alive --| * { guaranteed % amen i 0 % i ere i JOHN RIGGS i -UNCHAINED! - LCCECCCCCECES Ieleere eLeeee LCCC CO « A lecture for the serious mentalist % SomeoneoxenezonecoxesoZeteZeleZoZeZoasteZeoZs0Z0B0ZeEZ0Z0B0Z0Z0 LOZ 10D LOLOL ELINTOLINTS meCopyright 1996 John Riggs All rights reserved Join Riggs UNCHAINED 2Introduction There ate two approaches to performing Mentalism for house parties and other small venues: The first approach requires you to perform New Age exercises, such as meditation, hypnotic Past Life Regressions, Out of Body Experiences, and Psychic Readings. While a great deal of my activities fall in this area, true Psychic interactions are beyond the scope of this lecture. So it is the second approach we will consider today - the performance of light, funny mentalism. When you are going to perform in someone's home, you must be prepared to encounter a wide range of possibly inconvenient conditions. Many times, you will work surrounded; sometimes people are behind you, often sitting on the floor right in front of you! Since the atmosphere tends to be informal, you can have a lot of fun with this type of show. You can also easily be upstaged by some of the more boisterous and extroverted members of the audience, especially if alcohol has been plentiful. It behooves the “living room” performer to cultivate a very strong, yet warm and likable presence. Effects where the audience member demonstrates his psychic abilities are excellent. Comedy is very helpful too. It is vital that your set up time is minimal and that you do not require too much space. An act that can be carried in a briefcase is a tremendous advantage. Work out of pocket as much as possible. Several designs of table are available that double as a case, The model I prefer was suggested by Orville Meyer, and consists of a briefcase with ‘wings,’ that allow a small top to be placed on it. Usually, the table does not have to support much weight, just a couple of books and such, Ihave performed the small house part show for audiences that range from less than ten to a dinner party with 150 people in attendance. The typical size is between 15 - 25 people. You should not go longer than one hour, and 45 minutes is probably better. John Riggs UNCHAINED 3My act usually consists of a selection of psychological effects, such as psychological forces, character readings, Q and A, and a couple of select ‘mental magic’ effects to interject humor and theatricality. Thave selected some of my pet mental magic effects from my books and included them here. I hope you enjoy them! They Hell Fire! Walk around mentalism is rare. ‘Years ago, I was desperately seeking good, convincing material for walk around mindreading situations. I didn't want mental magic - I wanted convincing demonstrations that puzzled the skeptic and enraptured the believers. So I got out Bascom's Magick, and culled out a few routines. One of these was Cicardi's Hell's Fire. I adapted it and changed the handling to sterilize it a little, and now, with Cicardi's kind permission, I give you this variation on his classic effect. T'd like to say at the outset that while I originally thought this would be a pleasant little interlude, it actually is one of the strongest routines of Close-Up mentalism I've ever performed. It is just so convincing... Effect: “It has been observed that the incidences of spontaneous psychic ‘manifestations increase when strong emotions are involved. We have all had a creepy feeling that something wasn't quite right about a person we have just met. Or a premonition of death or disaster.” Removing a pencil and a banded stack of business cards, the psychic removes four of them. “On these cards I will write words that represent four common emotions. I will try to project them to you."" The four cards are placed, face-down, in a row on the table. “One of these cards has a world that inspires fear and horror - Rush Jokn Riggs UNCHAINED 4Limbaugh! Just kidding!. Lam going to try to steer you away from that word. “Twould like you to think of something that is the occasion of great joy. An event of supreme happiness. And then, following your hunches, just touch any one of the cards.” The helper touches a card, and the word ‘Joy’ is written on the back. “Now, I'd like you to think of something you really hated. This could be a visit to a dentist's office, with the sound of the whirring drill and the smell of tooth burning away. Or, it could be an ex - lover or spouse! Something or someone who arouses hate in you. This is a private thought, and one I will not ask you to share. Just see it. Then, touch a card.” ‘The word ‘Hate’ is written on the back of the card. “Now, please, think of something or someone that you love. Feel the emotions warming and delighting your heart. Now, touch either one of the two remaining cards.” The word ‘Love’ is written on the back of the card. “The card you avoided is the card carrying the thought that inspires fear in the hearts of people. No matter what nationality or age you happen to be, this word will cause fear and panic.” The performer writes ‘Fire’ on the back of the remaining card. Turning it over, he says: “And see! You intuitively matched the thought with the action! “But not only that - when you thought of love, you found the love card, when you thought of joy, you found the joy card, and when you thought of hate, well - see for yourself!” The helper has matched all four emotions! Method: The evolution of this effect can be found in Paul Curry's Probability Zero, Orville Meyer's ESP Testing Game, and my own ESP Testing Game 2000. Everything Cicardi touches comes out cleaner and stronger, and this routine is no Joka Riggs UNCHAINED 