Lee Earle - Syzygy - The First Five Volumes (1)

280 again, Marc’s easygoing sense of humor supplies an unexpected laugh (and gasp) in the middle of the playback. His attention to detail is superb – the recording includes a well-timed aside which is drowned out by the audience reaction, but adds sufficient delay in the tape to avoid having to stop the playback. In the closing slot is a heart-stopping blindfold routine in which he improvises a blending of sightless vision, question & answer, and audience reading. Large coins are placed in his eyes and then two participants (Salem asks for any physicians present to assist) creatively and amusingly secure the coins in place by plastering several strips of medical adhesive tape across his eyes, under his nose and, on one night, even over his ear! A folded black napkin is tied across the bridge of his nose to cover the whole works thus rendering him completely sightless. Using experience, intelligence, and more than a little chutzpah, Marc perceives colors, shapes, serial numbers, names, dates, places, and faces in a dizzying melange which plays for well over twelve minutes. He finishes by peeling the adhesive tape blindfold off his face, eyebrows, and beard (ouch!) and then proceeds to duplicate a drawing (made by a participant while Marc is blindfolded and never seen by the audience) with astonishing accuracy, even to the point of using the same color pen. A well-timed ‘Columbo moment’ during the curtain call reveals a critical piece of information missed earlier in the show and the applause redoubles. (Interviewing attendees at the opening night party which followed, I discovered that Marc’s all-too-quick departure from the stage prevented the standing ovation that everyone was anxious to award. Next time, Marc, stay there and accept your audience’s love.) In lesser hands Mentalism can all too easily become challenging, frightening, or trivialized. Marc Salem manages to transform the classics of our art into delightful, playful, and memorable moments exploring the world of perception, intuition, and imagination; moments which never threaten and always entertain. Bravo! For those interested in attending a performance of Mind Games, reservations are advised. Tickets are $40.00 and can be obtained by calling TELE-CHARGE at 212.239.6200. The theater is located just a couple of doors down from the corner of 9th Avenue and West 43rd Street, just three blocks from New York’s Times Square. Mind Games will run through early January and may be extended further, depending on ticket sales. It’s a “must see” for Mentalists. An invitation for the Opening Night party My ticket

281 Edited by: Lee Earle Copyright©1997 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 58 Volume 4, Number 4 Raj Madhok Life Force Triangle “The triangle,” begins the Mentalist, “is the perfect representation for so many concepts. It is not only the strongest physical structure but also the straight-sided polygon with the smallest number of sides.” Sketching a triangle on a piece of paper, the performer continues, “There is possibly even a mystic connection.” A single word is written at each corner of his diagram; “Past - Present - Future.” One participant is asked, “Please think of a dream or goal you cherish. Imagine the ideal future year in which it might occur. We are going to construct your Life Force Triangle beginning with that date. Please write, next to the word ‘Future’, the last two digits of that year. For example, if the year is 2010 you write the number 10. I have an impression about your ‘life force number’, so I’ll record that before we go much further.” The mind reader writes his impression on a second paper and places it aside, writing side down. “For the Past, write the last two digits of your birth year,” instructs the Mentalist. “Your age goes next to the number for the Present.” The performer continues, “Now we develop those numbers further by placing the sum of each pair on the leg of the triangle between them.” He adds the Past and Present numbers and writes the total between the two. Past & Future and Future & Present are also added. “The Life Force Number,” the mind reader contends, “is determined after one more step.” The number written at each side of the triangle is added to the one at the opposite corner, producing a three digit Life Force Number. When both other combinations of ‘side & corner’ are tallied, they also total the same number. It’s the number the performer wrote on his paper at the beginning! To predict the final number, write something such as, “I sense your Life Force Number is...” By then, your participant will have written his Future number. Mentally add it to the current year (‘97 + 10 = 107), write in down, and place your paper aside. The well-known circle & triangle force is perfect as a preliminary presentation.

282 Lee Earle Opus Conversam The Mentalist, holding a hardback book in its dust jacket, walks into the audience and asks a participant to stand. He has chosen someone wearing eyeglasses so there will be no doubt that he is equipped to read text on the pages. “Some words,” the mind reader states, “have a much higher subjective content than others. Those ‘semantically loaded’ words affect our emotions with far more impact than the rest of the text in which they are found.” Opening the book at a previously inserted bookmark, the performer reads aloud a steamy passage, and then remarks, “If you are like most people, your imagination gave extra weight to words like ‘tingling’, ‘squirmed’, and ‘clutching’.” The performer holds the book above eye level and slowly riffles the book’s pages, requesting that the helper place the bookmark between any two passing pages. “Here,” the Mentalist offers, easing the book out of its dust jacket, “Hold on to the book for a moment while I get something to write on. Please remain standing.” He hands the book to the participant and returns to the stage, reading aloud some of the literary reviews printed on the back of the dust jacket. After picking up a drawing pad and jumbo felt pen, the mind reader gestures in the direction of the standing participant and asks, “Will you now open the book to your randomly selected pages, please? Place your finger on the top line of either page. Read that line to yourself. Imagine that you are in the scene or conversation being described. I’m not getting a strong thought; now silently read the next line. Nothing yet – go to the next line. Still boring; go down one line further. A weak impulse there, too. Down one more line, please. Is there a strong, lusty, sensational word in that line?” The participant says, “Yes.” The Mentalist nods, “I thought as much. Focus on that word only. See it in your mind.” Then he writes a word on his pad but doesn’t show it to the audience. “Is the word ‘breathless’?” “No,” says the helper. “That’s odd,” says the performer, “What word are you picturing?” The participant says, “quivering.” The sketch pad is turned around to show, printed in large block capital letters, the word “QUIVERING.” You can find dozens of romance novels at bargain prices on the remainder table of your local bookstore. That makes it possible to give the books away after each performance – a great logical disconnect. This presentation can be adapted as a prelude to other gaffed book routines.

283 Locate, near the center of the book, a blank page facing a page full of text. On the text page, read down several lines until you find one with a single long or exotic word. That will be your force word. Remember which line it is on (i.e. the 7th line) so, in performance, you can coach your participant to that same line. Locate another memorable, sensual word (the one you will initially mention) on one of the first few lines. Remember it, also. You will need two identical bookmarks, each with a satin cord attached through a hole in the top corner. One bookmark has a short, steamy passage of text printed on it. It’s that text you recite when you apparently read from the book. This step is crucial – it subconsciously ‘sells’ everything as normal. If you’re using a plastic laminated bookmark, cover one side with clear, matte finish tape to provide a surface upon which you can write the text. The ungaffed bookmark goes between your force pages; push it flush with the end of the book, its hole next to the book’s spine. Fold the dust jacket, upside down, around the book, fitting the flaps in place as you normally would. Tuck the cord from the concealed bookmark between the spine of the book and the dust jacket. Hand pressure holds it there as you perform. Place your text-bearing duplicate bookmark in the opposite end of the book so when you open it to ‘read’ the text, the dust jacket and bookmark are right side up; the book itself is upside down. In performance (after you’re through ‘reading’) give your participant the bookmark to insert into the pages as you riffle. Keep everything above eye level so no one can see the reversed book or the second bookmark. Close the book on the bookmark. Hold the book by the spine and tip it so the visible satin cord runs along the top end of the book, between the covers. Push the bookmark almost flush with the top of the pages and loosen your grip just enough to allow the book to slide out of the dust jacket about an inch. Cup your other hand at the bottom of the spine, momentarily supporting the book & dust jacket and concealing the hidden bookmark’s satin cord (1st illustration). With your free hand, pinch and hold the top bookmark’s cord tightly against the inside of the dust jacket. Lower your supporting hand, sliding the book free of the jacket (2nd illustration); the gaffed bookmark remains concealed inside the dust jacket. A welltimed pivot, orienting yourself for a return to the stage, supplies cover for the move. Tug on the dangling cord to ease the bookmark into view, then hand the book over your shoulder to your helper. Return to the stage while reading aloud the literary reviews and comments from the dust jacket. (Find some with clever, pithy comments or write your own.) Place the dust jacket aside as you take pen and pad to hand. Finish as described. Your miscall is insurance against someone getting frisky. When you state the wrong word, there is no longer any incentive to make you fail, so you’re more likely to get an honest reply. Index the first, last, and prominent words from each page inside the dust jacket for an instant reprise.

284 Lee Earle at the Editor’s Desk It’s official! Ray Piatt has sold his company, Magic Makers, to Mark Strivings. That acquisition makes Mark one of the world’s major sources of Mentalism props, books, tapes, etc. You can get on his mailing list if you record your postal information on his answering machine - 520.774.0804 or send it via e-mail at: [email protected]. Morley Budden of Kaymar Magic in the U.K. called to mention that some customers have sent checks in U.S. dollars for Insight, the new book prop for word tests. That’s probably because my recent product mention quoted the U.S. dollar equivalent. Please keep in mind that when purchasing from overseas dealers, International money orders in that country’s currency (British Sterling in this case) or credit cards (which automatically make the monetary conversion) are more appropriate. Had a chance recently to look at some brand new offerings from Kenton Knepper (and co-publisher J. Tank). My favorite is Completely Cold, a rather interesting method for the application of psychological and semantic techniques to cold reading. It’s a 31- page booklet (A5 or 5.5 x 8.5 inches) which contains the basic system, some sample dialogues to give you the ‘flow’, and much of the psychology behind the technique. It’s retail price to SYZYGY subscribers is $35.00 plus postage. For those who have either of Kenton’s Wonder Words tape sets, the new Wonder Words Workbook is an appropriate accessory. Its 68 spiral bound pages (A4 or 8.5 x 11 inches) contain exercises which help you utilize the principles of verbal deception in your patter. This one is $30.00, plus postage, to subscribers. To order, call: 602.922.1962 or write to 3104 E. Camelback Rd., Suite 312, Phoenix, AZ 85016. He accepts major credit cards, too. Here is the latest on the SYZYGY’s BEST! Florida lecture tour: Date City Contact Phone Jan. 13 Tampa Bill Dahlquist 813.882.9541 Jan. 15 N. Miami Mike Shelley 954.987.1039 Jan. 19 W. Palm Beach Ron LaCroix 561.965.3397 Haven’t been to Central or South Florida in a while (it’s been about 3 years, I think), so I’m looking forward to seeing SYZYGY subscribers in the area. Eugene, Oregon will provide the venue for videotaping this year’s lecture, some time in the middle of April. Chip MacGregor is the local coordinator for the shoot and David Fredric Ashton, III will be behind the camera once more. Those looking for a heavy, substantial Hemmingway-style lock can get one from Ron Spitz for $79.00 postpaid. Similar in method to the old Keys of Judah; apparently, only one key among ten opens the lock when, in reality, any key will function when you know the secret. Details from P.O. Box 60344, Sunnyvale, CA 94088-0344. Wise Words: “There are no miracles, only unknown laws.” St. Augustine

285 Edited by: Lee Earle Copyright©1997 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 59 Volume 4, Number 5 Lee Earle “Out of Body Experiences, or OBE,” begins the Mentalist, “have received a lot of press lately. On “The X Files” (a popular TV program) they claim people’s minds leave their bodies and visit all sorts of environments. Who wants to try an OBE?” After a participant volunteers, he is asked to put one of his credit cards in an opaque envelope which he seals and holds. The mind reader does the same with a card borrowed from another person. “Relax your mind,” suggests the performer, holding the second card-in-envelope at eye level, “and allow your imagination to perceive details on this person’s credit card. Start with something simple, such as the card’s color or type. I’ll give you a clue – the first digit is a 3.” After the helper’s response, the mind reader momentarily removes the borrowed American Express card from the envelope and displays it, saying, “My hint was more informative than you might imagine. The leading number on major credit cards – 3, 4, 5, or 6 – denotes American Express, Visa, MasterCard, and Discover, respectively. Hold up your envelope and I’ll send my mind to look inside.” The Mentalist then describes the hidden card in perfect detail, noting color, type, design, logos, and even most of the numbers! The envelopes are torn open, the information is verified, and the cards are returned. A rubber-banded stack of opaque coin envelopes, their self-sealing flaps all extended in the same direction, is held seam-side-up. Put any credit card, face down, into the second envelope from the top. A spot of adhesive or wax holds it in place. Tuck the top envelope’s flap into its mouth. Apparently to make it easier for your helper to insert his facedown credit card into the top envelope, you openly tuck the 2nd envelope’s flap into the top envelope’s mouth (concealing your preparation). Squeeze the sides of the stack to yawn the envelope open and turn your head aside so you obviously can’t see the card. With his credit card safely out of sight, reach your finger into the envelope and pull out both flaps. In the same motion, continue to pull the second envelope (by its flap) out of the stack, fold the Please turn to: X Cards, page 288 This routine was evolved from an idea in the upcoming Richard Mark book, “Mind Warp” The “X” Cards

