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2
Theater is Life
Film is Art
Television is furniture

Unknown

In the theater experience,

you actually hope that you will
get caught up emotionally in the
movie. You invest your time
and money and your intention
in order to feel and experience
something.

If it’s a good movie, you find

yourself caught up in the plot.
If it’s a thriller, you even find
your heart racing and a genuine
sense of fear, even though
you know it’s only a movie
and that you’re perfectly safe.

Forbes Robbins Blair

Instant Self Hypnosis,
Sourcebooks Inc. 2004

3
Contents

Foreword by Matthew Schouten 5

Introduction 6
The Real Deal (How it Happens) 8
Deconstructing the How 21
Phase One Explanation 23
Phase Two Explanation 29
Phase Three Explanation 34
Conclusion 37
Bonus Effect: Instant ESP Card Readings 39

4
Foreword

Have you ever asked yourself what the best venue for mentalism is? Many of
us dream of packed auditoriums and prime-time television specials, but are
these really the best places to experience one of the most intimate
performance arts?

Certainly they are roads to commercial success, but can these venues truly do
justice to the experience and ritual of mind reading?

What would be more spectacular, more memorable to you as a layperson:

watching the Amazing Kreskin live on stage or meeting someone in your
favorite pub or coffee shop who, in the course of a fascinating conversation,
divines your innermost thoughts?

It's like entering the tent of the gypsy fortuneteller or the lodge of the
shaman... there is an intimacy and uniqueness to the experience that is easily
lost in a theatrical setting.

In this manuscript, Alan Strydom brings mentalism back to that level of

intimacy, sharing his thoughts on designing a close-up routine. Although he
builds on classic principles and effects, it is the context of his presentation that
makes the difference.

Read this text carefully and look beyond the effects: it's a reminder that the
best venue for mentalism is inside a single mind.

Matthew 'Malchat' Schouten

February 2007

5
Introduction

My journey into magic began, like most people, with a fascination for
gimmicks that made the magic work. Soon the gimmicks and gaffs weren’t
enough, and I began to familiarize myself with methods and skill.

While both skill and gimmicks made it possible to do seemingly impossible

things, I could see that because of the structure of the things I was doing, my
audiences still saw them as clever tricks. As long as this perception remained
intact, I wouldn’t have the impact with magic that I wanted.

This wasn’t a power trip for me that stemmed from any insecurity. No, this
was about rocking someone’s perception of the world so that they could see
the possibility of things.

My interest in magic began as a therapist treating a young child of nightmares

and sleeplessness. I learned a few tricks in order to break through to that part
of him that still believed in fairy tales. It was through the magic tricks that I
was able to install a sense of control and empowerment in this child, and the
nightmares stopped.

However, my interest in magic didn’t stop there. It grew into a passion in no

time, and soon afterwards I began doing kid’s shows, restaurant table-
hopping and corporate events.

In my search for stronger magic and stronger impact, I finally put my cards
away and turned to mentalism.

This was a few years ago and I continue to learn the intricacies and subtleties
that can allow a mentalist, even as a known entertainer, to make a
difference… to have impact.

This is what this manuscript is all about: Taking what you know, constructing
a routine that moves up the scale of believability at a steady and acceptable
pace, tying it together with a theme that makes logical sense and is
captivating, and offering it as an emotional experience to anyone who is
interested.

Thus you have before you a three-phase routine that I perform on a very
regular basis.

I have described the effect in story form to illustrate all the elements of the
routine and how the theme holds it all together.

6
Although the effects herein are not new per se, consider this an essay on how
to construct a routine and make it your own. Imagine too, the strength of
performing this one-on-one with a potential client who is thinking of booking
you.

You don’t have to use the theme as it’s presented here. Just take note though
how each phase builds around the theme. This is the lesson here.

Also, you’ll find an interesting use of directing someone to feel different

emotions and achieve different states. This is then proven through the effects
that you perform.

Lastly, and I can’t emphasize this enough, this routine will give your
audience something very tangible to remember you by.

Thank you to Matthew “Malchat” Schouten for writing the foreword.

Alan Strydom
February 2007

7
The Real Deal

She sat across the table from us, still

laughing. Yes, the joke was on us, and
yes, it was funny - if you were into that
sort of humor. My friend didn’t care for
it though. He felt it could have had bad
repercussions had anyone from the
media seen us. I didn’t think it was
possible though; we hadn’t been there
long enough for anyone to really notice
before she joined us. It turns out she
was watching from a distance to see
our response; but the thing is neither of
us had noticed. Perhaps this was more
a reflection of her attitude than ours,
but it hadn’t bothered us enough.

There had been a small voice in the

back of my mind though, trying to get
my attention. Somewhere inside I knew
there was something a little odd, a little
out of place. Good music, a humming crowd, excellent coffee, orange couches,
a friendly waiter… Wait!