5exception. To perform the effect, write the word ‘Love’ on both sides of a card. Under this card is another card with the word ‘Hate’. And under this one is another card with ‘Joy’ written on both sides. (Note: Bro. Ron Martin has suggested that instead of the emotion “Hate” we use “Sex.” This may suit some performing styles much better.) This stack of three cards are placed on top of a stack of cards that are banded together with a rubber band. This is a subtlety that makes the subsequent switching of the cards inconceivable. ‘The stack goes into your left pocket with a pencil. To perform, remove the stack of cards with the left hand, and hold them in dealing position in the left hand. The three loose cards are on the bottom of the stack, Pull out four blank cards from the stack, and drop them onto the stack. As you are delivering your opening remarks, write ‘Fire’ on all four cards. Do this in a manner so that no one can see what you are writing. This is Cieardi's revolutionary addition to the methodology of Probability Zero that makes the ending a killer. Table the four cards in a row, writing side down, and mix them around a bit. All this time, keep the stack of cards in your hand, When the person indicates his ‘Joy’ selection, write ‘Joy’ on the back of the card and drop it on top of the stack. Repeat with ‘Hate’ and ‘Love’, dropping them on to of the stack in the left hand. Remember, at this point, all of the cards have ‘Fire? written on the back. You are now going to get set for a gambler's move called ‘The Flop’. The move is used to reverse a faced deck -- which is, after all, what we have at this point, with ‘Love’ showing on each side. ‘As you write ‘Fire’ on the last tabled card, your left hand tums palm down, so that the forefinger can steady the card as you write on it. It is under cover of this natural gesture that the first half of the Flop occurs. Many words can be used to describe the Flop, but basically, you turn your Jol Riggs UNCHAINED 6left hand palm up, but the stack does not turn over. Your second, third and fourth fingers curl into a fist as the hand tums palm down. This reverses the stack. As the hand turns palm up, flipping the ‘Fire’ card over to show that both sides match, it is perfect cover to naturally tum the hand palm up, and re-grip the stack in dealing position. Now, the gaffed cards are on top. It takes the spectator about two seconds to begin to wonder if “Fire? was written on all the cards. We give them about a second and a half. Then, we deal the three loose cards face up one at a time, showing the rare synchronism at work between two minds! Cop the three dirty cards and pocket them under the ample cover you will have, and toss the clean and still banded stack onto the table. Or, pocket the entire stack. Either way, there is nothing to see. The banded stack seems to preclude the possibility of a switch, for those who would even consider it in the first place. And that is my revolutionary addition to the effect! If you want to add comedy, write the name of the current President on the feat card instead of ‘Fire’ The Procrastinating Prognosticator Effect: “One of the most impressive things any Psychic can do,” you begin; “Is to predict the headline of tomorrow's newspaper. This is a certain and incontrovertible demonstration of the ability to push aside the veil of eternity and peer into the mysteries of the future.” “Twish I could do that...” “However, I have recently joined a group called The Association of Procrastinating Prognosticators. We predict events after they happen! “Actually, our accuracy rate is up to 90%! “Thave in my hands a stack of newspaper headlines that we have accurately predicted after the fact. Now, I wanted to use the most reliable media possible, so after much research I decided on the on newspaper that dares to Jo Riggs UNCHAINED 7publish the naked, unvarnished truth that can be backed up in court. The World Weekly News! “Look at some of these headlines! ‘Space Alien Votes for Clinton’! ‘Satan Escapes From Hell’! ‘Werewolf Captured in Florida’! We predicted them all! “Sir, Lam going to remove the headlines, one at a time, and anytime you like, I would like you to say stop. But first, please hold onto this sealed prediction until I call for it. “Stop here? You stopped me on ‘Hillary Clinton Adopts Alien Baby’. Had you gone one further, it would have been ‘Half-Human, Half-Fish Found in Florida’. One sooner would have been ‘Elvis Breaks Leg in Motorcycle Wreck’! “But you instinctively stopped me on ‘Hillary Adopts Alien Baby’! “Would you please open the prediction, and in your most dramatic fashion, unfurl it and show it to everyone?” The spectator unfolds the paper, and is a giant (4' x 4') reproduction of the front page of the newspaper with the headline: ‘Hillary Clinton Adopts Alien Baby’! “Another event successfully predicted after it happened! Chalk another one up for the Procrastinating Prognosticators!” Method: Nothing to it - the hardest part is pronouncing: ‘Procrastinating Prognosticators'! ‘You make your props by buying several weeks worth of the Weekly World News. use about 15 headlines. These are impressive props, as they are about 11" x 11", and extremely lurid! Take them to the quick copy place and have full-sized copies made. If you intend to actually perform this routine, have them laminated. While you are there, have five copies made of your force headline, and one giant copy made also. Mine measures 4' x 4'1 ‘Your setup, from the top down of your face-down stack is: Joke Rigge UNCHAINED 8Top face down card - a duplicate. Second face-down card, a different headline. Third face-down card - a duplicate. Continue alternating the duplicates until you use them all. Place the remaining four or five headlines on the bottom of the face down stack. These are all different, and should be as funny as possible! In fact, here are my headlines, with accompanying patter: “Alien Backs Perot’- Humm....1 always suspected he was one of them!” ““World’s Biggest Baby’ - They obviously never saw me with a cold!” ““Marilyn Monroe Was a Russian Spy’ - Well, Duhhh...everyone knows that!" And, my all time favorite: ‘Satan Escapes From Hell!’ - No comment required. You hold your stack so the audience cannot see the face of the pile, and deliver your prefatory remarks. When you reach the part about “...the legitimate press...” You tum the stack over so they see the headline. If you do not get laughs here, you should probably stick with Grand Illusion! As you read the headlines, place each one to the back of the stack. When you get to within one or two of your setup, tum the stack around, facing you, so that the audience sees only the blank backs. Request the spectator who is holding the folded prediction to say “Stop!” when he feels like it. You now have two possibilities to contend with. If he stops you with a force headline in your hand, thank your personal guardian angel. Simply tum it around, call attention to the headline at the face of the stack, and have the prediction revealed. Ifhe stops you as you are placing the force headline to the back, simply remove it and show it. If he stops you with the force headline on the face of the stack, what are you worried about? Join Riggs UNCHAINED 9FloraRiggs This originally appeared in a book I wrote entitled The Man With The $1.98 Hands. At the time, I didn't know that most mentalists do not read magic books, so I thought it might be a good idea to record it again here. Effect: “Good evening, Ladies and Gentlemen. Ineed a lady . . . but don't we all? ... Ineed a lady to come up here and assist me. Would you please come up here, young lady? What's your name? Alice! Thank you.” The performer hands the woman a gift bag, held shut with a Bulldog clip. A piece of folded paper is seen to protrude from the bottom of the clip. “Talways like to initiate the show by giving a small prize to the first person brave enough to help me out. The contents of that bag belongs to you, Alice. All I ask of you is to point to three people in the audience, one from the left side of the room, one from the right, and one from the marijuana section (use discretion with this line -- works best for a younger audience!). When Alice points to you do not come up here; just stand up and remain where you are.” Three people are nominated and they stand up. “Now please sir, what is your name? Pete.” The performer jots down Pete's name ona small pad. “Thank you Pete. Please name aloud any number from I through 5.” Pete calls out, “Six!” The performer makes a note of the number. “That's exactly what I thought you'd say Pete. You fit the profile perfectly. You may sit down nov.” Pointing to the second person, “Ma’am, I'm going to give you a bigger range. Would you please name aloud any number from, say, 1 through 9.” This is repeated with the third participant, with the performer making notes of each participant's name and number. Joln Riggs UNCHAINED 10Now for the blowoff. “Although you haven't realized it yet, something very wonderful just happened. Let me tell you a little bit about what's in that bag. I perform this show more than 200 time a year, and before each show L always stop at Bob's Flowers and Gifts to buy a small present. Usually, this is no big deal but tonight, when Bob handed me the receipt, our fingers touched. Our eyes met; sparks flew between us --we're going out next Saturday! -- but, I knew that tonight would be special so I kept the receipt. It's been stuck to the bag the entire time, in plain view.” The performer gestures toward the slip of paper sticking from under the clip. “Let's look at it and see what's going on.” ‘The performer removes the slip from the clip; his hands are obviously empty except for the receipt. “Alice will you please unfold this? Let's recap; Pete named the number 6, Cheryl 4 and Bill 8. 6, 4 and 8. Alice, what's the total price of the gift I bought at Bob's?” She reads, “Six Dollars and Forty-Kight Cents.” Applause. Then, “And what else does the receipt say?” She reads, “A lovely rose for a lovely Lady.” The performer removes the rose from the bag and hands it to the young lady, and sends her back to her seat with a round of applause. Method: The only gimmick used is an Ostin Billet Switching Clip. This is a Bulldog clip with a rubber band attached to it, with a folded slip of paper attached to the rubber band. The slip can be placed in the clip and shown from all angles, but when you open the jaws of the clip, the billet is snatched from sight. Load the clip with a folded yellow receipt from a receipt book, and clip it on the top of a long gift bag. The bag I use is one that is used to hold a bottle of wine to present to your host or hostess. From the receipt pad remove a second receipt and write in big letters, A lovely rose for a lovely lady. At the bottom of the receipt write Total but leave the total blank for now. Now, fold the slip into fourths, and then one more time, making sure the Joka Riggs UNCHAINED 11blank total field is accessible (See Figure One). This is placed under the clip of a felt-tip pen until ready for use. Place this along with a 3" x 5" notepad in your right jacket pocket and you're ready to begin. Performance: Hand the bag to the young lady and ask her to hold it high, “In your best Yanna White Position.” While she is selecting the three participants in the audience, remove the pad and