286 Pasqual Perrino Psychic Jeopardy “All day long, a particular four digit number has been flashing in my mind,” proclaims the Mentalist. “Since nothing happens solely by chance, it must be some sort of premonition. I’ve written that number on a page in this sketch pad. Forgive me for not revealing it right away but doing so might influence your future decisions.” Continuing, the performer says, “I gave our host a handful of quarters and asked him to purchase some dollar bills from tonight’s guests. He was instructed to store that currency in a manner which precludes interferrence.” Gesturing to the host, the mind reader asks, “Will you join me in front of the group, please?” Standing next to the performer, the host confirms that he personally collected the currency and that the performer has never had access to it. In fact, the wallet in which he collected the bills is securely wrapped with masking tape! As the tape is cut to access the bills, the Mentalist continues, “Unless the Bureau of Printing and Engraving goofed, each bill bears a totally unique serial number. Do you find that to be the case?” The host examines the bills and concurs. Three persons in the front row are given pencils and each is asked to take one of the bills. “Use your pencil to circle the first three digits in the serial number on the bill you hold,” instructs the mind reader, “or you may opt to circle the last three digits instead.” Picking up a pen & pad, the Mentalist asks the first helper, “Please tell us one of the three numbers you circled.” “Six,” replies the participant. “Good,” responds the performer, “Stroke a line through that digit so it won’t be used again.” Second and third digits are obtained from the other two helpers in an identical manner, eliciting the digits 3 and 8, in that order. “The first three digits form the number 638,” informs the Mentalist. Now let’s build two more 3-digit numbers.” The selection process is repeated twice more with the resulting 3-digit numbers written, in column, below the first. Collecting the bills from his helpers, the performer quips, “Since defacing currency is a felony, I’ll take the heat for you. Besides, these bills were purchased with my quarters.” Then he draws a horizontal line beneath the three numbers and openly tallies the sum which is written below the line: 1443. “I told you something odd was going on,” reminds the Mentalist. “That’s precisely what has been flashing in my mind all day.” He tears off the bottom of the page below the total to reveal, on the following page, the exact same number! Pasqual’s other love is medicine; he’s a practicing physician whose specialty is endocrinology.

287 Three principles are at work in this routine. The first is a preshow bill switch using a Himber-style wallet. After the host returns with the dollar bills you asked him to purchase (there will be four because you gave him sixteen quarters to work with), have him place them in the pocket of your open wallet. Your four force bills are in the wallet’s hidden, duplicate compartment. While your host holds the wallet by its ends, wrap masking tape around the center. The torn end of the tape serves as an indicator showing you which side of the wallet to open. It should be on the same side of the wallet as your force bills and near the spot where you will need to cut the tape to open the wallet and access them. Serendipitously, the uncut tape keeps the wallet’s duplicate compartment from accidentally opening while it temporarily remains in your host’s hands. Although the serial numbers on the bills are all different, the bills are nonetheless specially selected. Check the currency which passes through your hands and save those bills on which the first and last three digits in their serial numbers add up to the same total. The sample bill in the illustration yields a total of 13. You need four bills whose serial numbers derive identical totals. Gathering the digits one at a time from each participant, the first helper’s digits become the ‘hundreds’ column in your final set of 3-digit numbers. The second participant’s numbers make up the ‘tens’ column while the last helper’s digits form the ‘units’ column. In this example, the sum of the three numbers generated will be 1443. Collecting four bills but using only three adds a little confusion to the equation for those who would backtrack in search of a method. Remember to retrieve your bills – after all, you ‘bought’ them. Supply #2 (or other soft lead) pencils so you can easily erase the circles to re-use the bills. Locating several bills with serial numbers as described isn’t as hard as it may seem. There are only 27 possible totals of three digits (0+0+0... 9+9+9); avoid those which have duplicate digits or totals under 10. It’s possible to use force bills with truly random serial numbers but then you are restricted to using only three bills. Also you must guide the selection to just the first (or last) three digits in each bill’s serial number and you need to keep track of which participant has each bill to insure that you ‘collect’ the digits in a particular order. With all three bills (and all six 3-digit combinations) producing the same total, life is easier.

288 Lee Earle at the Editor’s Desk Beginning with issue #58, Aroldo Lattarulo is providing an Italian translation for SYZYGY: lingua gratis! Thanks, Aroldo! Does anyone else wish to volunteer to supply translations into your country’s language? (No, Morley, but thanks for offering.) Exciting news! By now the word is out that I am editing, illustrating, and publishing Richard Mark’s fabulous new book, Mind Warp. Subtitled The Subtle Secrets of Richard Mark, it documents the life’s work of this incredibly creative performer and innovator. Chapters detail routines which were once commercial releases as well as closely held secrets which are revealed for the first time. The book is due for release in June of 1998 and will be a hardcover edition (similar in size to Ted Lesley’s Paramiracles). Mind Warp will have a retail price of $34.95, but subscribers can, with no obligation, lock in a price of $27.97 (a 20% discount) by reserving a copy in advance. You must write, fax, or e-mail your reservation request to SYZYGY before February 28th. People with copies reserved will be notified when the book is ready for mailing; payment can be made at that time. Postage is included for U.S. & Canadian addresses; it’s $7.00 (airmail) to all other countries. I’m overwhelmed by all the holiday greetings subscribers have send. It simply isn’t possible to respond personally to each one, so please accept my holiday wishes for you and yours, with all the best for the coming year. Wise Words: You don’t leap a chasm in two bounds. Chinese Proverb X Cards, continued flap closed to seal it shut, and hand it to your participant. Ask him to press the flap in place to seal it firmly (so he feels the card). Place credit card #2 face up into the top envelope, above the participant’s card already inside. Remove this envelope from the stack in the same manner as you did the first one but don’t seal it yet. Stand about six feet away from your helper. After your participant’s attempt at remotely viewing credit card #2 in the envelope you hold, tip the envelope so both credit cards slide partially out of the envelope into your cupped hand. When they are aligned, his card will be perfectly hidden behind card #2. Hold the card(s) by diagonally opposite corners showing the face of card #2 as you explain the numbering system. The numbers and design on his card stare in your face! Memorize all that you can. Put the card(s) back in the envelope and seal the flap. Focus on “his” card in the envelope he holds. Describe what you remember from your glimpse. Scribble and make notes on the envelope in your hand. The cleanup is simple. Hold both envelopes together and tear off the ends so you can dump out the contents. It’s assumed the two cards which slide into view come from different envelopes. Your extra card stays hidden inside its envelope, to be recovered later.

289 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 60 Volume 4, Number 6 Mark Strivings Chip Shot Tossing his money-clipped bankroll on the table, the Mentalist begins, “Gambling addicts are always looking for ‘action’ of any kind. Legend has it that wagers have been made on things as unlikely as which of two lumps of sugar a fly would alight upon first.” The performer deals four Aces, face up, in a row in front of a participant. “I have made a mental wager that one of these Aces is destined to play a part in a future payoff. Please drop your left hand on one of the Aces.” The participant complies. “Next, we determine an amount for the imaginary wager,” informs the mind reader. “We’ll use my cash and, if my premonition is incorrect, you can keep the money.” He fans through the bills showing all the different faces of the currency. “Just so you don’t automatically pick the highest bill,” winks the Mentalist, “let’s leave that part to chance. Reach out and ‘cut’ the stack. The bottom bill on the portion you cut off is the one we’ll use.” The participant does as instructed and cuts to a $5 bill. “With only five bucks at risk, the pressure’s off,” remarks the performer as he turns over the three non-selected Aces; they have different backs, from the MGM, Trump, and Stardust casinos. He asks, “Which casino supplied your card?” “Harrah’s,” is the reply. With just a hint of smugness, the performer tosses his money clip to the participant. Decorating the clip is a $5 chip from Harrah’s! Souvenir stores, in Las Vegas, Atlantic City, etc., are a great source for the gambling materials and clip. You’ll need twenty or so bills (half of them $5’s) in crisp, nearly new condition. Trim about 2-mm from the long edge of the nonfives to make them narrow. Arrange the bills so every other one is a five. The bottom bill of the cut off portion will be a five while, on top of the remaining pile, another denomination is seen. Psychology forces the proper card. When selecting from a row of four, the end choices are usually ignored as being too obvious. The second card from the participant’s left, the spot most often chosen, is your force card. Raise your odds by using an Ace of Spades as the third card; it’s often rejected as bad luck. Adjust its position slightly just as you ask your helper to cover a card. Equivoque (verbal control) and the “Pick Any Two, Eliminate One” (PATEO) force are options for the faint-hearted. Mark is on his way to becoming the nation’s best-stocked Mentalism dealer, a “Nelson of the ‘90’s.”

290 Randy Shaw Tangled Web The Mentalist quotes, “ ‘Oh, what a tangled web we weave, when first we practice to deceive.’ That’s from Sir Walter Scott, I think. It’s easy to tell a lie but very tough to maintain the prevarication because, through conscience or karma, we tend to give ourselves away in the long run.” Sixteen small business card sized panels are shown, each with a different photo or illustration on one side and blank on the reverse. “This is a two-step process,” explains the mind reader, “so first, we must determine which image will be the object of your focus and then we will run a series of evaluations to observe your nonverbal responses. Please mix these panels, blank side up, before we begin.” The participant shuffles the cards. “Since neither of us knows the location of any particular image in the group,” remarks the performer, “begin by thinking of a key number between one and sixteen. Lock that key number into your mind. Whichever of these images turns up at that position will serve as your random selection. If, for example, your key number is one, please remember this, first image.” The first panel is dealt, from the face down packet, onto the table, face up. Continuing to deal the panels in a face up pile, the mind reader instructs, “If your key number is two, please keep in mind this second image. You get the idea, I’m sure.” One by one, all the panels are dealt onto the face up pile which the performer gathers and turns face down. “Now we begin four quick evaluations,” informs the Mentalist. “I’ll separate the panels into two piles. All you need to do is determine which pile receives the panel bearing your image.” He deals the cards, face up, alternating between two piles, all the time closely observing the participant’s eyes. The performer asks, “Which pile contains your image?” “This one,” indicates the participant, pointing to a pile. “Let’s do the second run,” suggests the mind reader, stacking one pile atop the other and repeating the previous division of the images into two piles. Again, he gazes into the helper’s eyes. “The image fell in which group?” asks the Mentalist. Answering, the participant says, “The one on the left.” “Now it’s your turn to divide the images, exactly as I did,” directs the performer. “I want to observe your hands as you progress.” Once again, after two piles are produced, the participant is asked to indicate the packet in which his image is found. “Fascinating,” replies the mind reader. “One more division should provide the key. Do it again and then tell me which group holds your image.” Randy credits John Racherbaumer and Alex Elmsley for the method underlying this presentation.

291 For a fourth time, the sixteen panels are assembled and then dealt by the participant into two alternate face up piles. At the conclusion of his task, the pile containing his image is indicated. “The calibration is complete. You’ve given me all the clues I need to decypher your ‘deception’ response,” smiles the Mentalist. “Now erase the image you’ve been keeping in your mind; we’re about to determine a new one. Remember your key number? Good. We’ll repeat the same selection process – remember the image at your key number.” One by one, the faces of the panels are shown to the participant, this time no one else is allowed to see the images; each is placed face down as it is dealt into a row on the table. “Your microexpressions gave you away,” informs the performer. “If I’m not mistaken, your key number was twelve. Correct?” The participant verifies that his key number was twelve. The Mentalist pushes the twelfth face down card in the row forward and says, “Since no one else knew or saw the order of the images as you determined your second one, it’s still sixteen-to-one that anyone could guess that particular selection. Here comes the fun part. For each question I ask, you may tell the truth or you may fib. It’s up to you. Is your image of a person, yes or no?” “Yes,” is the reply. “Interesting,” says the performer, “but false. Drawing or data?” The participant says, “Drawing.” “That is true,” the mind reader verifies. “Abstract or precise?” “Abstract.” “Not so,” chides the Mentalist. “One final check - inside or outside?” “Inside,” says the participant. Then, before he turns over the 12th card in the row, the performer proclaims, “Actually, you were focusing on the drawing of the little house with the tree out front, yes?” The participant admits, “Yes.” The card is turned over to verify. Use photos or advertisements cut from a newspaper and glued onto index cards or just make drawings on the backs of your business cards. You need to remember only three things: 1) As you gather the two packets for the next alternating deal, always place the face up pile without the image on top of the other face up pile; 2) Turn the assembled packet face down and deal the cards from the top of the face down packet, and; 3) Remember the very first card shown to the participant during the first selection. After running through the two-pile process four times, that card will be positioned at the participant’s key number for the second selection. To determine the participant’s key number, look for that same card during the final two-pile separation and remember its numeric location once the piles are stacked together.

