tell them that you see a white house and a lot of double talk (no offense to our fine public servants). You say you are just kidding!

You mention that:

“There should be a city listed somewhere on the bill”

You continue…

“You know the city where the bill was printed, maybe on the black seal.”

They will now find that bill’s “Federal Reserve” location (though you never call it that…it sounds like you know too much about bills) which is always in the greenish-black seal. Once they find the city, you ask them to visualize the location. Without ever touching the bill you perfectly describe the location and the name of the city; a perfect remote view.

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Revelation (2 steps):

Step 1: The memory feat:

Use any mnemonic you know. You can simply make four, two digit numbers (out of the eight). In other words, use any brute memory method you like. If you are an accomplished mentalist and you have probably practiced memory techniques. It’s time to make use of those. I usually make up a name (first and last) for the letters of the serial number. Nothing new here.

Post note: After reading a draft of this manuscript, a friend of mine mentioned that he thought I didn’t go into enough detail in explaining this part of the method. I honestly must say that you just simply practice until you can remember four, two digit randomly called out numbers. The hard way is the easy way (as Robert Cassidy once said). No tricks, just practice. Have a “significant other” call out numbers on bills until you can do this. It is simply a “skill” that can be developed.

Step 2: The remote view (the clever bit)

This part of the effect is based upon a little known fact about US currency.

The first letter in the serial number actually tells you from which city the currency has been printed and circulated (see guide below). Some of you may already know this. Don’t worry. Most laypeople do not. You will be missing a perfect mind reading effect.

Under the guise of getting them to help you with a “memory effect”, they are actually unwittingly giving you the Federal Reserve city location. That’s just plain cheating isn’t it? If that bothered you, you wouldn’t be reading this.

Here are the cities and letter. I have included some helpful mnemonics, though they are best when personal. Memorize them or create a cheat-sheet

Washington DeCeived 15

A. - BOSTON .......................................................................“A” tea partyB. - NEW YORK CITY ...........................................Think “B”ig Apple C. - PHILADEPHIA .......................Think “C”hamp, home of RockyD. - CLEVELAND .............. “D”, (as in the) home of Rock and RollE. - RICHMOND................................................... Think Robert E LeeF. - ATLANTA ............................................................ Atlanta “F”alconsG. - CHICAGO .................................................Remember “G”angstersH. - ST. LOUIS ...........................................H looks like a funky “arch”I. - MINNEAPOLIS ........................................................Think Min-“I”J. - KANSAS CITY .....................................................Think “J”ayhawksK. - DALLAS............................................................... Who “K”illed JR? L. - SAN FRANCISCO ..............................................“L”ots of bridges

Example: Where was this bill printed?

You’ve got it: Atlanta

Also, the bit about the “white house” etc, should not be omitted for the following reasons:

First, you are “deflating” the tension so you can really catch them off guard. Though this technique is not always advisable, I do recommend it here for the next reason.

You are “psychologically misdirecting” them from the potential connection of the serial letters / numbers by making them laugh while moving to a totally different effect. This provides mental and time misdirection which is needed to get the most out of this simple method.

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It also gives the impression that any of the images or bits of information could be used for the “remote view”.

Please give this effect a test-drive before you say that it is too obvious. Remember Derren Brown fooled the half of England with an unknown quirk regarding British coins. That too, should have seemed obvious. It wasn’t. These little bits can produce miracles in the right time and place.

Other routines have been published using inherent attributes of a dollar bill (which were in print before mine). My favorite is Patrick Redford’s effect from his wonderful and creative book, “Triangle”. I think his excellent routine is best suited for a group of people. Mine differs in scope (and justifies its’ existence) in that it is a situational “impromptu” demonstration that requires no set-up whatsoever; just you and your beautiful mind.

HTP

Genesis:Use legitimate psychological tests for “personality readings” and a “design duplication”.

This routine allows the performer to demonstrate his humanity while performing a fun and believable routine. It also creates a different and logical rationale for the ability to perform design duplications and readings. The routine is fail-safe and the readings are easy due to genuine HTP interpretations. It also has the benefit of utilizing external symbols for the readings. These “readings” cannot really be challenged because their drawings are what’s being analyzed; not the persons directly.

The routine has its roots in ideas from Max Maven, Larry Becker, Lee Earle and Andy Nyman. All routines of these types, certainly should credit the brilliantly formed routines “Desire” from the esteemed “Color Series” and then “Sneak Thief ” developed by Larry Becker, found in “Stunners”. Countless variations now exist due to their

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clever routines. Years ago, Lee Earle suggested using graphology for “personality” readings and Andy Nyman’s “Magician’s Graphology” is a clever routine devised along these lines. I have used the notion of personal readings that are derived from sources other than “psychic” knowledge and combined them with an effective design duplication.

Acts: Two participants are asked to draw pictures that include a house, a tree and a person. They complete the drawings and they are mixed and brought to the performer. The third participant had been instructed to draw any simple picture or design, but to keep their picture hidden from all eyes. The first two pictures are used for a genuine psychological reading and are returned to the rightful owner using the profile that is created with the interpretation of the drawing. The final picture is duplicated using a “reverse interpretation”. The participant reveals secret knowledge of themselves while responding to questions asked by the performer. The performer is then able to re-create the drawing using insights into the participant’s psyche revealed by their answers.