pen from your pocket, taking care not to flash your secret slip. Pull the slip out and hold it in place at the bottom of the pad with your thumb, with the Total field on top. In a moment you're going to write the numbers in as they're called out, but we'll get to that in a moment. This interaction will use a very strong mentalism method known as Double- Writing. You point to each participant and ask them to call out their name. Write it down, Then ask for the number. This is important. Why? Well, it doesn't make much sense to write down a three digit number, does it? You're a great mastermind and you can't even remember a three-digit number? But by writing down the name and the number you just seem to want to make sure you get the correct number for each participant. The first person calls out their name. Write it down. Then sk for a number. Write it down, too ~ twice. Once by the name and again in the blank Total field of your secret slip. In the example I gave above, the guy called out “6” when I gave him a choice between 1 and 5. This happens a lot in real life. Years ago, I used to make the guy obey the restrictions but someone who's acting like a smartass will often argue with you, demanding explanations for why he can't have his own number, etc. I prefer to get the laugh and move on, making it look like I outguessed him. “I heard about you, Pete. They warned me about you.” The three numbers are called out and written in the appropriate positions. Don't worry that anyone will catch you double writing; the audience is too busy watching the interesting stuff, which happens to be the three participants standing up and calling out numbers. stoke Riggs UNCHAINED 12The Switch: Once the Total has been double-written on the receipt, your left thumb drags the slip into the finger palm of the left hand. Deliver your buildup (making sure the audience notices the fake receipt under the clip before you remove it!) and with the right hand open the clip. At exactly the same time your left hand moves under the clip and turns palm up. The secret slip pops open a little and comes into view. The illusion of the slip falling from the clip is perfect. All that remains is to unfold the receipt and hand it to the lady to read aloud. Let her keep it, “Here keep the receipt. You might want your money back later.” One final thought. Always use a real rose. Not a plastic one, not a silk one, nor ~ God forbid -- one of those novelty roses that opens out into a thong panty! Birds of a Feather Together Again This is my rendition of Bob Baker's effect Birds of a Feather from his lecture notes Shared Thoughts Effet: ‘The mentalist shows a gift bag that contains hundreds of pieces of playing cards, An entire deck of cards has been cut into fourths and mixed up in the bag. Dumping a handful out on a table he asks: “How long do you think it would take to find the four pieces of any specific card? Quite a while wouldn't it? But what if you tried to do it blindfolded?” A volunteer comes up to help the performer. “Before the show, I asked you to think of any card in the deck, is that correct? And you didn't tell this card to anyone, including me, and you didn't pick a card from a deck and keep it, you just thought of one. Is this correct?” She agrees. “Very good.” The performer now hands the bag of card pieces to his helper and asks her to mix them up thoroughly. She then holds the bag out at arm's length. The performer hands her the back piece of a baseball card holder. John Riggs UNCHAINED 13Then, he dons a blindfold and thrusts his hand in the bag. One by one, he removes four pieces of playing card and sticks them in the holder. Then he removes the blindfold. Handing his helper the back piece of the card holder to snap in place, he asks her for the first time to name aloud her card. “The Four of Spades;” she says. Turing the card holder so that the face of the assembled card is visible, it is seen to be the Four of Spades! Method: Bob's original routine is excellent, but I didn't want to use a ‘gimmick.’ So, Tused a characteristic in the design of the bag itself to accomplish the trick. You will notice, if you purchase a gift bag, that it comes with a cardboard bottom that sort of lays loose in the bottom, What I did is attach one side of it to the bottom of the bag with double stick Scotch tape. This provides a compartment, which is where the four pieces of the selected card resides until you are ready. Before the show, you approach a person and ask them to help you out. “I'm going to try to perform a mental experiment with you, and I need you to concentrate on a playing card. So, would you please just say ‘stop'as I riffle the deck - fine - now, remember this card. I don't want to touch it; I don't want you to touch it - just keep it in your mind.” Of course, you control or glimpse the card so that you can remove it later. Then, when you are setting up, you cut the card into fourths and stick the pieces under the flap at the bottom of the bag. Obtain some two -part baseball card holders from your local hobby shop. These come in two pieces, and are just right for holding a playing card. Stick two strips of double-stick Scotch tape on the front piece. As you remove the sections of card (from under the flap), you stick them onto the card in the correct positions. With the selected card loaded in the bag, you can dump the pieces out and flash the bag empty. I actually have about two decks of dismembered cards, to Jobe Rigs UNCHAINED 14make the mess look even more impressive. The mounted playing card can be passed around, for others to look at and wonder. Business Card Business Basic Effect: Let's try a simple test of thought projection,” says the perfo:mer, removing a business card from a stack . “I'm going to write a simple word, a word in the English language. Now, do you know what I wrote? Yes or no.” The spectator says, “No.” The performer turns the card around and says, “You got it. Exactly right ‘KNOW.’ Let's try another one. I'll write another four-letter word; and this one is something you find on the bottom of a bird's cage, and it rhymes with ‘hit.’ Do you know what it is?” “I'm afraid I do,” is one of the more polite answers you will get! “Absolutely correct! ‘GRIT.’ Now we're ready for something more advanced. Please take this card and draw a picture on it. don't let me see it.” ‘The participant does so and returns it to the stack. The performer says, “Please spread the cards around on the table and mix them around. Don't panic; just let me feel your wrist for a moment.” The performer lightly grasps the participants wrist. “Simply think of your drawing, very intently,” he instructs the participant. Passing his other hand over the scattered cards, the performer pushes several aside, some here, some there, until a single card remains on the table. s one vibrates very strongly to your personal energy level,” the performer claims. “Pick it up and see if it is indeed your drawing.” The participant peeks at the card and sees that it is indeed his drawing! “Let's take it to the next level,” the excited performer exclaims. “Do not -~ absolutely do not — let me see it. Quickly, place it back into the stack, near the middle.” The performer turns his head so the participant can take a last look at John Riggs UNCHAINED 15his drawing, and the card is pushed flush. Showing the stack of cards from all sides, the performer says, “It's obvious that by normal means, nobody can see the drawing as long as it remains buried in the middle of the stack. There are several cards both above and below the drawing, and you would have to be Superman to be able to see through the stack. Yet, I'm going to try to duplicate the drawing on the back of the card." The performer removes a blank card and scrawls the word KNOW on it. “How'm I doing so far?” he asks, tongue-in-cheek. He writes the word GRIT. “Am I getting closer?” Finally, he reproduces the spectator's drawing. Removing the original drawing from the center of the stack he gives both to the spectator as a souvenir. Method(s): Finding the card with the drawing on it is extremely simple. You have all the time in the world with the KNOW and GRIT gags. Nail-nick the card at your leisure, or otherwise mark it so you can detect it from the rear. Duplicating the drawing requires that you control the drawing to second from the bottom and peek it. Any standard card handling subterfuge will accomplish this; the classic pass done with a stack of business cards is a lot easier than with a deck of cards, Here's how I do it. Fan the stack and have the participant return the card somewhere near the middle. This should exactly replicate the actions of the Psychometry portion of the demonstration. When the card containing the drawing is returned to the stack use the Hofzinser cull to control it to second from the bottom. Here's how: When the card is returned to the middle of the spread, pull it over to the right with the right fingers until it clears the spread. Continue fanning the cards from left to right until you reach the last card. Separate the bottom card slightly from the spread and allow the drawing to ride between it and the rest of the stack. Square up, and the card is now second from the bottom. Show the stack from all angles and finish with it face-down. Remove the bottom card to draw your impressions upon. Glimpse the new bottom card (the drawing) as you set the stack aside. John Riggs UNCHAINED 16Go through the business of replicating the writing on the card, starting with the two words you started with. It comes as a surprise when you successfully replicate the drawing! While people are still surprised at your successful denouement, pick up the stack and pretend to remove the drawing from the middle, actually dragging it under the spread and removing it. Toss it on the table for the participant to keep, if he wishes. ADD-A-RIGGS ONE In Suburban Charlatan | described one version of doing this effect. I've since come up with another, better way to do it. I included this handling in my lecture before the Psychic Entertainer's Association and it met with a great deal of enthusiasm. The effect, as you know, is that you have three people in the audience write down three different four-digit numbers. The numbers are added up by a fourth person (the ‘Witness’), and the total called out. The total matches the prediction made by the performer earlier. The method traditionally involves switching out the audience numbers for a set of numbers of your own (if you like to impress your audience, it is advisable that the sum of these numbers match your prediction!). We accomplish this in a way so sneaky you'll chuckle in an evil manner each time you perform it. Place a stack of about six 3"x 5” index cards in a wide rubber band, so that the band is in the middle of the stack (Figure One makes this arrangement very ENVELOPE clear). Rubber band hides juncton where the __, | half cad meets the envelope, To switch Next, you will construct a gimmick | fumbes, ust sss the card Gown ito that makes the effect possible. ‘the envelope: Join Riggs UNCHAINED 17,Prepare an index card as follows: The bottom half of the card is actually an envelope stuck to the card. If you can find a white coin envelope that fits the card, simply cut it in half and glue it in place. If not, use another index card. Wrap it around the bottom half of the card and