292 Lee Earle at the Editor’s Desk Australia’s Bryan Wood has found a steady gig in Melbourne, at Cafe Crypt which features a small theatre for its performers. (I have a faint memory of having lectured in a similar venue when I was there last – wonder if it’s the same place?) If you’re in the neighborhood, you’re invited to drop in. Charles Buckner is at it again, with the release of his new Charlie’s Brain Twisters, a 20-page mixed grill of material which includes his news prediction as well as a couple of other gems from his performing repertoire. This is good stuff from a good guy and, for only $15 postpaid, it’s a good deal, too. Contact Charlie at: 1118 Berwick Road, Birmingham, AL 35242 or call him at 205 980-1703. Want to see the Larry Becker & Lee Earle roadshow (last seen in 1991 as the Mental Magic Super Symposium) one final time? We’re looking groups or individuals to host a reprise of the full-day event this fall, so if you’re interested, let me know as soon as possible. Larry’s schedule is pretty full now and mine is already overloaded, so we’ll need to lock in a date quickly, before the opportunity passes. Major areas which missed us last time: New Jersey/New York, Chicago, and Detroit. We’ll consider others as well, but will probably stick to major metropolitan areas in order to ensure attendance goals. At my recent West Palm Beach lecture, Florida subscriber Jerry Somerdin pressed a package into my hand and asked me to review the product within. It turned out to be a Boon-style Swami Gimmick, well made and nicely priced at $11, postpaid. I’m not known as a fan of Boon writers (due to my very fleshy thumb which results in diminished control) but was surprised at how easy this device was to use. To get one at this modest price, contact Jerry at 3933 Summer Chase Court, Lake Worth, FL 33467-2464. Good friend, Psychic Entertainers Association member, and one of the founders of Arizona’s fabled Six and One-Half, Barry Silverman, was recently appointed as the newest judge on the United States Ninth Circuit Court of Appeals. An editorial note – the illustrations for Tangled Web in this issue were chosen from among those I’ve collected from the audience during my performances (searching in vain for common themes, duplicate drawings, etc.). I thought they would be interesting to readers. SYZYGY’s BEST! lecture dates approaching: Date City Contact Phone Feb. 26 Aliso Viejo, CA Tom Clifford 714.488.9533 Mar. 2 San Francisco, CA Loyd Auerbach 510.676.5501 Mar. 16 Chicago, IL Mike Auclair 708.707.7717 If you’re near one of these areas, be sure to catch the lecture. The most common comment: “I had no idea this material would play so well in performance.” Yup. It does. Come see for yourself. Wise Words: Haste is of no value to those headed in the wrong direction. Anonymous

293 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 61 Volume 4, Number 7 Lee Woodside Key to Success “Many people spend their entire lives looking for their ‘key to success’,” begins the Mentalist, “not realizing that they already possess it, in the form of their own unique talents and abilities. The secret is to identify the right ‘lock’ that your key can open.” Handing one key and several identical, small locks to a willing participant, the Mentalist asks, “Please try the key in all the locks – it should fit only one of them.” As the participant tests to find which lock the key opens, the performer continues, “The key is a metaphor for your strengths and individual attributes. Each of these several locks can be thought of as a success opportunity for the person with the ‘key’ set of skills. Success is so often simply a matter of perseverance – knocking on enough doors (or trying the key in enough locks) until we attain our goals. Have you been successful in opening one of the locks?” The participant acknowledges only one lock opens. The mind reader produces a large shipping envelope (or ‘mailer’), dumps out a stack of self-sealing coin envelopes from within, and tosses the large envelope onto the table, saying, “Good. Lock it once more and then seal one lock in each of these small manila envelopes. When you’re done, we’ll put the lot in the big mailer.” The participant complies and the performer holds the large mailer open as the envelopes with the locks are dropped inside. “Did you notice,” continues the Mentalist, “that each envelope has a green label on its face? The labels cover something written there. For example...” He reaches into the mailer and withdraws one envelope and removes its label. Beneath it is printed the word, “Journalism.” “I can see,” says the mind reader, “that the media do not represent your personal path to fortune. You are a man of action, not words.” He tosses the envelope, lock still inside, onto the table and then takes another envelope from within the large mailer, saying “Let’s try another.” Please turn to SUCCESS, page 296 This piece has all the right stuff for use by a motivational Mentalist.

294 Built upon The Eye Of The Beholder from Al Koran’s Legacy by Hugh Miller, this old chestnut now has a new reason to continue living! It’s a wonderful piece for establishing the credibility necessary for stronger mental miracles. The Mentalist begins, “I’m often asked the question, ‘How does one heighten senses to the point where it’s possible to read people so well that it seems as though one is actually reading minds?’ It begins with sharpening the five physical senses.” The performer brings out a deck of cards and places them, face down, on the table in front of a participant. “I’ll show you how I practiced to develop an enhanced sense of touch,” mentions the mind reader. “Please lift off a block of cards and place them aside for a moment. The exact number doesn’t matter for now, but be sure to leave plenty for me.” The participant cuts a packet of cards from the top of the face down deck and puts them to one side on the table. “Would you please give me approximately half the deck,” asks the Mentalist, “In fact, just count out twenty-six cards for me to hold.” The participant counts twenty-six cards from the top of the face down deck onto the performer’s outstretched hand, one card at a time. “Now place your block of cards on my other hand, please,” asks the mind reader. After the participant complies, the performer holds the original uncounted stack in one hand and the group of 26 in the other, moving his hands lightly up and down as if judging the weight of each packet. One by one, the Mentalist thumbs off and drops cards from the set of 26 until he suddenly stops. “That’s it! The number of cards in each group should be the same. Let’s count.” The remaining cards are dropped to the table in pairs, simultaneously one from each hand, as the performer counts aloud, “...seventeen, eighteen, and – the final card from each group – ninteen!” You need only: 1) Know the twenty-sixth card down from the top of the deck; 2) Make sure that the participant takes less than half the deck (26) in his first uncounted packet, and; 3) Drop cards from the face of the counted stack until you’ve dropped all cards up to and including your previously memorized twenty-sixth card. The rest is showmanship! Dave Arch The Tender Touch Dave is at the top of his game as a corporate trainer, seminar leader, and Mentalist.

295 Banachek Clean Sweep The performer enters the stage carrying a wooden handled, straw broom, saying, “There are psychics who claim that, through mental concentration, a broom can be caused to stand on end, with no visible means of support.” The Mentalist passes the broom among the audience as he continues, “Take a good look at it. It’s the same kind of broom any good witch or bad witch might take a ride on. All that’s necessary is to place the broom upright, like so...” The performer demonstrates, standing the broom on its straw end with the handle pointing straight up. “Then,” continues the Mentalist, “concentrate as the hands are removed – and the broom stands upright by itself.” The broom remains rigidly in place on the stage as the audience responds with applause. “Not yet,” admonishes the entertainer, moving away from the standing broom, “because this is a simple parlor stunt. Lots of people know the subtle secret. What would really be amazing is if one could mentally influence the broom to fall on command.” The Mentalist gestures across the stage toward the upright broom and it instantly falls over, in a direction away from the performer! The broom should be an old-fashioned straw broom with a flat sweeping end. Those modern, angled head or plastic fiber brooms will not work. In order to get the broom to stand, simply press the broom firmly against the floor, causing the straw fibers to splay out just a little to form a broad base which will support the broom. The weight of the broom prevents them from straightening out. Toppling the broom on cue is easy, too. Run a thread along the stage, tied to a firm anchor at ankle height or attached to a strong motorized reel. The end of the thread has a small bead attached. When you stand the broom, place it right on top of the thread with the bead directly next to one side of the straw head. When it’s time for the broom to fall, either activate the motorized reel or take the slack out of the thread by dragging it with your leg. The bead will pull the bottom of the broom toward you and, as a result, the broomstick will topple away from you. But, please, no mother-in-law or Hillary Clinton jokes when you bring out the broom. A feature on the first part of the broom stunt was published in a recent National Enquirer issue.

296 Lee Earle at the Editor’s Desk Congratulations to Banachek (see his Clean Sweep in this issue) has been named Performer of the Year by the Association for the Promotion of Campus Activities. I keep getting questions asking whether rival newsletter Quintessence is still in publication. In this niche market, subscribers have come to expect some eccentricity in publication schedules, but eight months without an issue is pushing the limits. Publisher Bob Cassidy explained in a recent telephone conversation that he has been overwhelmed with local performance dates and promised that the “mega-issue” he is preparing will get the newsletter back on track. Note to the mis-remembered contributor: I’d love to publish your “Scotch Encoder” and/or “Time Matches On” ideas but lost the Post-it with your name on it. Please get in touch. Thanks. Mentalist Craig Karges recently wowed ‘em at the National Speakers Association’s Winter Workshop in Norfolk, VA with his inimitable version of the floating table and a clever variation of the Confabulation plot. Nice going, Craig! Wise Words: Those who live by the sword get shot by those who don't. Indiana Jones SUCCESS, continued Removing the label, the performer advises, “Accounting is probably not your prime interest either. You require much more physical activity.” That envelope is tossed on the table, as well. Another envelope is taken from the mailer, but its label is left in place. “You have a strong desire to help others. That, and your need for excitement, bring me to sense that your job choice will be one in which public service is more important than monetary rewards. What is your career goal?” “I plan to be a firefighter,” remarks the participant. The Mentalist peels off the label on the envelope he holds – it reads “Policeman/Fireman” beneath. He tears open the envelope, tips the lock into the participant’s hands and says, “Try your key. It will be a perfect fit. And so will you be, in your chosen career.” The key opens the lock, of course. There are two locks which the key will open. One is among the set of locks tested by the participant and the other is in your pocket. The unsealed envelope with the participant’s career choice under its label (learned during pre-show work) is lightly taped inside the large mailer and stays there when you dump out the other labeled empty small envelopes. Dropping the mailer flat on the table quietly emphasizes that there’s nothing inside. When you withdraw the first envelope, the finger palmed duplicate lock is left inside the mailer. As you take out the second envelope, you slip that lock into the empty envelope taped inside. Use removable, colored labels to cover the career choices, written in large block capital letters, on the small envelopes.

297 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 62 Volume 4, Number 8 Sal Franchino and Jack Dean Eye PSIght “There is a strange phenomenon,” grins the Mentalist, “known as Deja-Vu. I’d explain what it is but I have the uncanny feeling I’ve done that already. In fact, I’ve recorded a number of my personal favorites on a card in this envelope – we’ll get to that later.” He places the large envelope where the audience can see it. Continuing, the performer states, “My premonitions involved images, visions, from passages in books, so I brought a few from my personal library. Now you know my darkest secret – I read and enjoy romance novels.” He displays a stack of five books. “Earlier,” informs the mind reader, “many members of the audience wrote, on colored papers, a random two or three digit number, to specify a page in a book. A small box was passed around to collect the papers. Will the person with the box please stand?” One participant rises. “Please bring the box and its papers to the platform,” requests the Mentalist. “Bring two other helpers with you.” The three participants are introduced and welcomed. Opening the box containing the papers from the audience, the performer offers it to the first participant and says, “Take any paper and read aloud the number.” He does so. “You took a green paper,” remarks the mind reader, “so take another green one and read that number. It should be different.” It is. The Mentalist hands the participant one of the five books and instructs, “Take the page number on one more green paper and turn to that spot in your book and read, to yourself this time, the first line or two on the page.” As the first participant is thumbing through his book, the performer asks the remaining two participants to each take a paper of a different color and to use the numbers thereon to locate page & passage in their books. “This procedure,” contends the Mentalist, “has ensured that each of you has arrived at a random phrase, sentence, or passage. One more time, each of you please read the first line on the page you have determined in the novel you hold and keep that image in your mind while I read something aloud.” Please turn to Eye PSIght, page 298 Your prediction can also be recorded on an audio cassette, to be played in performance.

298 Larry Becker’s “Chamelion Chest” will substitute for the O.M. Box (from The Jinx, #137) Eye PSIght, continued The performer opens the envelope and recites what is written there, “As I prepare my thoughts for my upcoming performance, three images swirl in my imagination: a blonde woman – perhaps in a red dress, dancing or exercising; something pertaining to eyes or vision; and a long, narrow room dimly lit with candles.” Turning to the three participants, he asks, “If my deja-vu decscriptions match the visions you hold in your minds, raise your hands.” All three participants respond! Several principles are at work here. First, obtain five paperback novels which have similar phrases, referring to eyes or vision, on the first lines of several pages: Kiss the Girls by James Patterson, Warner Books, 1995, pp116, 189, 205, 263, 423, 455; Skin Deep by Nora Roberts, Bantam, 1987, pp39, 118, 141, 215; More Than Friends by Barbara Delinsky, Harper, 1993, pp51, 111, 178; A Jury of Her Peers by Jean Hanff Korelitz, Onyx, 1997, pp100, 347, 425; Brighton Road / The Sugar Rose by Susan Carroll, Fawcett Books, 1988/87, pp35, 68, 110, 131, 166, 264, 309. If you cannot find these particular books, just browse the romance novels in a well-stocked used bookstore. You’ll find a surprising number with similar characteristics. Also needed is one of those paper cube / desk memo pads with squares of paper in different colors. You’ll need five colors, one for each book. Each page number listed for a book is written on an identically colored paper, using different handwriting styles. You will also attach a price tag of the identical color, bearing a handwritten figure of about 75-80% of the book’s cover price, to the back of each book. Before the show begins, give members of your audience a half-dozen papers of each color, requesting that they write a two or three digit number on each one. Mention that you’ll pass around something to collect the slips later. Please don’t use a change bag. The perennial O.M. Candy Box, tied with a ribbon to keep it closed, will do nicely. Papers pushed through a slot in the top actually go into a compartment which is attached to the lid. Remove the lid and the audience’s slips are stolen away leaving your force papers remaining in the bottom of the box. Once a participant has taken a colored paper, give him the book with the same color price tag. Don’t be clever and try to force it, just hand over the book as if it didn’t matter. Two of the predictions are red herrings – dummies which reinforce the multiple entendre; all three participants will unknowingly acknowledge the same eyes/vision image!