Routine script:

“I often use skills I developed in graduate training in counseling to reveal thoughts within the mind. One such tool of the counselor is the HTP (house-tree-person drawing) test. Although interpretive tools are somewhat controversial, and have become considered by few to be the “tarot” of psychology, they provide interesting material for our purposes.”

“The client is asked to draw a picture of a house, a tree, and a person. Then the counselor would use the interpretation of that drawing to provide insight into hidden thoughts. I have asked two people to complete an unseen HTP drawing.”

“Being the fair guy that I am, I will first tell you a story about my own HTP test. I was in a graduate level psychology lecture and we were asked to draw our own HTP before any knowledge of interpretation was to be discussed. I drew a person and a

HTP 19

house which were both fine…. But then, I drew the tree. Not just any tree, but a tree with leaves and a system of branches including a hollow hole in the trunk. It looked a lot like this (show picture).”

“We all passed our drawings forward and some interesting drawings were used for interpretation. After a couple pictures were discussed, the professor said, here’s an interesting one…”

“(As he smiled) I knew it was going to be mine. He mentioned that the person was drawn high on the page which signified a disassociation with reality, my tree was “interesting” and he mentioned that the hole in the trunk suggested acute paranoia and possible delusion.”

“I am just glad I didn’t have any red crayons”.

“Today, I have asked two people to complete their own HTP drawing. However we will use these for ““fun””. No harmful secrets will be revealed. But I am lawfully required to report serious crimes. …Really, we will give some positive personality readings for just for fun. We are all friends here.”

Observe the two drawings. Make readings using real interpretation + cold reading. Have fun, keep it positive! Use any fair humor that arises. Using the interpretative profile, the performer then returns the drawings to their rightful owner.

Note: I have included basic “House-Tree-Person” test interpretations at the end of this routine.

Then, mention that you have had the third person think of any simple picture they could draw. However they were to keep this picture private and to show no-one.

“I thought it would be interesting to turn these interpretive tools upside down and see if we could determine a thought of picture…

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using known personality traits; a reverse interpretation, of sorts. In other words, you will tell me things about yourself and I will draw a picture. We will see if I can recreate the picture you are thinking of.”

What is your favorite color?

How many siblings do you have?

What is you favorite food?

Have you harmed any small animals?

Oops, sorry about that, that wasn’t fair. You don’t have to answer that.

What is your favorite hobby?

“OK… I think that helps, I have enough information for a hunch…”

Ask leading questions about the picture:

“Did the picture in your mind include water?”

“Did the object have sail?”

“Did your mental picture look like this?”

Reveal picture, her response should be telling. Instruct the audience members to give a round of applause for the three participants’ willingness to be involved in the experiment.

Revelation:The three methods are as follows:

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1. Interpretation for the HTP drawings (*found below). You can use any cold reading for information as well. This just provides a plausible reason to be able to provide these insights.

2. You will return these drawings to their rightful owner apparently using the psychological profile created. In reality, you will use any marking system to identify the owner. You may have your favorite. I simply pencil dot in the corners of the back side of the paper (before the performance). I pencil dot in the top right and bottom left of person one. I pencil dot in the top left and bottom right for person two. This way no matter which way the paper is turned you can tell which drawing belongs to which person (as long as you remember who is person one and person two). These can be easily found by you while you are “showing” the audience the drawings. It has all the misdirection you need to determine which drawing belongs to whom. Please note that this effect IS NOT returning the drawings to their proper owner. Instead, this routine is an opportunity to perform personality readings with a plausible rationale.

3. The drawing duplication. I hope the method is obvious. I use an impression device prior to the show. I simply mention that this routine depends on people giving thought to their drawing so I wanted to give them ample time. This justifies the pre-show and conceals your method nicely. To perform this phase you simple ask the question (while pretending to get “impressions”) and simply recreate a similar drawing.

Common Interpretations For The HTP Test

What follows are the themes and ideas of a standard HTP drawing. This is dead easy because no one will know you are wrong (aside from a therapist). Remember what you can and “fudge” the rest. This is “Cold reading for dummies”. You have a solid foundation with the themes listed, just a little theatrical “faking” and you are done. By the way, if you read these a few times they will become second nature. Don’t think of it as a “daunting” list to memorize. Read these and they will be absorbed by your subconscious. You don’t have to know any of this verbatim. Have fun!

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Interpretation / Summary of Themes

House:• House: represents family and social life. A house too small

represents a rejection of family/social life; too big is a feeling of being overwhelmed by it.

• Lines and Walls: represent boundaries and strengths of ego. Weak lines are weaknesses in ego; bold lines are problems with anxiety and a need to reinforce.

• Windows, Doors and Sidewalks: all ways that others enter or see the house, so they relate to openness or willingness to interact with others. Shades, shutters, bars and curtains and winding sidewalks all indicate unwillingness to reveal much about them.

• Lights: typically signs of welcome. Large bathroom windows, however, can demonstrate exhibitionism.

• Roof: symbolizes fantasy life. Extra attention to it means an active fantasy or ideation. Tiny, incomplete or burning roofs can indicate avoidance of frightening fantasies.

Tree:• Trunk: represents the ego, sense of self, and the “intactness” of

personality. Bark, heavy lines or shadings all represent anxiety about one’s identity. Small trunk is limited ego strength. Large trunk is a strong sense of self. Bending truck is a well adapted “flexible” individual, a survivor. Splits or fragments indicate fragmented personality or mental illness.