glue in place. On the top half of the card gimmick write your series of force numbers. Take a half-card and round the bottom edges. You will want to trim off about 1/32 inch from the edge so that it will smoothly slide into the envelope. Insert the bottom edge of the half-card just barely under the envelope, and it will hide the pre-written numbers. This is Edward Bagshawe's idea, and is most popularly seen in the marketed trick Out-to-Lunch. (The envelope part is my idea). When the gimmick is placed at the face of the stack of cards under the rubber band everything looks normal. Since the rubber band hides the juncture, the somewhat complicated arrangement looks like an ordinary card. ‘You may want to make the device from a wallet containing a small calculator, such as described in Suburban Charlatan, for reasons that will become evident, Place the goods in your pocket, and you're ready to proceed. Performance: Elect someone to be the witness, and have him sign his name at the bottom of the prepared card. Go into the audience, and have three people, from widely separate parts of the room, write three four digit numbers. These numbers are written on the half card, which is concealed by the Out to Lunch principle. Come over to the witness, and as you're apparently checking the numbers, with the tip of the pencil (or your finger) simply slide the half card downward, into the envelope. Your force numbers now come into view. Hand the goods to the witness to total. If you are using the calculator wallet option, allow him to use the calculator. When he announces the total, reveal your prediction in the dramatic manner that years of marriage should have taught you! Here is a disclosure that I like, also described in the Charlatan book, based on an idea by T. A. Waters. Joba Riggs UNCHAINED 18Remove your jacket and tun around, revealing a note pinned to your back. Ask the witness to read aloud what is written on the card. He reads: “KICK ME!” “I'm going to kill that damned kid;” the performer mutters. “Unpin the card and read the other side.” He does as asked, and the card has a number written on it, and once again your prediction is correct! ADD-A-RIGGS TWO “Ah, good evening Ladies and Gentlemen; it's great to be here. And how about that meal — delicious wasn't it? The manager asked me to tell you that if you're still hungry, there's some complimentary gum stuck under the seats. Pardon me sir — yes, you. Don't try to get out of it. Would you come up here and act as a witness to what is about to transpire?” Your new friend comes up on stage with you. “Sir, Ihad the funniest dream while I was driving to the show tonight. It involved a list of numbers. The numbers stuck in my mind and Iwrote them down. Would you mind wearing this for a second?” You drape a ribbon around his neck with a bulldog clip suspended from the end. A folded card is seen to be sticking out from the clip. “It looks good on you, and believe me when I say it’ hard to accessorize something like that. Just stand there and stay out of trouble for a few minutes.” Hand him a bolo paddle or a yo- yo, with the remark, “Just amuse yourself with this until I get back.” Walking out into the audience, you remove a stack of index cards from your pocket along with a pen. Approaching an audience member, you say, “Sir, would ‘you please write down any three-digit number, right here? Thankyou, that’s very good. I did a show in Hogesbend last night and the guy drew a picture of three ‘fingers. Please write your name next to your number.” Voyaging further out into the audience, you get two other people to also write down 3-digit numbers. While still standing in the middle of the audience, lobe Regs UNCHAINED 19you total the numbers fairly (no switch!). Assume for example that the numbers totaled 1359. Show the total to the three people who contributed the numbers, asking them to call the total out loud. As you approach the stage area, show the numbers to several people, repeating it several times. “1359. Right? 1359.” Coming onto the stage, you point to the slip of paper hanging from the person’s neck. “You remember this piece of paper that has been hanging in full view for the better part of an hour now? Well, it’s time to see what all the fuss is about.” Removing the card from the clip, it’s handed cleanly to the witness. “Will you please open the card and read aloud the note I made earlier? ‘The total of the numbers contributed by Bob, Pete and Miranda is 1359. What does the note say?” The witness removes the prediction and reads it out loud. “Thank you for thinking of the number 1359!” he cries out in a loud voice, just before he swoons from amazement. When he awakens, allow him to kiss your ring ECO Ebro ESE Here's how: The prediction that is hung around the witness’s neck is held by an Ostin-style Bulldog clip switcher. For the best book on construction and application details, see Richard Mark’s excellent book INVISIBLE HAND. For those of you who aren’t aware of how this handy device works, it’s basically a medium-sized bulldog clip with a rubber band stretched around it. The band goes. into the inside of the clip and you hang a folded piece of paper on it. When you stretch the paper into view and let the clip hold it, it is under tension, and as soon as you open the jaws of the clip, the rubber band pulls the slip out of sight. See the illustration on the next page for details. The numbers are written ona piece of white paper, the same size as the index cards (usually 3" x 5") that is prepared as in the old Out To Lunch Trick. That is; you have a stack of index cards with a rubber band around the center. The bottom half of the top card is really a card that