299 Scott Shoemaker Picture Perfect While walking through the audience on his way to another participant, the Mentalist stops for a moment and looks at a woman quizzically. “I’m sorry, did you say something?” he asks. “No,” is the reply. The performer shrugs his shoulders and goes about his business, occasionally pausing to glance back at the woman, as if puzzled. Each time he stares for a moment into the woman’s eyes, shakes his head, and continues in what he has been doing. Back on stage, the mind reader once again looks at the mystery woman and asks, “I know you didn’t say anything, but are you holding a thought for me?” Her reply is, “Yes, I am.” “This is going to be a challenge,” remarks the performer, “Have we met before this occasion?” “No,” is the answer. The Mentalist asks, “Would you place your thought right in the middle of your mind? And give me a little hint, please. Are you visualizing a person, a thing, an emotion...?” “I’m thinking of an item of apparel,” responds the woman. Picking up a sketch pad the performer instructs, “Place your hand lightly on my wrist as I move the marker over the pad. Close your eyes.” His hand is a blur as it dashes the marker back and forth over the paper leaving a line here, a stroke there. Bit by bit, an image takes shape. With the woman’s eyes still closed, he reaches into his pocket and withdraws a blue pen and fills in some of the details in the sketch. “What is the vision in your mind,” he asks of the woman. “I was thinking of a one-piece swimsuit and a big hat.” “What color?” asks the Mentalist. She says, “Both the hat and swimsuit are blue.” The performer’s sketch shows a woman wearing a blue swimsuit with an enormous hat! This is a clever application of a pre-show force and some intentional double-speak. Riffle-force a page in a fashion catalog; classic force a postcard from an exotic location; use a stacked set of recipe cards, phonics flash cards, or sewing pattern packages. Imagination is the key to a successful presentation. This entire piece plays best when it seems off-the-cuff, as if you decided to throw caution to the winds and chance it all. Scott’s original submission involved a playing card – your universe is not limited to that.

300 Lee Earle at the Editor’s Desk The video shoot for SYZYGY’s BEST!, Volume III is set for April 18th in Eugene, OR. The finished product should be available in mid-May upon my return from the U.K. Its price will be $34.97 plus postage. Speaking of lectures, here’s my itinerary for the months of April and May (the * denotes conventions): April 29 Parsippany, NJ Greg Ferdinand 973.361.2602 SCOTLAND May 1-3 Dunoon, Scotland* Ron Gordon 01569 730885 WALES May 5 North Wales Noel Massey 01244 822619 ENGLAND May 6 Leatherhead Colin Peters 01306 883938 May 7 Bath Tony Griffith 01275 837017 May 8 Westen-Super-Mare Tony Griffith 01275 837017 May 10 South London* Terry Delmont 01737 553033 May 11 The Magic Circle Marc Paul 01813 611471 May 12 Birmingham Mike Gancia 01214 593040 May 13 Upminster Morley Budden 01708 640557 May 14 Sussex David Clarke 01444 483896 May 17 Ipswich* Doreen Knott 01449 612446 May 18 Blackpool Derek Lever 01253 810113 During all the hoopla for the inaugural season of the Arizona Diamondbacks baseball team, Dick Steiner flew into Phoenix to entertain the baseball owners. We had time for lunch and good conversation before he had to catch a plane back to Baltimore. You will certainly have noticed by now, tucked in with this issue, a flyer describing the SYZYGY product line. It represents a small change in publication policy. Early on, to satisfy any doubts that SYZYGY would be content-driven, it was decided that no advertising would be accepted. To that end, I treated my personal product line as if it were offered by any other company and sent it via co-op mailings. Now that the newsletter and the product line have been merged under the same organizational umbrella, it seems silly, expensive, and inefficient to put SYZYGY’s products into separate mailings. New from Brian Watson of England is his combination Sim Stones and Sim Stone Manual. It’s a set of rune-like stones for doing readings with the engravings on the stones mnemonically linked so memorizing the symbols is a snap. Accompanying the stones is a comb-bound 6 x 9 inch booklet of about 60 pages which gives interpretations, layouts, etc., and includes a bonus chapter on what to expect when working psychic fairs. Don’t know the price (I suspect it will be around $50) but you can contact Brian at 108 Grimsby Road, Cleethorpes, N.E. Lincolnshire, DN35 7DP, U.K., phone (44) 1472 314922. Wise Words: Money is like a sixth sense without which you cannot make the most of the other five. Sommerset Maugham

301 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 63 Volume 4, Number 9 Peter McCahon See-Thru Psychometry “Psychometry,” begins the Mentalist, “is based upon the belief that some essence of one’s personality is transferred to personal possessions. Those practiced in the procedure can actually hold such an item to sense and describe many of the owner’s individual characteristics. They claim to be observing the person’s aura which has, in an unexplainable manner, been absorbed and re-emitted from the inanimate object. Others insist that the psychometrist is actually ‘reading’ nonverbal, subliminal cues given off by the object’s owner.” Picking up a package of clear, zip-top food storage bags, the mindreader approaches an woman in the audience and says, “Let’s see if there’s anything to it. Please take a plastic bag. I’ll tell you how to proceed as soon as several others have bags.” Four others pluck pop-up bags from the carton. “Each of the ladies holding a plastic bag should now stand and face away from the platform,” instructs the Mentalist. “Please remove an item from your purse and place it in the bag you hold. Then zip the bag closed and place it inside your purse before you turn to face me once again.” Once all five have completed their tasks, they are invited to join the performer on the platform. He continues, “The plastic bags lock in aroma and prevent touch, but the main sense, sight, needs to be dealt with as well.” Handing one of the ladies a tray laden with strips of adhesive tape and squares of cloth the Mentalist asks, “Would you please help me construct a blindfold?” The tape is placed, the cloth is wrapped & tied, and soon the performer is rendered sightless. “Now that it’s empty,” instructs the performer, “please place on the tray all of the plastic bags containing your treasures; then pass the tray to the person standing closest to me. Thank you. Has everyone done that? Good. Would the lady holding the tray please hand me one of the bags? Just put the very corner of the bag between my fingers. Thank you.” Please turn to SEE-THRU, page 302 Peter verbally described this routine to me at a stop on my English lecture tour.

302 SEE-THRU, continued For this and each of the remaining bags, the Mentalist first outlines the personality of each item’s owner, then describes the object within the bag, and finally returns it to the proper person! This is a nice twist on the standard blindfold and psychometry routines, combining the best of both. The mix of methods also offers a confusing trail for skeptics to backtrack. As for the bags, buy the kind which come in a dispenser box from which they pop up, like tissues. Remove four bags (if you intend to use five in your performance - one needn’t be marked) and encode them by pushing a pin through the thick plastic near the zip-strip. One pinprick for bag #1, two for bag #2, etc. Be sure and space the pinpricks about an inch apart; this isn’t Braille. The resulting holes are, for all practical purposes, invisible but can easily be detected by running your fingers along the zip-strip as you transfer your grip on the bag from one corner to the other. This hand-to-hand exchange is quite natural and is never commented upon. It should look as if you are keeping the bag at arm’s length as you turn, first to address the audience and then the group of ladies on stage. Return the bags to the dispenser box so they’ll be pulled out in order: one hole, two holes, three holes, four holes, and no holes. Allowing your participants to pull them from the box emphasizes and reinforces their innocence. Of course you must remember which person took each marked bag To describe the contents while blindfolded, a standard down-thenose peek is employed. There are plenty of resources for blindfold methods already in print; a simple handkerchief around the head and over the eyes will do. The technique is made simpler because of the tray, which should be a very light color to help delineate the items in the bags. A dark, patterned, or textured surface could be trouble. When the tray is held by your participant at a natural level it will be in perfect position for your peek. Take a good look at all five items on the tray as you are instructing its holder how to hand you an item. The misdirection is perfect. Once the baggie is in your hand, hold it high overhead; you never allow it to come below eye level. As you turn to address your comments to the group of ladies, glimpse the tray, observe the remaining items, and thus deduce the object’s identity. If you forget details about the item you hold, resist the temptation of lowering it into nose-peek view. Just go on to the next item. There’s plenty happening here, with the personality readings (a good source for them is The Mental Mysteries and Other Writings of William Larsen, Sr. - a great book!), the psychometric return of each item to its owner, and the blindfolded descriptions, so you needn’t be perfect with every item. In fact, being not quite exact goes a long way toward establishing and enhancing credibility. My first reaction to this routine was that it’s too ‘busy’ - I’ve changed my mind; it plays well! A sleep-mask, particularly one with an airline logo on it, is a suitable blindfold for this routine.

303 James Cuthbert Tourist Trap “My uncle travels the globe,” informs the performer as he places a group of postcards on the table, “and when I was younger he brought these from all over the world. When he visited, he would empty his pockets of the loose change he had collected at his exotic ports of call. My playthings were rubles from Russia, rupees from India, and rials from Saudi Arabia.” The Mentalist also spreads a dozen or so small coin envelopes in front of him on the table, saying, “Here a few of my treasures, each in its own envelope.” He spills the coin from inside each of three or four envelopes and vividly recounts the memory it evokes. “There are several envelopes left, each holding a coin from some mysterious, distant place,” says the mindreader to a participant at the table. “Please place your hand lightly on one.” Spreading the face up postcards from hand to hand, it can be seen that no two are the same as the Mentalist explains, “There is often an affinity between things which share the same origins. Let’s see if that holds true today. Cut a portion of these postcards off the top to choose one at random.” He turns the cards face down and shows how to grasp the stack by the long sides. The participant complies. “You’ve found the card from Paris, France,” mentions the performer. “I wonder if any of the other envelopes contain coins from there?” He empties the envelopes to reveal coins from many countries but none from France. The Mentalist remarks, “That’s interesting. Read what’s written on the card.” The participant reads aloud, “Dear Nephew, Paris is a wonderful city but I was surprised to learn all the public toilets require money to use. If you ever visit the ‘City of Lights’ be sure to keep a 1-franc coin in your pocket, just in case.” Sliding the coin from the chosen envelope, the performer says, “And now you can feel safe making the trip.” It’s a 1-franc coin! Use Larry Becker’s ‘Coinetic’ envelopes, a double compartment envelope made by inserting a panel cut from the face of a second envelope. Put the French coin in one side and a randomly selected foreign coin in the other. To pour out the desired coin, open the envelope to the proper compartment and squeeze the sides of the envelope to keep the second coin trapped inside. Ungimmicked envelopes hold the first 3 or 4 coins shown. The postcard deck is stacked. Every second card (all random countries) is cut narrow by 2 millimeters. The interspersed cards of regular width are all from France and can bear coin messages appropriate for their pictures – fare for a taxi, admission to a museum, etc. When your participant lifts a block by grasping the long sides, a wide (force) postcard will be on the face of his block. I combined Jim’s idea with a favorite of mine (postcards); they complement one another well.

304 Lee Earle at the Editor’s Desk Both of the routines published in this issue are contributions from generous performers I encountered while on my recent lecture tour in Scotland, Wales, and England. One of them, James Cuthbert, is the man responsible for my first overseas lecture invitation, for the 1994 Scottish Association of Magic Societies (SAMS) convention in Montrose, Scotland. He and his wife Ina were there to greet me for this year’s conclave. It was held in Dunoon, a short train and ferry ride west of Glasgow. The convention headquartered at the Argyll Hotel pictured here. The white tent at the right is where all the lectures were presented. To a wonderfully appreciative audience, I might add. Further dates took me the length and breadth of the U.K., ending up at a one-day convention in Ipswitch. For the second time on the tour I was surprised to learn that I was expected to do an act in the evening gala show. Following Ali Bongo, no less! This, by the way, is something I would never have agreed to do if I had known it was in the works. Not the bit about following Ali - he’s a class act; I mean the part about doing Mentalism amid magicians. I feel Mentalism presented for an audience expecting a magic show just ain’t the same. My fault; I should have been on top of it. Anyway, I bit the bullet and cobbled together 15 minutes of mental magic, performed in my sport coat, and everyone was happy. Following my lecture at The Magic Circle in London, the glamorous Faye Presto offered to drive a few of us to a private Soho club for late-night adult beverages. Our transportation for the evening was a converted dumpster! In London, it’s called a ‘skip’; an angular steel container in which construction debris is deposited to be hauled away later for disposal. You see them everywhere (London is under perpetual renovation), in streets, on sidewalks (pardon - ‘footpaths’), and being trucked on the way to the dump. As we drove along the very posh Oxford and Regent streets, people would do triple-takes as first they saw us, then they noticed us, and again when they stared unbelieving at these zany idiots in hardhats motoring around in this outrageous, bright yellow vehicle! It seems to hover an inch or two above the ground. You can’t see the tires at all. Fay, in the center photo, says she loves being able to park anywhere – meter or not – with no problems. She just pulls a tarp over the top of the vehicle, transforming it into just another ‘skip’.