• Limbs: symbolize our effort to reach out. Detached limbs are inability to connect. Small limbs are limited skills to reach out. Large limbs may mean too much reaching out to meets one’s needs. Club-shaped or pointy limbs equal aggression. Dead branches are feelings of emptiness and hopelessness.

• Leaves: sign of successful reaching out. No leaves are feelings of barrenness. Excessive detail can mean obsessive/compulsive disorder. Pointy leaves again mean aggression. Detached leaves unpredictable relationships.

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• Roots: Relate to grounding, relationship to reality. No roots equals insecurity; too large is a sign of too much need for reinforcement or security. Dead roots are a disconnection with reality.

Person:• Spacing: Person is typically centered. See where the person is in

relationship to the house (relationships) and tree (sense of self)• Arms: Like branches, attempts to reach out. Open hands represents

a willingness to interact, pointed fingers or a balled fist represents aggression.

• Head: Represents cognition and thought.• Neck: Represents the separation of thought (head) and drives/

needs (body).• Mouth: Represents how we meet our needs. A mouth drawn

too large indicates neediness; a mouth too small indicates denial of needs.

Notes:Be prudent and sensitive in your use of information. Be edificial and keep it positive. The idea is for people to be entertained, not disturbed or saddened by your knowledge of secret pains or issues...keep it light. Remember, one of the goals of this routine was to make “warm-readings” out of a “cold-reading”. This routine was designed to make this type of work more accessible. It also leaves a lot of room for personalization and “natural humor”. This is your chance to engage the audience and “shine”. You’re a star.

This demonstration can be easily adjusted for “close-up”; where the more relaxed atmosphere allows the participants to respond more to the “readings”. I hand them three business cards (marked prior to use) and I have them draw on them (two HTPs and one free drawing). Then, they place the “free drawing” aside (which is placed in your peek wallet) then they mix the other two. You look at the HTP drawings and begin. Reveal the last drawing via a peek at an opportune moment.

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A final comment: Plausibility is something I strive to achieve. This routine is worth publishing for the simple reason that it provides a “new” and logical rationale for the age-old performance of a drawing duplication and introduces a new idea (the use of the HTP test) in the world of “readings”.

The “PC Principle”

Before I define what this principle is, let me set up the following presupposition: Some small subtleties can really make a large difference when performing standard routines. The work of Banachek has made this fact abundantly clear. Or has it? I rarely hear performers mention their experiences with these techniques. Why not? I think mystery entertainers don’t realize just how powerful these additions can be; especially in comparison to the small potential for failure. I say “small” because most of the time we will use these methods, we already know that we will apex with a successful conclusion. There is little risk In spite of this truth. Sadly, performers don’t use these tools enough. Give it a try. Live dangerously. Love the art.

Presupposition: Small gambits pay great dividends.

Example:When performing a variation of Paul Curry’s classic card effect, “Out Of This World,” I always have spectators intuit which colors I am holding up, back towards them, before beginning the actual routine. I show them that their intuition is correct (or incorrect) as they name them. Typically, they will get them all correct. Some magicians who

Ponderings26

have seen me do this ask if I was “cueing” the spectator. I had not used an “instant stooge”, but the point remains that a simple preamble effect can dramatically strengthen the whole.

Another:I always hold up a Zenner/ESP cards (again, back towards them) and have a spectator think of one. I name the symbol and it proves to be correct. I use a subtlety found in Luke Jermay’s “Building Blocks” which greatly enhances the “ESP matching” routine that is to follow. He also discusses the use of “anchors” to help increase your spectator’s “intuition” in several routines in the well regarded book (see “A Safe Anchor” and “Out Of (T)His World”). I highly recommend that you educate yourself concerning these techniques. You can also watch Derren Brown utilize a similar subtlety, to great effect, in his televised ESP routine. This bold “gambit” can be found in the mental card work of Dan Garret as well.

Conclusion: Use them!These “prefaces” to an effect, which often depend on chance, can dramatically increase the impact of the routines (and surefire methods) that follow. I try to do this whenever I can because I have great respect for this type of opportunistic work. In fact, I honestly believe that you can hone some outright guesswork to a science. These sorts of ruses are certainly worth a shot.

Now, I will introduce a similar idea that some of you will put to good use. It involves an “embedded command” that forces the spectator to choose a particular item out of several options (thus you can predict their choices).

PC Principle (explained)We all know that “PC” stands for “Politically Correct”. We all fear being thought of as unkind, prejudiced or lacking in character. The astute performer can use these innate and subconscious acceptance drives for our (evil?) purposes. I often use this principle while performing Bill Goldman’s, Mental Yarn (an intriguing effect probably based upon Ned Rutledge’s idea). This can be applied to any number

PC Principle 27

of presentations when a correct choice of a couple items, prior to the “main effect”, could be of use. To use this technique, you will offer your participant several choices and then “taint” one of them with an embedded command. For instance, you will say:

“It’s not a moral thing just choose one of the following: right or wrong”. Which do you think is chosen? “Right”!

Although you state, “It is not a moral thing” the subconscious hears, “It is a moral thing”, because the subconscious mind cannot recognize a “negative” word (in this example, the word “not”). Due to this fact, we quickly respond to the embedded command and choose “right”. This is the PC Principle. This principle can be applied to issues of race, behavior or almost any other “ism”. We all want to be thought of as kind and considerate people. We will just use this to our advantage.