has been folded in half. Position the folded card so that the fold is horizontally at the bottom, and the two ends are at Jobe Riggs UNCHAINED 20the top. On the top half write: “Thank you for thinking of the number... “ The bottom half, which is folded out of sight at this time, is left blank. Once again, see the picture. Turn the card over and tuck the folded edge under the band. For all intents and purposes the top card seems continuous, but it really consists of two separate cards, ‘The three 3-digit numbers are written on the top half, above the rubber band, but the sum is written on the folded slip. The sum is verified and called out loud by several spectators. This is an important point; you want as many people as possible to see the total before you return to the stage. Have at least one other person verify your addition. As you return to the stage, you palm off the slip, fold it in half again by closing your hand into a fist, and call off the total one last time before returning the stack of cards to your pocket. Call attention to the slip hanging on your witness’ neck and pretend to remove the prediction from the clip. Of course, the visible slip goes you-know-where and the palmed slip is pushed to the fingertips and shown. At this point I like to use a subterfuge performed by the late Dr. David Hoy (Dr. Faust). He removed the slip from the clip, actually making the switch. Calling attention to the slip, he returned it to the clip and re-verified the information. Then he allowed the witness to remove it, open it, and call out the total. In our example, you have already returned the stack of index cards to your pocket. You remove the slip, show it, and return it to the clip. Then you remove the stack from your pocket one last time, and while apparently glancing at the card, you call off the three names of the volunteers and also the total (this requires that you remember it, since it’s no longer there). Then you instruct the witness to remove the paper, unfold it, and read it aloud. Marvelous! Jon Riggs UNCHAINED 21Bear Your Soul Possibly, Larry Becker's greatest contribution to Mentalism is the Teddy Bear! (Just kidding , Larry!) Here's a heart-warmer that you might like. Effect: A cute Teddy Bear with a locket around his neck is shown. The performer asks for a show of hands. "Who had a Teddy Bear when you were little?” From the show of hands, a lady audience member is designated. She is asked for the name of her furry childhood friend, to whom she could confide all her secrets. She says, for example: "Jason." “That's a nice name,” says the performer. "The relationship we had with our little friend , when we were young, was very special and very personal. We told our Teddy Bears all our secrets. If we could only find someone in our adult life with which to share such a close friendship! The locket is opened and a folded note removed. The note is handed to the lady and read aloud: “I'm lonely and looking for a good home. Can I go home with you?” And, it is signed with a paw-print — and the name Jason! Method: This may well be the first Psychic trick suitable for children, The method is a variation on the Kap's Signed Card in Box. I give away a Teddy Bear at each show, along with roses, ete. Many Magicians, upon hearing this, comment on the amount of money it takes to perform my show. These same individuals have been using the same Aviator deck since 1972. I wonder how much they get paid per show? Anyway, you write the note and fold it, leaving the name space blank. The bear paw comes from a rubber stamp, that you can obtain from the toy store (and where would we be without them?). You must also construct a pocket-writer. The pocket writer was invented a long time ago, and created to allow you to John Riggs UNCHAINED 22BeEdR YOUR 2ouL Staple two stiff pieces of cardboard together. Cut d rectangular window in the fop piece Staple together at this end You now insert your folded card, wih the name area aligned with the window. alittle practice, you will be able fo quickly wite In the name of the lady's bear frend! Joke Riggs UNCHAINED 25,write on a cigarette paper in your pocket. Many routines using this clever device (which I admit, fascinates me) can be found in Corinda. Instead of trying to describe the device, I’ve included an illustration on the previous page which should tell you all about it. The window on the top flap of the writer is where you write the bear's name. Just pray that the person isn't one of these literate folks who named their bear Joesephus Paddington Whimsy Bach the Third. If they are, you are allowed at least one dramatic suicide during your career— union regulations. I don't suggest you try to write long names furiously in your pocket. You may communicate ideas to your audience that are less than favorable to your professional image. Another method, although it’s one that I admit I haven't tried, involves Swami-writing your note on the folded card, which you would hold secretly on the back of the bear. Swami-write the name, and then make your switch. So when you hear the name, you pocket-write it. You have plenty of time to do this while the spectator is coming up to assist you. Palm the folded note. _ When you open the locket to remove the note, you switch it for your secret billet as you hand them the bear. Then, hand the note to your lady to read aloud. T’ve had audience members with tears in their eyes at this point (maybe because of the beauty of my billet switch-? Perhaps not). If you don't want to manually switch the letter, have an Ostin-Style Bulldog clip billet-switcher hanging from the bear's neck by a ribbon. The locket makes better sense, though, and your lady friend