305 Edited by: Lee Earle Copyright©1996 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: America On Line - LeeE7 Internet: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Diane DiResta Issue # Q14 How to Handle Difficult Audiences (Editor’s note: This Quarterly Supplement features the expertise of one of my colleagues from the National Speakers Association. While there are some differences between performing Mentalism and corporate speaking, there are abundant similarities to which you can apply Diane’s advice.) You’ve polished your act. You’re rehearsed and ready. You stride on stage and there they are – the audience from hell! 3D Strategy How do you move from panicked to professional? Change your outlook. Use the 3D strategy: Depersonalize, detach, and defuse. Step one is to depersonalize. Realize that people come with their own emotional baggage and agendas. One woman walked out of my friend’s opening presentation because she was wearing an Elvis costume and the audience member did not like Elvis. It had nothing to do with the entertainer’s talent or competence. So don’t take it personally. Step two is to detach. That means that you don’t engage the ego. Once you go head-to-head with that heckler you set up a competitive dynamic. Do not let your emotions get out of control. Ask questions to gain understanding. Do not get defensive. Step three is defuse. Dissipate the negative energy. One of the best defusers is humor; take a light, playful approach. If you get tense, the negative energy will increase. Managing Resistance To get a handle on a difficult audience, begin to recognize the signs of resistance. Are they side-talking, reading the paper, challenging you, having difficulty understanding directions, or sitting with closed body language? If you have ever felt like you Diane works with organizations and individuals who want to be confident presenters.

306 were working too hard to get a response, chances are you were dealing with resistance. Once you recognize resistance, figure out where it is coming from. Reasons for resistance fall into three categories: “How To,” “Chance To,” and “Want To.” Is the reason for resistance that they don’t know how? Then provide clearer instructions on how you expect them to participate. Is it that they don’t have a chance to be productively involved? Let’s say you asked audience members to turn to a partner and discuss a point you just made, and some people do not respond. Maybe they can’t find a partner. When this is the case, provide an opportunity. The last reason for resistance is a lack of motivation. You ask for a volunteer to come on stage, and nobody moves. Perhaps they don’t see the benefit. Make it fun; offer a prize. Your job is to help them see the value. To break resistance, use a pattern interrupt. In other words, do something different. Shake them up. Pick up the pace. Tell a story. Get them involved. Children at play are not resistant. Have fun. But, most of all, break your own resistance. Are you doing anything that is contributing to their resistance? Are you too rigid? Are you following a script that just isn’t working? Are you reacting to a difficult person instead of responding to the situation? Cast of Characters Who is the personality that can really push your buttons? Is it the know-it-all or the whining complainer who finds fault in everything? To stay cool and in control, begin by recognizing which type of person will set you off. By pinpointing this person, you will strengthen your ability to handle him. Here are a few difficult personalities and how to handle them: Eager Beaver – This person is always the first to participate and is eager to help. This makes it difficult for others to respond. Acknowledge their contributions and suggest that others participate. Expert – Challenges your authority; argues with others. This may truly be a person with expertise who wants recognition. Acknowledge comments without getting defensive. (Remember, depersonalize, detach, defuse.) Ask the group for other opinions. One of the best strategies is to play to his or her expertise. Invite and recognize the expert’s comments. Soon you will have an ally instead of an enemy. Rambler – This is a storyteller. You ask for the time, you get the history of watchmaking. To manage the rambler, cut in, summarize the comments, and ask for other opinions. Don’t let them drone on.

307 Poor Loser – These people will not admit a mistake. They don’t have the ego strength. Do not back them into a corner. Instead, agree to disagree. Let them save face. Dominator – Wants to control. He or she may not be an expert but can intimidate a group by monopolizing the conversation or activity. Don’t let dominators take over. Ask for other responses. Use humor. Jokingly, say, “Someone other than Jerry.” If that doesn’t work, call a break and speak to that person privately. Side Conversations – Two or more people engage in regular conversations during your presentation. If it is a large auditorium, ignore it. In smaller groups, this behavior can be distracting. Make eye contact with the talkers and stop speaking until they look up. You can also confront them directly and ask them to hold their conversation until later. Or try the walk technique. Walk toward them, stand in front of them, and keep talking. They will get the message. Negative – Very resistant and negative about you, the subject matter, and doesn’t want to be there. Begin to acknowledge his or her concerns. Deal with the problem immediately. Paraphrase your understanding of the issues. Ask the group to problem-solve or offer to discuss the concerns later. Complainer/Whiner – Finds fault with everything. Likes to whine but has no solutions. He or she is not necessarily negative about the subject matter, but likes to complain. This person will with respond with, “Yes, but...” to your solutions. Don’t go there; this is a no-win. Instead, ask the audience for alternatives. Stay focused and move on. Hecklers – Do not play their game. Try to ignore them and continue your program. If the heckler gets no response from you, he may give up. A clever retort will only challenge the heckler to come back at you again. Instead, walk over to him and put your hand on his shoulder as you keep talking to the audience. Do not show any hostility or use any put-downs. Another technique is to ask the person to identify himself - most hecklers prefer anonymity. When dealing with difficult audiences, remember that the disruptive behavior is a symptom of an unmet need. The expert needs recognition, the poor loser needs to be right, the whiner feels helpless and wants to be cared for. When you can give them what they need, the behavior will disappear. Since this is not always possible, you still have a choice of how to deal with it. You can stay in control or let it control you. Your best strategy is a sense of humor. In most cases, it is not about you. The next time you meet a difficult audience, take a 3D view. Depersonalize, detach, and defuse.

308 Diane DiResta, A speech/communications coach and author, is president of DiResta Communications, a communication skills training company. Her book, Knock Out Presentations: How to Deliver Your Message with Punch, Power, and Pizazz, is due in November. Contact Diane at 718 273-8627 or [email protected]. (Editor’s Note: Ms. DiResta’s approach parallels my philosophy regarding contemporary Mentalism. If the performer approaches his audience with the attitude of “Look how special I am,” the audience will sense that implied arrogance and will react to it – usually in a negative way. Thus are sown the seeds of skepticism and disbelief. The performer who incorporates the “Chinese menu” attitude, demonstrating one from each of several categories of psychic phenomena, will find an intelligent audience reasonably considering the question, “If you are so skilled at all these things, why aren’t you wealthy?” Good point. Besides, the more claims you make, the more often you feel compelled to defend them. At its core, the idea of mindreading can be very scary and intimidating. Imagine, here’s a person who can peer into our minds and extract various thoughts. He can influence our otherwise random decisions. He can forecast our future actions. In short, he can be a nightmare personified. That’s why it’s important to show Mentalism’s gentle side. When the Mentalist’s performance and on-stage demeanor emphasize cooperative engagement with the audience, the outcome is not only more entertaining but the negative reactions from members of the audience are reduced to nil. The Mentalist has taken steps to ensure that he is not perceived as threatening. That’s the essence of one of Mentalism’s hardest learned lessons; it isn’t about the performer, it’s about the audience. Mentalism addresses – and seemingly validates – the fantasy each of us has that such things as deja vu, intuition, and precognition are possible. Any success is due to a cooperative attitude between Mentalist and audience. He credits his participants for every on-stage success knowing that there will be ample applause left over for him. The Mentalist who displays humility, incorporates humor, and appears sensitive to the audience’s unvoiced concerns is the one who ultimately achieves greater success. When he enables, empowers, and energizes his audience – making them the ‘winners’ in each segment of his presentation and motivating them to explore their unrealized talents & capabilities – he is artfully employing the Platinum Rule: Give the lady what she wants! That’s contemporary Mentalism’s vital secret.

309 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 64 Volume 4, Number 10 T.J. Mosier Common Cents “Long term precognitions, or predictions,” explains the Mentalist, “are chancy at best; short term prophecy is somewhat more reliable.” He removes from his pocket some loose change and places four coins, a quarter, a dime, a nickel, and a penny in a row in center of the table. Displaying his clenched right fist the performer asserts, ‘“In my hand I have a prediction of sorts, involving these four coins.” A nearby participant is asked, “Use your right hand to slide a coin toward me and keep your finger on it. While you might be influenced by the value of a particular coin or by its size, please don’t let those aspects control your decision. In other words, don’t let greed or any latent feelings of inadequacy control your decision. It’s only forty one cents.” He slides one of the coins towards the Mentalist, in this example, the nickel. The performer opens his right hand and displays a nickel in the palm of his hand! Three methods are at work; equivoque, the evergreen Adams Nickel-Penny-Dime trick, and multiple outs. The Adams coin set consists of a shell nickel, a shell penny that will nest in the nickel shell, and a regular dime that nests in the penny shell. Nested together they look like a regular nickel. Place the four coins from your pocket on the table starting from your left: quarter, dime, nickel and penny. The nickel will be the second coin from the participant’s left. The nested shell coins are in your right fist. When your helper is asked to slide one of the coins towards you, in accordance with the concepts of equivoque, his first choice should be the nickel, second from his left. Your remarks should steer him away from the quarter because of its relatively larger value and size. Likewise, your patter is a subtle influence against the dime (the smallest coin) and the penny (the lowest value}. Please turn to Common Cents, page 310 Not quite fully impromptu, this presentation appears to be so, and it slays ‘em.

310 While this routine seems complicated, a few trials with coins in hand will show it’s really easy. Common Cents, continued His only recourse is to pick the nickel because it does not meet any of the stated attributes and is in equivoque’s position of choice and convenience. This really works. Keeping records during trial performances, the nickel was chosen 87.3% of the time. During the other 12.7 % of the time is where the multiple outs come in using the nested shells. The options for the multiple outs are as follows: If the participant slides the quarter: “You have given me the quarter, keeping the nickel, dime and penny. The very coins that I predicted would remain.” Un-nest the three ‘coins’ as you remove them one at a time from your right hand, placing them on the table. If the participant slides the dime: Instruct your helper to slide a second coin forward, this time using his left hand, also keeping his finger on the coin. (A) If he slides the quarter, pocket the dime and quarter with your left hand stating, “You retained the penny and the nickel. The very coins that I predicted you will keep.” Pull the nickel (shell) and penny (shell in which the dime is nested and hidden) from your hand and place them in view. (B) If the nickel is pushed forward, say, “As I predicted - you would finger the nickel and the dime.” Remove the nickel (shell with penny shell nested) and dime from your hand to display. (C) If the penny is pushed, continue by quipping, “Since both of your hands are occupied, use your nose to push one, final coin toward me. Or, if you’d like, just tell me and I’ll move it for you. ” (1) If he indicates (or nose-pushes) the quarter, say, “Only the nickel remains in play. Precisely the outcome I envisioned.” Show the nickel (shell with penny shell and dime nested and hidden). (2) Should he slide the nickel, remove the penny, the nickel shell and the dime, placing each next to its mate on the table. “As you can see,” you remark, “my premonition is 100% accurate.” If the participant slides the Penny: Instruct him to slide a second coin forward, using his left hand as above. (A) When he slides the nickel, you remove the nickel shell and the penny shell (with the dime nested and concealed) and place them on the table to match his choices. (B) If the quarter is pushed, retrieve both pushed coins (penny and quarter) and place them in your pocket, stating, “The dime and the nickel remain, the very coins that I predicted.” Remove the dime and the nickel shell (concealing the penny shell beneath). (C) When the dime is pushed to join the penny, instruct the participant to slide a third coin forward, as in (C) above. (1) Should the quarter be pushed, say, “You’ve spent 36¢ so your remaining net worth is just 5¢, as I predicted.” Open your hand showing the nickel shell (penny shell and nested dime inside). (2) If the participant slides the nickel, the three coins will match the un-nested contents of your right fist. T. J. Mosier

311 Eddie tips his exclusive handling for the classic “Tossed Out Deck” routine. Eddie Burke Tossed Out Trio In David Hoy’s original Tossed Out Deck presentation, he used a one-way force deck (51 duplicates, one odd card on the face) around which was stretched two rubber bands. He lobbed the deck into the audience and asked whoever caught the pack to remain standing, lift a block of cards to peek at the index of one card and one card only, then pass the deck to two more participants who would repeat the process. Then Hoy would name the force card (and any two others) asking the three participants to sit if he mentioned their cards. Everyone sits. It is a brilliant classic of Mentalism. This version uses a three-way force deck (17 each of three different cards, plus the odd card on the face). That’s been done before, too. What follows is Eddie’s very clever handling. His three-way force deck is comprised of a black card (6S), a low red card (3H), and a red court card (JD), plus the odd card for the face (9C). In his inside jacket pocket are three jumbo cards, one of them the 6S and any two others not matching the force cards. After the deck is peeked by three participants and retrieved, you name aloud the two red force cards (3H, JD) and the odd face card, (9C), asking those who hear their cards named to sit. When all three take their seats, you have a miracle. When only one remains standing, you know he is thinking of the 6S. That’s when you pull the matching jumbo out of your pocket, back toward the audience, and ask him to name his card aloud. Then turn the jumbo’s face to the audience and accept heightened applause for an even greater miracle! Should two folks remain standing, pull out two jumbo cards, the 6S and either of the others. Show them to the audience, saying, “I had a premonition that two of you would remain. If one of these cards, the Six of Spades and the King of Hearts (for example) is yours, please sit down.” Both participants will sit. Again, the appearance of precognition elicits additional applause. If standing trio remains intact, remove all three jumbo cards and proceed as in the above paragraph. The visual impact of the jumbo cards adds an instant applause cue and turns this classic into a great opener. Before you call out the initial three cards (and for lay audiences only), Eddie suggests you say to the three, “I get the sense that all of you are thinking of cherry-colored cards, yes?” Those who peeked the 6S, will not agree to which you reply with the old gag, “How about black cherries?” Now you know who is thinking of the 6S. Pat your coat where the inside pocket is and say, “I have something special in my pocket, just for you. Continue as above.