Another example: “It has nothing to do with race, please just choose a color; ‘black’ or ‘white’”.

If one is Caucasian the answer will typically be “black” (and vice versa). Get the picture? You can largely control which options will be selected with the embedded commands. Some of you may read this and not realize the benefit. Others of you already know the power of a small advantage when performing “real mentalism” (such as psychological forces).

Another: “It has nothing to do with your values; think of one: ‘love’ or ‘money’”.

Again, people will not want to be thought of as persons who care more about material goods than people, so they will most likely choose “love”.

Regarding cards; any leverage a performer can gain towards influencing a particular color can help seal the deal. Black or red is a 50 / 50 choice. Isn’t it? Any advantage tips the scale dramatically in our favor. The PC Principle is one more way to do that.

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The PC Principle can be applied to any choice that can have “social” consequences. Use it like seasoning; a little goes a long way. Embedded commands are most effectively used if one does not pause while delivering the statement. After making the statement, continue speaking, do not stop! This will draw attention to the statement and decrease its subtle effectiveness (and probably cause the opposite effect). It only works if it is not on the “radar”. Please give it a try and share any of your discoveries with this subtlety. I would be honored to hear that the idea has been of value. Now go Ponder!

(k?nt)

Definition: to have knowledge or an understanding.

Absolutely phenomenal. Are you kidding? It’s too GOOD to share! Thanks for a brilliant, brilliant routine. And it goes no further.

Best,Gabe

I love your thinking on this one! Very very clever! Thanks again for sharing and I give you my word that I will not share it with a soul. I would love if nobody else ever found out about this. I’m greedy when it comes to good stuff as this. This can be played as a miracle! Thanks very much.

All the best,Pete

* quotes from thankful forum members who previously owned K.E.N.T.

Ponderings30

The What: An incredible completely prop less mind reading card routine. Imagine combining the purity of Kenton’s “Truly invisible” with John Mahood’s K.E.N.T.

(k?nt) is what you get

The Why:

I wanted a purely psychological approach to K.E.N.T., that could be done over the phone or in person. It needed to feel like real mind reading!

It absolutely kills! It is an incredibly direct and realistic mental card routine (you will require a working knowledge of the K.E.N.T method to use the following information).

Genesis:I started with John Mahood’s brilliant K.E.N.T. and added subtleties of Banachek & Osterlind. These, with my own completely psychological presentation, form a direct and pure mind reading miracle with cards.

Bob Farmer started the application of the High Probability Distribution Principle in a magic routine. I used his Tsunami for years with a slight variation to the denouement. It has been a personal favorite.

John Mahood took the principle and streamlined the procedure and created a new presentation that gave it a more “mental” approach. This, with Kenton’s touches, it was subtle and worked well. I have taken the K.E.N.T. routine and added a completely prop less presentation that psychologically forces the participant to choose a card in the range of 10 through Ace. Thus the KENT method can be performed completely in the mind the spectator, at any moment.

K?nt 31

This presentation along with a combination of ideas of Banachek and Richard Osterlind convinces the participant that you can truly see into their minds!

Acts: Instead of having the participant use a deck of cards for the random five cards, say the following:

“I want you to picture a deck of cards in your mind.”

“Since this is your first time mentally projecting a card to someone, I only want you to focus on the values. Don’t worry about the suits.”

“Now... See the cards being shuffled in your mind.Please take five cards out from different locations.”

“Of those five cards, picture your favorite! You know, the one you would bet with, if you had to bet.”

*Now proceed with the K.E.N.T. (binary elimination) method. See notes below. This will just work!

Do you want to know why?

Revelation:Saying: “take five cards out from different locations” will psychologically force them to “space” the values out.

This is basically the method! Because you ask them to see the cards mixed up and then take them from different locations, they will have to “mix” the ones that they mentally choose. The only way to do this is to think of five varying cards. This insures that the high probability distribution will occur mentally.

Ponderings32

TRY IT! It will work!I wanted the participant to not only see the cards mentally, but I wanted them to feel like I was actually reading their minds. To accomplish this, I combined Banachek’s “Subtle Letter Principle” with Osterlind’s “Card Calling”. The product is a more realistic feeling revelation for each of the subsequent letters of the KENT method.

If the “king, king, king” statement does not end the presentation, say the following:

“Hear yourself saying the value of the card but also picture each of the letters.”

“This allows you to use more than one of your senses.”

“Look at the letters one at a time, go back and forth across the word and picture them.”

I now utilize a brilliant idea from Osterlind’s “Card Calling” routine from his Breakthrough Card System booklet and Mind Mysteries DVD. Although this is a different method, it gives a similar feeling as the Banachek letter subtlety that I use quite often when I am revealing a word.

I tell them to:

“Go back to the E... you just saw an E. Didn’t you?”

This will appear to those watching that you are in fact sensing each letter (as opposed to “binary fishing”). This creates the eerie feeling of you reading their mind as they focus on each letter (ala Banachek’s letter subtlety, See Psychological Subtleties).

“Stop at the N. I can see it”

This really convinces them that you are seeing what they are seeing. Now you can use the K.E.N.T. method to know what card they are

K?nt 33

thinking of (without the use of cards), all the while, convincing them that you are truly reading their minds. And you are!