can keep it, along with the bear— you cheapskate! Obtain both lockets and bears from U.S. Toy - buy in bulk and save!! Jol Riges UNCHAINED 24THE LOOK — A SERMON When a performer has delivered his show for the first hundred times, the thrill of being a real live performer quickly wears off, At this point there has to be something to keep his interest alive, Otherwise he begins to sound tired of hearing himself or worse, he rushes through his show, delivering his lines in an over-rehearsed manner. Either way he’s communicating to his audience that he doesn't really care anymore. Friends of mine, who in the past have been quite successful while on the way up, have been recently described as “burned out.” Too many shows, not enough stimulation. This can be the death of a performer's career. The trick is to keep the show fresh and new, both to the audience and most importantly, to yourself. One approach that made all the difference to me was to see each show as a challenge; the challenge was to create at least one moment so surprising, so dramatic, just so damned impossible that I would see The Look appear on their faces. More on exactly what The Look is in a moment. To inspire The Look you must first carefully watch your audience. The mechanics of the show, the presentation, the arrangement of your props, even the order of the presentations must be so ingrained that you can do them in the dark. Your attention must be totally focused on the audience. If necessary, find about a dozen people, from all parts of the room and play to them. The power of this, simple technique must be seen to be fully appreciated; it's mesmerizing! Once the audience is under your spell you can set them up for The Look. The next step is to have absolute confidence in your material, Alas, unless you use very simple effects and methods, this can only come with practice. But let's assume that you've performed your show countless times, you know the materiel inside and out and you have confidence that you can squirm out of any situation that arises. Now you can concentrate on creating the necessary dramatic moment to generate The Look! Mentalism effects follow a certain general pattern: a condition is set up, usually involving information that the performer couldn't possibly know in advance (PK stunts are not included in this pattern; but these are usually seen as Joke Riggs UNCHAINED 25,magic tricks anyway), the performer reiterates the impossibility of his knowing the information, then reveals it. Many performers tend to downplay the moment of climax. It makes me wonder about their prowess as lovers! Some effects are actually stronger when downplayed, but we're concentrating on a strong effect calculated to generate The Look. So let's say that a person is concentrating on the name of the first person whom they kissed (in a romantic sense). You've managed to get this information and are about to reveal it in a dramatic manner. The pattern is: Affirmation; Tension; Release; Realization. The performer gets affirmation from the volunteer. “You're concentrating on the first person who kis this?” “No.” sed you. Now, is there any way I could possibly know “Does anyone in this room know who this person might be?” “Nope.” “Even if I did a search on the Internet, I couldn't possible find this out, correct?” “That's correct.” Without another word, the performer grabs a pad and marker and writes something down. The audience notices a slight but noticeable strain, as though the performer is struggling to remember something important but the details are cluding him. He finally writes something down and hands the pad to another spectator, without letting them see what he wrote (This is important! Lots of times the person sees what is written and when the information is called out they'll look amazed -- which is good except it ruins the timing of the moment. So hide the writing if at all possible). “Now, for the first time -- please tell us the name of the first person you kissed. Oh look; she's smiling! It must've been a nice thought.” “Harold.” Absolute silence for at least three seconds. Repeat the information in a neutral tone of voice. “Harold.” ohn Riggs UNCHAINED 26“It was Harold.” Reach for the pad slowly, saying nothing. Communicate tersion with your body; it should look like your poise to pounce at the slightest sound. Feel the tension grow! When it reaches a peak (usually total silence is a gcod indicator) turn the pad around and show what you've written. Repeat, “Harold.” Watch their faces and wait for realization. You'll see The Look! It's a look of total amazement, disbelief, wonder. You've won, Logic and rationality, for the moment at least, totally collapse and the person has entered a Magickal state where anything is possible. It doesn't last long, but you can do it again at your next show! Conclusion Mentalism isn't for everybody; a routine that scintillates in one person's hands may die the death in another's. It's all a question of style. The key to successful mentalism lies not so much in clever methods or flashy props (we don't have any . . .) but in the cultivation of an interesting and warm character. If mentalism has any strength at all, it lies in the audience's rapport with the performer. We live in a society conditioned by Television to expect fast paced and interesting entertainment. Long, tedious procedures will no longer play. Be electric, eclectic, and energetic! May you have the best of luck and enjoyment of life; may you love your audience and may they reciprocate; and may the memories of this weekend enchant and delight you for years to come. My unconditional love to you all; John Riggs June 11th, 1998 Joke Riggs UNCHAINED 27