312 Lee Earle at the Editor’s Desk Oh, the travails and pitfalls of publication! SYZYGY’s print shop went “belly up” in July, and it really made for some hectic moments at this Editor’s desk. All of our negatives, plates, camera ready art, and special inks were under the building landlord’s lock and key. If it weren’t for the efforts of one of the print shop’s former employees (who rescued all the stuff), I’d still be in deep limbo. Everything is back on track, now. Several new products to tell you about. As most subscribers know by now, I only mention products I like, from people I like. Nobody pays me for plugging an item and all review copies become door prizes at SYZYGY’s BEST! lectures. Germany’s Satori has polished and published his outstanding work on muscle reading (formerly available only to members of the exclusive Psychic Entertainers Association). The 5.5 x 8.5 inch, soft cover, 68-page book, entitled Making Contact - The Real Secrets of Contact Mindreading is simply the best treatise available on the subject today. Highly recommended. H & R Magic Books, 3702 Cyril Drive, Humble, TX 77396, $25.00 (postpaid, if you mention SYZYGY). Call them at 281 454-7219 or contact via e-mail at [email protected]. Cybersight is the newest electronic wonder for covert communications between performer and his assistant or secret helper. It is a pulse transmitter which operates on a discrete frequency and is quite well made. It’s pricey (about a thousand bucks) and is available from Kaymar Magic, 189a St. Mary’s Place, Upminster, Essex, RM14-3BU, England. Phone Morley Budden at +44 0170 864-0557. Doc Dixon has produced a really clever item (Extra! Extra! Read All About It! ) which should delight close-up workers who use playing cards. Essentially, it is a Bicycle back playing card which is printed on the face with a typical guarantee of quality - similar to that which is on the 54th or 55th card in a commercially purchased deck. But the guarantee text is set up per the U.F. Grant Want-Ad test for a seemingly impromptu word test. It comes with a booklet of instructions, tips, etc. which combines to make it a good value at $14.00 postpaid. Order yours from P.O. Box 68, Sutersville, PA 15083 or call 412 619-3301. E-mail Doc at [email protected]. Richard Webster is truly one of Mentalism’s most prolific authors. He came through Phoenix last month on a book-signing tour for his general market publisher, Llewellyn Press, promoting Feng Shui for Beginners, 101 Feng Shui Tips for the Home, and Spirit Guides & Angel Guardians, all available at your local bookstore. These books are targeted at the non-performing, New Age public but will still provide plenty of fodder for crafting contemporary presentations (if that’s your market). Wise Words: Imagination compensates us for what we are not; humor consoles us for what we are. Anonymous Richard Webster & Lee Earle

313 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 65 Volume 4, Number 11 Vincent Sabitino Time Matches On “Each of us can recall an instant which is frozen in time,” reminds the Mentalist. “Those moments are memories which are anchored to some significant event - the birth of a baby, the tragedy of an airliner crash, or that 70th home run. When reminded of those momentous events we will always remember where we were and what we were doing at the time.” Turning to one of the persons sitting next to him at the table, the performer says, “Rather than trivialize one of your deeply rooted memories, let’s invent a new one. Imagine some important event in your future and picture yourself experiencing it. Now let’s set an arbitrary time for that moment. Please remove your wristwatch so I can hold it for a moment – and tell me your name.” She says, “It is Sharon.” The Mentalist accepts the watch, pulls out the stem, and spins the crown while allowing the tableside audience to see the hands circling around the dial. To someone across the table, he asks, “Please take Sharon’s watch and keep it beneath the table. No one, not even you, should observe the watch as you turn the crown and spin the hands to set a random time.” He stretches his arm beneath the table and hands the watch to the second participant, instructing, “Give the crown several turns, in either direction. Leave the stem pulled out so the time selected doesn’t change.” As the hands on the borrowed watch are being randomly set, the Mentalist writes something on a scrap of paper, folds it, and then holds it in his hand as he extends it under the table toward the participant with the watch. “Let’s trade. Take the folded paper and return Sharon’s watch to me, carefully placing it in my hand. Thank you. Just hold onto the folded paper for the moment.” The performer says, “Sharon, please take your watch back and note the time of your future memory. Then describe for us the image you’ve created.” She gives an oral description of the imaginary event. Please turn to TIME, page 314 An audacious switch and a Harry Lorayne card move combine to make this a timely routine.

314 TIME, continued “And at what time will this occur?” asks the Mentalist. “Seven sixteen,” Sharon replies. “Please open the paper,” the performer asks the second helper, “and read aloud what is written.” He reads, “I foresee your remarkable, future event occurring at about a quarter past seven!” To force the time for this routine (how else?) you require a generic woman’s wristwatch – one with a medium sized, round dial and a strap (rather than an expansion band or bracelet). In advance of the routine you must spot a woman wearing a similar watch who will be your first helper. After you show how to set the time with her watch, give the crown a few more turns to reposition the hands, then glance at the watch to remember that time as you reach beneath the table as if to hand it to your second helper. The duplicate watch is in your lap being warmed between your legs (so you are not betrayed by a cooler-than-body-temperature stand-in). After your hand reaches maximum extension, keep your upper arm firmly against the edge of the table and pivot your forearm back toward your lap. Secretly switch the borrowed watch for your own, which will be taken by the second helper. While that helper is setting the time on the never-seen watch, write your prediction – including the glimpsed force time – on the paper. Take the folded paper in your hand and extend it beneath the table. As before, reach back to retrieve the borrowed watch. Fold the straps against the watch’s face and back and press it up against the bottom of the tabletop. Use the tip of your thumb to hold it there. As the second helper takes the paper from your hand, replacing it with your duplicate watch, she won’t feel a thing out of the ordinary. The instant your duplicate watch is returned to your open palm, grasp the borrowed watch in your fingertips and, with no delay whatsoever, withdraw your hand (dropping the duplicate watch into your lap on the way by) from beneath the table and hand the borrowed watch back to its owner and finish as described. Be sure to reset the lady’s watch after the applause. TOKEN, continued Each personality assessment is standard cold-reading, tied in with the specifics of the piece selected. For example, the Flatiron might indicate a very dependable, hard-working person; the Dog may indicate loyalty, openness, a love of nature, etc. As with all Pseudo-Psychometry routines, the return of the object to the correct individual isn’t the important part – it’s the reading. Make your readings sing – use lots of visualization and imagery to build pictures in their mind’s eyes. To increase this routine’s versatility, obtain two or three other common styles of ladies’ watches.

315 Terry Parrett Token Psychometry “Hasbro, Inc., the company that now makes the board game MONOPOLY, recently announced that they were adding a new game piece to the existing lineup,” begins the Mentalist. “They conducted a public survey to decide which of several possible options would be selected as the new token.” He spills a small handful of game tokens onto the tabletop. The performer reveals, “In a side note, as if the government didn’t waste enough of our tax money already, it seems a psychology study was recently funded to determine if an individual’s selection for a game token is not just a random choice but instead one which reveals a great deal about one’s personality. Let’s see how the two tie together.” To begin the demonstration, the Mentalist distributes small manila coin envelopes, one to each of five participants. As he places the tokens into a small open-top container he remarks on a few of them. “The race car is always a popular choice,” he mentions, “because it indicates a restless spirit, a desire for travel, and sometimes a bit of a rebellious streak. The cannon is often selected by younger men - there’s a Freudian connotation as well, but that doesn’t concern us at the moment! “Each of you will, in turn, select a token. You may take the one you always use when you play the game, you may select one at random, or you may try to confuse the issue by selecting one you never use. After you select your token, please seal it in an envelope and place it in the center of the table. I won’t look as you make your selections.” The performer averts his gaze. The pieces are selected and the envelopes are deposited on the table. The Mentalist mixes the sealed envelopes a bit, takes one and opens it, revealing the Top Hat. He remarks, “An interesting choice. The Top hat indicates a person who is very personable, one who moves well in almost any social circle – from bikers to businessmen. It indicates a desire for social acceptance and approval and perhaps a little insecurity at times. I believe that this is the piece that Jennifer would select.” He indicates the lady sitting to his left, who concurs and agrees that his description did indeed provide an accurate picture of her personality. This is repeated for the remainder of the group. The envelopes, of course, are marked as per Anneman’s PseudoPsychometry. You can also nail-nick the edges, trim the flaps slightly, or use your favorite method of marking. You just pass them out in order, enabling you to know which person receives each envelope. Later, when you tear open each envelope to obtain its token, you’ll learn which person chose that piece. Please turn to TOKEN, page 314 This is a fun routine because almost everyone has a favorite Monopoly game token.

316 Lee Earle at the Editor’s Desk Yours truly recently returned from Montréal, Canada after a week-long visit. The main purpose was to attend Spectram Magic’s regional convention and to share the bill (lecturing and performing) with the likes of Mark & Nani Wilson, Larry Becker, Harry Lorayne, Guy Hollingsworth, Patrik Kuffs and others. What a delight to meet so many of SYZYGY’s Canadian subscribers face-toface for the first time! Another personal highlight - after all these years - was having the opportunity for some insightful conversation with the Wilsons, backstage and over dinner. Mark Wilson and his “Magic Land of Allakazam” were a positive, formative influence for many of us in the baby boomer generation. He and his wife, the lovely Nani Darnell, are a handsome, gracious, and obviously loving couple. The Image Collector, a new peek wallet (actually a business card case) is now available from Richard Mark. This novel utility prop comes with a 15-page instruction booklet and not only allows for an unseen glimpse at what a participant has written, it also allows for the covert use of a nail writer on a card inside the case. It’s nicely crafted for Richard by Ray Piatt and is available to SYZYGY subscribers for $55.00, postpaid to U.S. addresses (add $5.00 for postage elsewhere). Order from Richard at 3 Grove Isle, #702, Coconut Grove, FL 33133. Ralf Frölich has developed something interesting – a wordless book test. Imagine a full-size, 100 page coloring book with a single illustration on each page, none duplicated. Your participant has a free choice of any drawing, any page and yet you are instantly able to do a drawing duplication, perform instant mind reading, or even produce a written prediction. It’s not a high-end item (after all, it is a coloring book!) but it’s a useful utility prop for any Mentalist. Order Picto Mental 2000 direct from Secret Wonder Lab (they accept MasterCard & Visa), Brockenberg 10, 45549 Sprockhövel, Germany - Phone & fax: +49 2339 921 814. It’s $69.00 plus postage. Texans and Oklahomans should mark their calendars if they’re interested in attending the newest SYZYGY’s BEST! lectures this November. I’ll be in Dallas on Saturday, October 14th for both a lecture and a workshop; contact Mark Roberts, (972) 241-9898 for reservations and info. For the Houston area, your contact is Lonnie Frankel, at (713) 528-6036; this October15th, Sunday event is a 4-hour combination lecture & workshop. Finally, Monday, October 16th will find the lecture in Oklahoma City, courtesy of Lee Woodside and the local I.B.M. Ring. His number is (405) 946-1436. Brand new in your local bookstore: Never Be Lied To Again – by David J. Lieberman. This book supplies a detailed listing of the nonverbal signals we send when being untruthful – things we need to be aware of when crafting our presentations. Wise Words: The difference between stupidity and genius is that genius has its limits. A. Einstein

317 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 66 Volume 4, Number 12 Jeffery Poncher Telepathic Honeymoon The Mentalist begins, “I’ve written, on the backs of my business cards, places where couples go for romantic getaways.” He shows each card and reads aloud each place, one by one, to his tableside audience, “London, Tahiti, Paris, Venice, Rome, Niagara Falls, Acapulco, Las Vegas, New Orleans, Rio de Janerio, Paris, Sarajevo. . . Sarajevo?! Ah, that’s for more adventuresome honeymooners. (He tosses that card aside.) Finally, there’s my favorite vacation spot Honolulu!” After placing an postcard, picture side down, on the table, the performer spreads the cards – just enough to allow a selection without the destinations showing – and says to his participant, “That postcard is from a romantic destination which will be in your future. Please point to one of these cities.” The participant complies. The card is pulled from the fan; “Paris” is written on it. “Ah, Paris,” reminisces the mindreader, “Now look at the postcard.” The participant flips over the postcard which shows Honolulu. “Now read the message.” He does and it says, “I ran out of Paris postcards. Hope this will do.” Start with two legitimate business cards; writing on the blank sides you’ll print “Honolulu” on one and the gag city (“Sarajevo”) on the other. All the other ‘business cards’ begin as blank on both sides. Each card has “Paris” written on one side and one of the other, random cities penned on the reverse. The cards begin in your right hand, the random city names facing up, with the Hawaii card on the bottom, the gag city card second from the bottom and a card with “Paris” written on both sides third from the bottom. In performance, take the cards one at a time from the top of the packet into your other hand. When you reach the gag card, turn the card over as you toss it to the side. This allows the participants to catch a glimpse of the printed sides of the last two business cards, reinforcing their normalcy. At the same time, rotate the hand holding the other cards so you can point to the gag city – that also turns over the stack of cards in that hand. The last card, “Honolulu”, is then placed on top of the reversed stack. Please turn to Honeymoon, page 320 Small script for the postcard’s message keeps anyone from easily reading the message in advance.