Notes:A strange observation: After using this method for some time, I started to observe a trend. It seems that my psychological approach directed people to often choose the “Jack” value. I can only surmise that this is caused by a psychological desire to not choose an “obvious” value (though choosing a high enough value that they would win the “bet”). This happens quite often. Many of you will find excellent use for this occurrence.

A special thanks to my knowledgeable friend and former book “pusher” from H & R Magicbooks, Jason Walker. He introduced me to the KENT manuscript and fed my need for magic knowledge for years. I could have been debt-free if it wasn’t for him.

Double Malt

I have a couple confessions:

1. This is a magic-y routine. 2. It uses a standard, store-bought gimmick

I think if you actually give this routine a try, you will find that is truly is magical synergy (the whole is greater than the sum of its parts).

Genesis:I wanted a “confidence scam” effect that would:

1. Powerfully happen in a spectator’s hands.2. Be technically easy, allowing one to concentrate on presentation 3. Actually be happening as you describe it. In other words, the spectator

gets “taken” by the presentation (that sounds like you’re letting them in on confidence scams).

4. The context would enhance the effects. It can be played as “perceptual manipulation” or as a “con”. Thus, the fairly relaxed mentalist could

Double Malt 35

use this as well as a standard magician. My personal presentation emphasizes this perception aspect more.

Acts:You begin by telling your participant that you are intrigued by con-men and the secret world of the “scam”. You have studied both the psychology of the “con-man” and the “mark”. It is interesting that these deceptions have been going on for hundreds of years and many of them are still the same. You offer to demonstrate some of this arcane knowledge.

You explain that:

“All scams have one thing in common, GREED!” “We all have an itch we want to scratch.”

“Everyone wants to be the one who is working the inside tip. There are very few people, given the opportunity, that wouldn’t like to make a quick buck or two.”

“In fact, what I am about to show you is my favorite “inside tip”. Do you have a $5, $10 or $20 bill? I promise I’ll give it back. Great!”

“I am going to place your 10 dollar bill inside this envelope and seal it for safe keeping. This would typically be the wager.”

The envelope is sealed and left on the table in full view and untouched.

“I have two coins but one is slightly larger than the other and is made from silver. Which one do you think is worth more?”

The participant answers, “the silver one”.

The performer replies:

Ponderings36

“That would make sense in most cases, considering it is partially made from silver. However this copper coin, although it is a bit smaller is worth roughly 75 times more. It is no longer being circulated. Surprising huh?

“Please place both of these coins in your hand and then move both of your hands behind your back”

(The performer overtly gestures to show his hands empty)

“Now place one coin in each hand”

“Here’s the bet”

“If you can open the hand with the “valuable coin” you would be able to keep it. If not, I would keep the $10 bill. That’s how the bet would go. You risk $10, but you stand to gain a coin worth $100. It’s not a bad return!”

“Bring your hands forward, but do not open them yet. You have to remember this is a scam and the con-artist will try to manipulate your perception to make you think you already know the answer. So be on guard”

(The spectator thinks that you are giving them a hint and they may decide to try to “trick you”. But you know it doesn’t matter. You are miles ahead. But isn’t the con-man always?)

“Now, anytime you like, open the hand that has the rare, Peruvian copper coin.”

Of course, they open either and then the other to find that the “valuable coin” has vanished from their own hands. They are absolutely stunned (unless they are jaded magicians) so don’t rush this moment. It is wonderful and it hurts. Let ‘em feel it.

Double Malt 37

“You see that’s how the scams work. You never had a chance, did you?”

Now you remind them what the most important rule of the “hustle”:

“No one ever lets you in on a sure thing unless they plan to get away with your cash”.

Simply look down at the envelope. That is all the “suggestion” they will need. Allow them to tear open the envelope. A copper coin falls out, but the money is long gone. You then confess that the coin was never really worth anything to begin with. They are horrified a second time.

“I am sorry, but your cash is long gone!” “Some lessons are worth more than gold”.

Let them look carefully inside and then you throw the worthless envelope away. You then decide whether to give them their money back from your wallet. They learn a valuable lesson.

Revelation:Once you read the items needed, I hope no other explanation is necessary. A thought: I often forget about a very effective piece of magic and it fades to mental oblivion. Something jars my memory and I decide to give an old friend new life. I think if you actually use this routine, you will be reminded (by your participant) just how effective this little apparatus can be. Deception is the method, amazement is the goal.

Scotch and SodaThe nearly self-working coin gimmick. Anyone reading this surely has one of these resting dormant in the bottom of their “magic drawer”. Go give it some new use.

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Options:

The Himber Wallet: will allow you to conveniently switch the envelope (with the cash) with the other envelope (with the coin). This is my favorite method because it leaves you clean. I think the use of the wallet can be made to be “psychologically invisible” by having cash already in the wallet (on both sides) that would be used to “stake your wager”. You have the coin envelope (unsealed), with the coin, on one side and the open empty envelope on the other. I also slightly bend the flap on both of the envelopes (in the same place). This should look like incidental wear that happened while in the wallet. You could also place a similar “random mark” on both of them. This psychologically sells the fact that these are the “same” envelope. These details are essential to the deceptiveness of these types of routines. Small nuances count. In the routine, I take out the empty envelope and place the cash inside start to close the wallet. Then (as an afterthought), I open to the other side and remove the envelope and lick the envelope closed. I say nothing. I place the envelope on the table as if to make everything open and “copacetic”. Fairness is our motivation.

The Teleport Envelope: (Ted Lesley’s wonderfully gimmicked envelope) This is a multi-pocketed envelope that invisibly switches two items that can fit inside a sealed coin envelope, while it is being sealed. These can be shown empty, and then sealed. When the envelope is torn open, one object has disappeared and another has appeared in its place; brilliant (see Ted Lesley’s book, “Paramiracles” for details). Obviously the “second” coin must be glued in the switching compartment in the envelope before the routine begins. It is also worth mentioning that care must be taken to not let the envelope appear “heavy” in your handling before the cash vanishes and the coin appears. If you use this option, you will have to open the envelope for the spectator instead of them opening it for themselves.

By the way, if you use the Teleport Envelope, throw it in a nearby trash can at the end of the routine (if it is an environment you can control: office, home, friend’s home, etc.). Go back and retrieve it when you can get away with it. Otherwise, nonchalantly, throw it in your pocket

Double Malt 39

and offer to give them the money back as you open your wallet (be sure you carry some cash of all denominations). This can actually help the effect. The money does seem to truly be gone.

Other thoughts on the teleport envelope: I like this ingenious prop, but I prefer that it serve a purpose that is less linear. I do not want an item to materialize that has not been there before, reasonable people may disagree. I do like the unexpected “exchange” (in this context). It has inherent meaning. The effect suits the “gestalt” of what’s being presented. The use of the envelope is merely “circumstantial” until the denouement. The end isn’t telegraphed.

A Shaxon envelope: can also work perfectly for this routine. I personally like having just one envelope in play, but everyone likes a choice. I won’t explain this here, but suffice it to say that this is another “gaffed” envelope options (which requires the use of a stack of envelopes). This can be found in a number of books on Mentalism.

Notes:Obviously the title refers to the scotch, but also to the fact that this presentation has a “One-Two” punch combination. With the “con” premise, both effects are strengthened by the inescapable “context”. The “mark” is hit a second time before truly recovering from the first bit of amazement.

Points:

1. It plays extremely well.2. Although this routine is not impromptu, (it requires carrying the coins,

Himber Wallet or the prepared envelope) but it is opportunistic. It begs for an occasion when the conversation can be steered towards the “hidden world of the scam”.

3. If you work restaurants, it is a good way to “get the cash on the table” and increase your tips.

4. Please try it, before you knock it. You just may have a new/old friend!

Why Try?

This essay is an attempt to address the important question that I know many will ask. Why should a performer attempt bold and risky psychological techniques while there are methods that are more dependable and much easier to perform? This is a great question.

I think the answer to this question resides in the nature of our goal; believability. I realize that there are countless methods to accomplish nearly any effect, but the means is not the only concern. I am not recommending the fool-hearty notion that one should only perform suggestive or real psychological effects to merely further the “art” (with no thought to entertainment or the consequence of failure); far from it. I am making the argument for utilizing these methods during carefully placed moments (in our public or intimate performances) where we can “artfully” use their potential impact.

I am not surprised at how many magicians and mentalists are trained “actors”. My great friend, Charles Pecor, and other clever mentalists; Andy Nyman and Greg Arce, are examples. They have an inherent advantage because they can “summon” a convincing display of any emotion, whenever it is needed. I cannot. Maybe you are like me and

Why Try? 41

have not had formal theatrical instruction. We need help. I honestly believe that attempting these “real” methods will give us a “baseline experience” for how our “abilities” should feel to our participants and ourselves. Our audiences, large or small, can readily sense our intense scrutiny of every “eye movement” or observe us listening for the slightest “hesitation” in their answer to a question. They will begin to feel that these behaviors (which cannot be helped) are the “tell-tale hearts” that have revealed their deepest secrets. They become self-aware (in a helpful sense). These overt “displays”, which often may be the method, become the plausible explanations for our skills. Our audiences start to believe (as do we).

As we become adept in these nuanced methods and powers of observation, we can “transplant” this same “feeling” of realism to any effect that requires the most mundane methodology. In essence, we will steal our convincing displays from our “pure” methods and apply them to our other routines. These performances become our “sense memories”. This is reason enough to practice and develop these methods (though the most daring of you will need no encouragement to use these powerful techniques… they are addictive). These experiences make us better actors!

I have found the effectiveness of my standard “mental” routines has developed exponentially as I have progressed in my use of advanced methods of discernment. I know I have “real abilities” and it is much easier to convince others when I believe. The acclaimed actor, Morgan Freeman once said (and I loosely paraphrase) that “if I start to believe (in my character), no one else will have a choice. If I believe, they will have to as well”. Sage advice.

I work very hard to believe in my effects as I perform them. I want to leave my audiences with no road to travel other than the single path to the truth… I have real abilities (or so it will seem). It is worth the price of danger. I hope you agree.

Avalon

An effective imagined card routine(complete with conversational hypnosis).

This is a subtle version of the fantastic Kollosal Killer by Kenton Knepper. If you have not read the original, you owe it to yourself to buy it and then contemplate this routine for yourself (although knowledge of his routine is not necessary to perform this effect).

I think this routine justifies its existence in several regards. The script provides an emotional context which increases the impact of the ending. It also utilizes several subtleties that strengthen the potential outcomes. Though it is not necessary, I cannot disclose the exact workings of Kenton’s fabulous routine (due to license agreements, etc.) but I have his blessing to publish my presentation.