318 This change of pace concept developed during a telementoring session with Tony - try it! In the middle of pulling words from participants’ minds during a word test presentation, the Mentalist requests of his audience, “If you’re not already ahead of me on this, each person here should bring a single, hard-to-spell word into mental focus.” Stopping in front of one participant, the Mindreader asks, “You have a tough word in mind, don’t you?” “Yes,” is the reply. “Take this,” instructs the performer, handing a paperback dictionary to that person, “and look up your word. Raise your hand when you’ve found it and I’ll get back to you.” He continues his earlier presentation until he notes the new helper’s hand is raised. Walking back to the participant with the dictionary, he questions, “Did you check the spelling?” She answers, “Yes.” “Who else,” asks the Mentalist, retrieving the book, “is thinking of a problematic word?” Several persons raise their hands and the dictionary is tossed to one of them with the command, “Look it up.” He turns back to his new helper. “I couldn’t help but notice that you opened the dictionary near the middle,” states the performer. Likely, the word you have in mind begins with an ‘M’ or an ‘N’. That’s a substantial hint.” Pausing for a moment, as if calculating in his head, the Mentalist then says, “Then you’re probably thinking of ‘mischievous’, right?” The participant answers, “Yes!” Without looking in the direction of the person now holding the dictionary, the performer says, “Close the book to eliminate page position as a clue but remember the page number first. Do you have it? What’s the word?” “Skeptical,” declares the book holder. “Well, you won’t be much longer,” insists the Mentalist. “That word is between ‘skeptic’ and ‘skepticism’ on page 318, correct?” “Absolutely,” confirms the participant. “One more,” informs the performer, “Who else wants to try?” A hand is raised and the dictionary is tossed to that person. “This time, just think of your word,” the mindreader asks, pausing as if in concentration. “Whisper it to the person sitting next to you – then go to page 117.” The participant flips through the pages and stops as directed. “You’ll find your mentally selected word in the left column, directly below ‘cafetorium’,” reveals the performer. “You’re thinking of ‘caffeine’.” “Absolutely,” confirms the helper. How? Make several photocopies of the hard-to-spell word page printed here and trim them to a size appropriate for use on an impression clipboard. With a non-writing stylus, underline the first and last words on the sheet to mark the list’s exact position for later reference. Tony Kent and Lee Earle Brain Book

319 Before the show, approach several attendees, asking each to mark the word which, among those listed, is the most difficult to spell. Then he or she is directed to take the page and memorize the correct spelling for possible use in the show later. Ask the first helper to circle the word, the second one to underline his choice, the third to draw a box around it, and the fourth to draw an ‘X’ through the word. If you are careful about aligning your word lists in the exact same position every time, this allows you to use only one clipboard. Select persons wearing brightly colored clothing or with recognizable features so you can easily spot them in the audience later. When backstage, learn their selections by laying another word list on top of their circles, boxes, X-marks, and underlines, using your underlined cues to perfectly position the list. Memorize the associated info (page numbers, location, etc.) from the small, paperback dictionary you will use during the show. The rest is presentation.

320 Lee Earle at the Editor’s Desk The King is dead – Herb Dewey, that gentle, good, and gracious King of the Cold Readers, died in his sleep October 10th. Corrections to the errant information published in the last issue for Texas and Oklahoma SYZYGY’s BEST! lecture dates: Nov. 14 Dallas Mark Roberts (972) 241-9898, both a lecture and a separate workshop; Nov. 15 Houston Lonnie Frankel (713) 528-6036, combined lecture and workshop; Nov. 16 Okla. City Lee Woodside (405) 946-1436; lecture only. October 2nd saw the premiere of the SYZYGY’s BEST! Volume 4 lecture in Denver and it is a winner! All of these routines read quite nicely in print of course and in lecture presentation they have expanded into some awesome performance material. If the lecture hasn’t come to your locality for more than a year, please let me know and I’ll do my best to get it booked there this Spring. I know, Volume Four is not yet complete but it was time to put the lecture together. Here’s how it has been working out – the V-2 lecture was built with 4 issues remaining to be printed in that Volume; the lecture for V-3 didn’t include material in the last six issues of Volume Three. This time, the selection was made from those last six issues of Volume Three and the first ten issues of Volume Four. Here’s an interesting book: Abracadabra! Secret Methods Magicians & Others Use to Deceive Their Audience. Author Nathaniel Schiffman reveals some of magic’s most closely held secrets (and some of Mentalism’s good stuff, too, such as nail writers and pre-show work). Schiffman himself obviously isn’t a Mentalist because, reflecting the attitudes of most magicians, he mistakenly asserts, “Mentalism is one of the areas where it’s common to use stooges or plants to some degree or another.” Right. SYZYGY is about to release something new in Mentalism – a wordless book test! (Yes, I have decried the use of the term “book test” both in publication and in person, but the phrase “wordless word test” doesn’t have the same sizzle.) Still untitled, this item is a utility prop which will become essential for any working Mentalist. In design for the better part of two years – and now in beta-testing with a few full-time, working performers – it’s going to be ready for this year’s holiday shows. Watch for a special, prepublication offer to SYZYGY subscribers. Wise Words: You have the power to plant positive seeds – never abuse that power. Herb Dewey Honeymoon, continued Spread the cards slightly, showing none of the duplicate names. If Honolulu, the top card, is chosen then the postcard is flipped over and you stop there. Any other card that is selected will force Paris; that’s when you turn the postcard back over and read it. Herb Dewey

321 Edited by: Lee Earle Copyright©1998 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Quentin Reynolds Quarterly Supplement # 15 Dealing With Disaster It’s about 1987. I’m watching TV. Paul Daniels, Britain’s top magician is introduced. He appears upstage centre. After a few opening remarks he points to a man in the front row and in his cheeky manner he tells him to “Stand Up!” The man stays put and mutters something. “Stand Up!” repeats Paul. “I’ve no legs,” came the clear reply. My heart jumped and I held my breath. What would you do? This is the Royal Variety show. The Queen is in the audience; 15 million are watching the live broadcast. Without skipping a beat Paul walked downstage “I’m not proud, I’ll come to you,” and continued as if nothing had happened. That is confidence, professionalism and experience. Is there a short cut to this? My belief is YES. But some work is involved. To start you must rehearse your act. Yes, you can rehearse mentalism. You must know where all your pens, envelopes, books, pads are. Otherwise you will fumble looking for them. They should be in the exact same place EVERY show. You must also know where all participants will stand when they will be on stage with you. It is vital to think of everything that can go wrong and decide in advance how to cope with it. Even with this your audiences will discover novel and inventive ways to unintentionally trip you up. I Quentin is a versatile speaker and entertainer who makes his home in Dublin, Ireland

322 Quentin is one of a few Mentalists who are members of the National Speakers Association. recall performing Bob Cassidy’s version of Fourth Dimensional Telepathy. The first person put the card in the envelope without folding it, the second sealed the folded card in her envelope along with the pencil and the third sealed the envelope without inserting the card. (Editor’s note: I have long contended that giving clear, concise instructions and then confirming understanding on the participant’s behalf - without seeming too controlling - is a vital skill for any Mentalist.) You only know your act when everything that can go wrong has gone wrong. Al Koran is well know for developing ‘outs’ for every conceivable situation. He would even ask his friends to think of possible dangers. He would never include any routine in his act until he had an effective ‘out’ for any eventuality. (He is also reputed not to have told his friends his solutions.) Mentalists are also opportunists. I recall that John Booth once had a friend phone just before a show with the result of a sports game. His friend was at the game and had the backstage phone number. During the performance Booth “predicted” the final score. Some of those present had transistor radios and tuned in to learn if Booth was correct. The radio announcer gave a different result entirely. Booth was amazed, but said nothing. However in a later bulletin the announcer admitted he had made an error and juxtaposed two results. Booth was right after all. An amazing coincidence and Booth took full advantage of it. It is vital to keep your cool. Eight years ago I watched a mentalist at The Magic Castle do a dictionary test. Someone was asked to call out a number between one and nine hundred. “410” was the reply. The mentalist asked the lady holding the dictionary to open to page 410. She thumbed through the pages. She seemed to be taking her time.”Just turn to 410,” said the performer, somewhat impatiently. Again there was a delay. The mentalist lost his cool. “For God’s sake woman, just go to page 410,” he shouted. “There isn’t a page 410,” said the lady, “it’s missing.” If he had kept his calm he could have turned the coincidence into a miracle. The one page called out at random is MISSING. However, by obviously showing annoyance he had lost his authority, and his audience. The most important thing is confidence. Gene Perret, chief script-writer for Bob Hope put it like this: “You must step onstage as if you belong there, as if you were born there. When you take the stage and grab the microphone, you have to be in charge of the room, of the audience and of yourself. You may be terrible. Your material may be amateurish. I don’t care. You still have to project confidence.”

323 It is a joy and a lesson to watch a master entertainer at work. The audience senses they are in safe hands, relaxes and trusts the performer. As long as he does not break this trust, they are happy to be led. They want to be sold first class entertainment. So you have done your homework and are now onstage. In mentalism, without the audience, there is no show. By definition therefore, you have far more involvement than any other entertainer (bar children’s entertainers). So you are open to far more interruptions and unpredictable occurrences than a magician or a comedian. I don’t recall ever reading from my large but not exhaustive library of mentalism books about the very real possibility of a spectator not being able to read. Over twenty years ago Dublin’s John Ryan had a young man on stage and handed him a book. He was about to present Koran’s A Word In Thousands. The helper whispered “I can’t read.” “Oh, you forgot your glasses,” said John as he retrieved the book and used someone else. So maybe in your booktest you might let the audience know you will need people who can read without their spectacles. If anyone shows the slightest reluctance, just keep going. What if members of your audience are fairly drunk or smart alecky? Perhaps you feel they will name the wrong card, or change their mind at the wrong time. Here, effects like Koran’s Medallion and Alan Shaxon’s Confabulation are a godsend. All the items or numbers suggested by the audience can be called out from their places. No one has to come on stage (except to verify the prediction). Mind you, I once saw a magician performing Confabulation in an retirement home. He asked a man to stand up and count the change in his pocket. The lights were in the performer’s eyes and he didn’t realise his helper was wearing pajamas and in his wheelchair. Later, you can always do cold readings ALA George Anderson’s Dynamite Mentalism or as described in Richard Webster’s Psychometry from A to Z. An onstage helper says something that catches you out and the audience knows it. How do you acknowledge him and regain control? Paul Daniels apparently removes something from his pocket and puts his hand up to the helper’s mouth as if putting something in it. “Very good, have a lump of sugar.” The lump of sugar gag is used as a running gag by Terry Seabrooke. Paul only uses it for the above purpose. Handling hecklers is always an interesting task. The more authority and confidence you exude the less you will have them. It is not my style to put them down or challenge them. The very best