Avalon 43

Genesis:

Here are the goals that I had for my version of K.K.

1. The spectator should feel as free as possible (not influenced) regarding any decisions made.

2. I wanted to only use four cards. 3. I also wanted the spectator to be shown indirectly that their choice

was truly the only possible outcome.4. I wanted a presentation that had a broader focus than the cards.

As you lead people through the imagery of this routine and you convey the “story”, they must follow along with you psychologically and emotionally. In other words, you “steal” (read: anchor) the emotional impact from a real-life occurrence. It’s like cheating, but all’s fair in love and psychological illusions. As you guide them through the story, you are “inducing” a trance like state that forces them to experience this “coincidence” viscerally (this is a form of covert hypnosis). It’s guaranteed impact. Read on.

5. I desired to create the strongest response to each outcome (accomplished by routining). This idea came to me while discussing the “outcome” possibilities with my good friend Charles Pecor (a true thinker and one of my favorite people in the art). This denouement truly seems “most natural” when you are off. By the way, this demonstrates my philosophy regarding psychological effects. Plan for the miss and make it as powerful as possible. This is where your creative efforts should be focused. This will eliminate your fears (in advance) and make you much more comfortable using these techniques. I can hear you reciting the Boy Scouts motto.

Acts:The Presentation:

“I recently went on a trip to New York City with my wife. We stayed in a fabulous boutique hotel in the midtown area. This was a beautiful, but smaller hotel. It felt like our own secret

Ponderings44

hotel treasure; it was called the Avalon. We prided ourselves in finding this perfect hotel, and the fact that it was somewhat unheard of.”

“After arriving at the hotel, we checked in and were entranced by the beautiful European marble and perfectly polished cold brass. The lobby had ornate Corinthian columns and every detail had been attended with delicate care. The suede furniture was soft and lush. It was breath-taking.”

“We proceeded to the elevator and the doorman pressed the button to our floor. We enjoyed classical music as we slowly ascended to our floor. We felt the gravity pull against us and our feet felt like lead.”

“We were surprised to be greeted at our floor by a charming woman with a delicate smile. She welcomed us as she asked for our room number. She kindly inquired if there was any special courtesy that we needed while we were their guests. She escorted us to our suite and wished us a perfect stay. She assured us that our comfort was guaranteed.”

“The lovely woman asked for our key and began to open our door. As we began to enter, we were absolutely amazed to discover one of our closest friends actually staying right next door. It was an eerie feeling as we realized the utter impossibility of what had happened. It was truly uncanny, and we were in total disbelief. We stood there stunned.”

“What were the odds of this happening? Has something like that ever happened to any of you?”

“I would like to demonstrate a similar an occurrence with you tonight. Imagine that you are traveling to such a hotel yourself.

Avalon 45

“Please consider a deck of cards as an analogy for the lovely boutique hotel. There are four floors, and there are 13 rooms on each of the floors.”

“Now imagine that you are holding a deck of cards. Please mix them carefully. Great”.

“Now, in that deck of cards you have red cards and black cards. Start dealing some of the red cards in a pile.”

Pause here slightly and watch where they deal...

“And also deal the black cards in a different pile. Great!”

You will watch for where they “deal” the invisible cards. See where they place the red cards, since you told them to start dealing them first. Now you know which “invisible cards” are red and which are black.

“Now that you have finished, please pick up one of the either the red or black cards”

Turn your head away slightly as to not “see”, but be sure that you can tell which stack is picked up.

Look to see which pile they have picked up (now you know whether they hold the red or black cards).

If they pick up red, say,

“Do you feel good about your decision? If so, give them a good mixing for me.”

If they pick up the black cards, look directly at the table and say,

“Now; carefully mix the ones you have left on the table for me”.

Make no mention of the cards they removed.

Ponderings46

This is effective because you have not asked them which color they have taken, you have seen what color they have picked up (or left behind). To them it is impossible for you to know which cards they are holding. So how could you be directing their choices?

Either way, you tell them that they

“are now concentrating on the red cards”.

They are amazed!

Now you simply ask them to hand you either the hearts or the diamonds. No matter what they hand you, you ask them if they would like to change their mind. Tell them that they should remember they had this opportunity later.

Either they have “handed” you the diamonds or they have “kept” the diamonds for themselves. No matter, the suit has now been forced. You now say:

“Like the hotel which had four floors, you had a choice of any of the four suits and you chose diamonds.”

Now you will use a subtlety that will limit their possible selections to number cards (without obviously doing so).

“Imagine that the cards are keys with the room numbers on them. What room number are you staying in?”

(Remember you have told them there are only 13 rooms per floor, and you just asked them to name a room number, so this forces them to name a number). They tell you a number between one and ten.

Say to the participant; “I have my room key in here”.

Avalon 47

Now 2 outcomes are possible:

1. They name a target card. You say:

“That is really eerie. Not only are we in the same hotel, they gave me the key to the exact same room… “What a coincidence!”

Remove the card from the wallet and reveal card face only. Skip to ending.

OR

2. They name a non-target card. You say:

“That’s amazing... I knew this would happen. You see I have the key for room _________

Name and remove the closest value card and card and reveal the face and say:

“What a strange coincidence. Of all the hotels in the world, I am staying in the room next door.” What is written on back of my key?”

Spectator reads aloud “I am right next door” (show the audience the back of the card.)

Ending:

You say, “Incredible”.

After you have removed the one card and shown the card as the Revelation, now say as an afterthought:

“I need to keep my key”

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Now put away the card on the empty side (if you are using a Himber wallet). This proves the impossibility of their choice without arousing suspicion. Remember that you have anchored how they should respond and now is their moment. They will respond with an overwhelming feeling of coincidence.

Utilities needed:• 4 playing cards. I have written “I am right next door” on the back

of each of the cards. Use the four most common values named when asked for a number between one and ten. I have been asked by Kenton to not name these exactly.

• Himber wallet with the 4 target cards on one side only (face down) or one in each pocket of the Miller Miracle Wallet. I have also “toyed” with making my Miller Wallet look like one of those nice hotel key cases they provide you. Details count, and it helps “sell” the use of the wallet.

• A prerequisite knowledge of Kenton Knepper’s “Kollosal Killer” routine (helps, but is not essential).

Notes:I would like to again mention my thanks to Kenton Knepper for his “Truly Invisible” and “Kollosal Killer” routines. I also would like to credit Derren Brown’s “Invisible deal” routine which can be found in “Devil’s Picturebook”. My idea depends heavily on the work of these brilliant gentlemen. In addition, I don’t suggest this as an “improvement”, but rather an interpretation that met my desired goals. Also, Lewis Jones (who is one of my favorite creators) used a similar subtlety in his incredible “Seventh Heaven” book. I credit him with first using the idea of rooms as “values”. He is a true gentleman and I highly encourage you to buy anything he has written.

Some have stated that this routine is more mental magic than mentalism. I won’t disagree. Nonetheless, I think the logic of using the analogy lends strength to the routine and it distracts psychological heat from the playing cards. This becomes a presentation instead of just an adventure of the cards. As you carefully re-read the script,

Avalon 49

you will find that the image is described though each of the senses (students of NLP will understand the value of this). This serves to more deeply involve the mind your audience. It helps them if you imagine the visual, tactile and auditory details yourself, as you describe the experience (our minds can intuit when others are invested in a “mental picture”). Your audience will mirror your response and “buy into” your emotional investment. This is a type of “conversational hypnosis”. While we imagine a picture that is being described to us, we experience an altered state of consciousness. It is simply a fact. The impact will be affected.

Parting Comments

I truly hope that you have found something of value in “Ponderings”. I have genuinely worked on these ideas for over ten years. Some may read simply, but I can assure you they are very effective. I have used the psychological techniques (“Red-Handed” and the “PC Principle”) for years. My card-less method for KENT was developed a couple years ago and I kept the method to myself for a while. Later, I offered that idea to a few people, to get my name out there and to allow people to get the greatest impact from the method. All of these “pure” techniques have served me well. The other routines resolved certain concerns I had with some standard effects and routines (whatever those problems happened to be). Some of these were conceived shortly after thought provoking conversations with my magic friends, others evolved over long periods of time. They all have meaning for me and I hope they will for you.

My most sincere thanks!

I’d like to thank my friend and mentor, the accomplished actor, mentalist and magician, Charles Pecor. He has been so generous

Parting Comments 51

to share his experience, ideas and books. He is a true friend and I appreciate the kindness he has shown a “no-name” who just called him out of the blue one day. I did, however, say the magic words; Banachek and Richard Hatch (who both encouraged me to give him a call). I value our friendship and our sessions. His wife, Claudia, is a “jewel” as well

I’d like to thank Kenton Knepper, Richard Osterlind and Lewis Jones for allowing me to use their ideas in this book. Their generosity is appreciated. Their routines, subtleties and effects inspired the methods and routines I have developed. I also appreciate Patrick Redford’s and Rick Maue’s willingness to allow me to reference their brilliant routines.

Gabe Abelson, an “Emmy Award” winning writer and a truly generous guy, helped edit this text (though any mistakes are areas that I overlooked his advice). I “met” him on “The Magic Café” and I have genuinely enjoyed our correspondence and conversations. He is as clever as he is helpful. Thanks Gabe!

I certainly owe a debt of gratitude to my great friend, Christopher Brent. He encouraged me when I had very little skill and was a wide-eyed magic newbie. He was just a young guy himself, but he was a born entertainer and very capable, even then. Chris and I always “pushed” each other to find better and more powerful effects. I learned vicariously through much of his work and study. I really encourage those who do any threadwork to check out Chris’ “Flying Silk” available from Collector’s Workshop. It is ingenious, simple and a thing of beauty to behold.

I will always appreciate the opportunity that Derek Kennedy (of Magic Etc. in Ft. Worth, TX) gave me. While I was in graduate school in Texas, he made me a demonstrator and then promoted me to “operations manager” of his great magic shop. He helped me “cut my teeth” in the magic community. He is a great guy.

Ponderings52

Shameless Plug:

Keep an eye out for my upcoming release, Ode to Ekman. In my routine, five spectators “thought of ” emotions are revealed via “micro-expressions”. One of the participants is asked to remain on stage for an additional experiment. Though the “helper” has never seen the picture before, they are able to reveal unknown information about the person. In spite of the fact that the picture is freely selected by the audience, the person on stage will reveal the profession, the kind of car they drive and finally a “character flaw”, all while simply looking at a face in a picture (again, that they have never seen before). The participant will be just as amazed as the audience. Best of all, it uses a simple, but bold method that allows you to focus on interacting with your audience. www.watersmindworks.com