324 way of dealing with them is knowing their first name. Don Alan used this technique on a national TV chat show when he was interrupted by Henny Youngman. Don paused, looked at Henny for a moment and said “Hi’ya Henny.” That’s all, and there were no further comments from Henny. The most important thing to anyone is their identity. They are known by their name. This is an extremely powerful technique. If you know in advance that a certain person may interrupt, you can secretly find out their name. Let’s say you want to use this technique and you have no advance warning. Do not ask a heckler for his name directly. If that person is with friends, you may get a false name which will further erode your control of the situation. The whole audience will realize he has one up on you and it will make it difficult to regain command. Instead start talking to the person seated beside the heckler. Make friends with him and, in your short conversation, learn his name. Then ask for the heckler’s name. Now you can go back to the heckler armed with your secret weapon. Irish comedian Dylan Moran handled a woman who kept interrupting his act with ridiculous questions. He waited until audience hostility turned against her and then said, “I don’t have the skills to argue with you. Other people have those skills – in addition to the stethoscopes and the white coats.” At one show I was interrupted with silly questions by a somewhat drunken yuppie. After a while one of his friends said “Don’t mind him.” I replied “It’s OK, I’ve done children’s parties for twenty years, I’m used to this.” Always remember, no matter how wonderful you are, about 5% of the audience will not like you. That’s ok. Also remember it’s your show and you know where it’s going and they don’t. To prove that point here is a true story told by a hypnotist friend of mine. Eighteen audience volunteers were seated onstage behind him. He was starting the hypnotic induction. “One, close your eyes, breath deeply, your eyelids are heavy now, you are going into a deep sleep...Two,” He was on the count of “Four,” the audience was quiet, and a helping of baked beans he had consumed earlier announced their presence as he suddenly broke wind. The first few rows of the audience started to titter and giggle and he could sense the volunteers were about to come out of their trance. He stepped to the nearest onstage helper, put his hand on his shoulder and said “We can’t have any of that up here, you’ll have to go back to your seat.” Recommended reading: Successful Stand-Up Comedy by Gene Perret published by Samuel French; Stand-Up Comedy, The Book by Judy Carter published by Dell; What to Say When You’re Dying On The Platform by Lily Walters published by McGraw-Hill. Other titles to explore - L.E.

325 Edited by: Lee Earle Copyright©1999 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 67 Volume 4, Number 13 Ross Johnson World Tour “When I was a young child,” begins the Mentalist, “I looked at the maps of the world in my classroom and dreamed of distant cities, of strange and unusual tastes & flavors, and of languages foreign to my ears.” He opens a soft cover, magazine size atlas and continues, “In those dreams I walked the streets of Madrid and Edinborough, then boated through the canals of Amsterdam and Venice. That romance with far-flung cities has continued to this day. I’m particularly drawn to Europe.” The atlas is held up to display a two-page spread of Europe which shows each country shaded with different color and the hundred or so major cities and towns. The book is handed to a nearby participant as the mindreader says, “An atlas shows more than national boundaries. Turn to the next page and you’ll see maps depicting climate, population, geographical features, and economies. One page further features maps detailing mineral deposits, energy output & consumption, natural hazards, and transportation - the highway network of that continent. Let’s imagine driving to one of those many cities shown on that transportation chart. Picture one of them in your mind. See the famous landmarks that city is known for; imagine the tastes and smells associated with that city; hear in your mind’s ear the lilt of the language spoken there.” After allowing the participant a moment to concentrate, the Mentalist goes on, “Can you see the city in your mind? Place yourself on that highway network, driving toward that city. Visualize the road signs which announce the city limits. Can you see the city’s name spelled out on that sign?” The participant answers in the affirmative. “I get the sense of an angular letter made with several straight strokes,” hints the performer, “Is there an ‘M’ in the city name?” “Absolutely,” verifies the amazed helper. Please turn to WORLD, page 326 Ross first revealed this clever routine in a January lecture at Hollywood’s Magic Castle.

326 WORLD, continued “You are concentrating perfectly,” praises the Mentalist, “so let’s go further. Do I see an ‘O’ in your mind?” “Yes.” “We’re on a roll. I’ll bet there’s an ‘S’, too?” “Yes.” “I get the feeling I’m perceiving the letters out of order?” “Yes.” The performer declares, “I see a city on the water’s edge. A very fair-skinned people. Are you driving into Sweden - Stockholm?” The astounded participant confirms the Mentalist’s perception. Ross, a former high school teacher, discovered an amazing potential in the Rand McNally Classroom Atlas (shown on page 325). It can be obtained, for about ten dollars, from the internet bookstore, amazon.com - and from other bookstores, too. The two-page spread (66 & 67) shown to the audience bears the political map of Europe depicting dozens and dozens of cities. The presentation, however, guides the participant to a set of smaller maps on pages 70 & 71. The audience has no way of knowing that each of those mini-maps shows the same nine cities. Any of them can be used for this presentation. You learn the city through a branching anagram, using the spelling of the city names, keeping in mind that you want to elicit as many affirmative responses as possible. You can swiftly divide the list in half by ‘sensing’ an ‘M’. Pause, as if in thought, while you wait for your participant to verify (which will reduce your list to Rome, Milan, Madrid, Moscow, and Stockholm as in the example given above). If no affirmation is given, come out of your pause saying, “...or perhaps an ‘N’...” Pause again, waiting for the “Yes” which will indicate London or Berlin, after which you can say, “Definitely six letters in the city name - do I sense a repeated letter?” With no response to the ‘N’, continue after your second pause with, “...or maybe a ‘W’. I’m getting a very angular, complicated letter structure.” If your participant agrees, you’ve found Warsaw. If not, you can say, “Hold on, it’s not the letter structure I’m seeing - it’s a physical structure with an abundance of similar angularity. Did you flash on Paris’ Eiffel Tower?” The sequence should have a flow to it with no pause so long that it’s obvious you’re fishing. For the ‘M’ set, and as a variation from the example given above, you can say, “Spell the city’s name in your mind.” It’s easy to sense if your helper is mentally spelling the longest city, Stockholm. Otherwise, you can ask, “Your city wouldn’t be fairly near the Mediterranean Sea would it?” If the answer is “No” then you can continue, “I thought not...” and go on to reveal Moscow. If you get a “Yes”, ask about an ‘A’ in the word, always going for the probe which has the greatest probability of getting a positive response (Madrid and Milan vs Rome, in this case). A “No” leads to Rome. In the other case, “I definitely see the letters ‘A’ and ‘I’; is one of the other letters repeated? “Yes” equals Madrid, “No” leads to Milan. For other continents and maps elsewhere in the atlas, use this example as your template to build your anagram key.

327 Ron Bonneau Enlightened Company “Have you ever had the feeling,” begins the Mentalist, giving a pack of cards a thorough, legitimate shuffling, “that something was out of place but you just couldn’t explain what or why? Until you had some other confirmation, you simply weren’t willing to trust your instincts. That may begin to change.” The deck is ribbon-spread, face down, and a participant is requested to slide one card, the target of this experiment, out of the spread. He lifts only the end of the card and peeks at its face to learn its identity, disclosing that knowledge to no one. The performer flips the ribbon of cards face up with a flourish and directs a second participant, “Let your eyes travel back and forth over the various indices. Make no attempt to memorize or count. Instead, just let the accumulated identities imprint themselves onto your subconscious. Think of all these cards as familiar friends. Into this grouping, we will reintroduce a stranger.” Reversing the spread to its original face down orientation, the performer requests that the first participant slide the ‘stranger’ card back into the spread. The cards are gathered and given a legitimate shuffle or two, and again ribbon-spread face up before the second helper. “Here’s where you let your inner eye, your subconscious ‘knowing’ come to your assistance,” instructs the Mentalist. “Allow your eyes to flow over the spread. You are ‘feeling’ more than you are ‘looking’ for the ‘stranger’. The one which is not in your mind’s memory of the first group will, somehow, stand out in your eyes, seemingly more sharply in focus – more vivid. Place your finger on it now and keep your finger there as I pull away all the others.” Of course, he has fingered the selected ‘stranger’. The playing cards are prepared, made into subtle ‘one-way’ cards on their faces by using a standard pencil eraser (one of those square, pink ones) to ‘fade’ the colors of the index and index pip on one end only of each card. A fine touch is required here; if the colors are reduced too much the treatment becomes obvious but if too little ink is removed, the difference will not produce the results you want. After you gather the first, face up spread, rotate the deck so when the selected card is reinserted into the pack, its untreated end is aligned with the ‘softened’ ends of the others. The darker index will stand out from the faded others in a very subtle manner. If you have properly ‘set up’ your second participant, he will fool himself by zeroing in on it right away. This clever treatment is the mechanical version of the familiar optical fan force.

328 Lee Earle at the Editor’s Desk Just after the New Year turned, I had the pleasure of seeing Ross Johnson’s lecture at the Magic Castle. I no longer maintain membership privileges there, so Mark & Nani Wilson graciously asked me to be their guests for the day. (I may infect Mark with the Mentalism bug, yet!) Ross was wrapping up a week of performances at that venerable institution and all the buzz regarding his act was good. As well it should have been; Ross is one of the premier performers in our craft. This issue is effectively a Magic Castle special. The first piece, World Tour, was one of Ross’ lecture pieces, an idea he had offered to SYZYGY a few days previously. While no performance reinforcement was necessary to sell the idea for publication, it was still quite fun to see the presentation in the hands of the guy who developed the idea. Ross credits Phil Goldstein for inspiration. The other presentation, Enlightened Company, was the result of a conversation with my seatmate in the audience for that lecture. As you may know, my policy bumps new contributors to the ‘head of the line’, so Ron Bonneau, welcome to SYZYGY’s celestial lineup! I brought something else back from Hollywood as well - the most severe case of influenza I have ever suffered. That nasty virus had me in bed a total of four days and reduced my productivity to near zero for another ten. Next year, flu shots for sure! On a more pleasant note, the Wordless Book Tests many of you ordered are beginning to ship. Thanks for your patience, everyone. The SYZYGY’s BEST! lecture is booked into some interesting venues this Spring. It will be in Edmonton, Alberta (Canada) for a regional convention May 7 through 9 and at the A-1 convention in Northern California May 21 through 23. A single date, April 17th, has been reserved for Ring 96 in Long Beach, California. So it looks like I’ll be seeing a lot of the West Coast subscribers this year. Belated thanks go to Lee Woodside of Oklahoma City, Mark Roberts of Magicland in Dallas (I’m still mentally tasting Fogo delights), and Lonnie Frankel in Houston for being such superb hosts for the lecture last fall. The Texas dates were unusual in that they developed into seminar/workshops which provided a wonderful learning experience, for myself as well as the attendees. The Oklahoma group has a unique method for bringing in lectures – several financial ‘angels’ underwrite the expense and then sell tickets to recover their investment. If sales exceed costs, those ‘angels’ attend at no charge. It’s a low-risk arrangement for fledgling clubs with small treasuries and a wonderful idea. I’m open to booking a few lecture dates in the Midwest or on the East Coast this year - not too many, because I want to reduce my road schedule - so if you have some local interest, please let me know and I’ll do my best to make it happen. Wise Words: Behold the turtle; he makes no progress until he sticks his neck out.

329 Edited by: Lee Earle Copyright©1999 All rights reserved. SYZYGY 2901 N. 55th Avenue Phoenix, AZ 85031-3301 Telephone: 602 / 247-7323 voice 602 / 247-4665 fax & data E-Mail: [email protected] World Wide Web http://www.Lee-Earle.com Subscription rates: $38.00 per year Canada: US$48.00 per year Overseas (airmail): US$55.00 per year Single issues: $2.50 Issue # 68 Volume 4, Number 14 Russ Peak Tip of the Tongue “There is now being recognized within the field of research into the human mind,” begins the Mentalist, “a special category of people who perceive things differently. They ‘hear’ textures. They ‘feel’ smells. They ‘see’ sounds. It’s a matter of how their brains interpret physical stimuli; sort of a ‘crossover’ phenomenon. Tearing open a small bag of M&M’s chocolate candies - the ones which ‘melt in your mouth, not in your hand’- the performer approaches someone near the front and requests, “Hold out your hand, please.” The participant complies whereupon the mind reader says, “Your mother probably told you never to take candy from strangers but I hope you’ll make an exception this time.” He pours an assortment of the brightly colored candies into the outstretched palm and offers more to those seated nearby. “Please enjoy several of the candies and observe that, despite their varied colors, there is no difference in their taste - sweet milk chocolate, yes?” The helper agrees. “As it turns out,” claims the Mentalist, “it may be possible to enhance or expand the existing senses just a bit, to get a small taste of crossed senses. Literally.” To the first participant who ate the candies, the performer directs, “Please stand on the platform, directly behind me. Place your hands, lightly, over my eyes. A gentle touch is all that’s required in order to assure that my eyes are closed.” He does so. After carefully emptying a few more candies into his own hand, the Mentalists asks his helper to count the candies (“Six.”) and verify they are of several colors remaining, which he affirms. “Any duplicate colors?” “Yes,” replies the participant. Please turn to Tip of the Tongue, page 330 This routine is a streamlined version of one Russ credits to an idea by Gregory Bishop.