That was it: a too friendly waiter. He didn’t mind at all showing me the CD
cover of the music that was playing. The way he had handed it to me; the
proximity of his body to mine, the tone of his voice. I looked around again.
Yes, if only I had taken notice earlier. It still wouldn’t have bothered me
though.

Across from us a couple of the same sex were deep in conversation, holding
one another’s hands the way lovers do.

I thought the reason people were looking at us was because of my friend. He’s
somewhat of a celebrity having been on television back in the early nineties.
He had been in the media countless times since then for various things, and
people still remembered him.

That’s why he was a little uneasy with the situation. His friend, she, had
arranged to meet us at a coffee shop frequented by the gay community. All
we could do then was laugh. After all, she had intended to make us feel out of
place… it was her idea of a joke.

8
She told us she had done the same thing before to her brother, and some guys
had hit on him. Whatever. This was definitely a reflection of her own attitude
than it was mine. I’m ok with my sexual identity and didn’t mind in the least.
I leaned forward and took a sip of the hot foaming brew.

“So, what did you guys get up to today?” she asked. “More magic?”

I noted the tone in her voice. I was nearing the end of my three-day visit with
my friend. We had had so many practice sessions and discussed so much
about magic and, now to my delight, mentalism, that I was facing overwhelm.
My friend was a magician first and foremost. Thirty-five years in the business
and still performing. This time around we had developed a little routine
based on some old ideas.

“Yes, we’ve been speaking about magic. But not the kind you’re thinking of.
We’ve been speaking about real magick,” I said.

“Oh?” Her eyebrows arched. The look in her eyes betrayed her.

“I see by your response that you’re skeptical. You don’t believe in real
magick? Have you ever seen the movie The Secret?” I asked.

“Oh, that.” She said. “Well, that’s not magic is it? That’s some sort of new-age
positive thinking isn’t it?”

“Positive thinking… maybe. New age? Definitely not. That kind of thinking
has been around for a very long time.” I took another sip of my coffee. “You
don’t believe your thoughts influence your reality?” I asked again.

“Maybe.” She replied. “I have often had a headache from thinking too much,
but that’s about it.”

“Well, that’s a good start.” I said. “Don’t you think though that the same set
of laws apply to everything else? If you continued to be under stress from
worry you would develop an ulcer. If you stubbed your toe it would indicate
that you weren’t focusing on where you were going. Some people even have
thoughts that eat them alive, resulting in
cancer.”

“What? I don’t know about that!” she admitted.

“What about something as simple as toothache?
Surely your toothache isn’t about bad thinking?”
“Your toothache is a result of your thoughts not
being focused on proper care for your teeth.
Simple enough.

9
I am a firm believer that your thoughts create your reality, one way or
another. The problem is though, that even if you don’t believe it, then you are
right too… because your thoughts succeed in creating that particular reality.”

“Wow!” She said. “I never thought of it that way.”

“People often don’t. And that’s ok I guess. But then they ask themselves why
their life doesn’t work out. They fail to make the connection that somewhere
inside, their thoughts do not suit their actions; or vice versa. They’re out of
sync with themselves and what they are asking for.”

“What do you mean ‘asking for’?”

A smile crossed my friend’s lips. I continued.

“Well, it’s like this. The very process of thinking is asking and answering a
question. Right now you’re asking yourself if what you hear is true, and
you’re in the process of answering it and forming an opinion. It happens so
fast that we don’t even realize it as a question and answering process. The
Secret calls this entire process The Law of Attraction. That which you think
about, and consequently feel, you bring about… you attract or create.”

“Wait, where did feelings enter into this?” she asked.

“Feelings are the outcome of your thoughts on a matter. Thinking about

something generates a feeling about it. You either feel good about it or you
feel bad. Again, simple.”

“Wow. I really never had thought of these things before.” She had stopped
laughing. “Is it really as easy as all that?”

“It’s as easy as me knowing the kind of person you are.” I smiled.

“Wait. What do you mean? Explain yourself,” she dared.

“In the short time I’ve known you… what has

it been, two days? …I see that you’re the kind
of person that likes control. Your need for it
probably comes from a childhood shared with
a brother or sister, probably older than you.
You needed to stop them from taking your
things. You like everything in its place and
don’t like a mess. If things are messy then
they’re lost… or worse, taken. At least now
your relationship with that brother or sister is a
lot better. They no longer take your stuff. And

10
they are no longer the center of attention. You are able to get the attention you
want now from your folks, particularly your dad. You still don’t trust that he
loves you enough though, and you sometimes think he doesn’t understand
you. But you try and keep the peace by doing, or more often then not, not
doing things in order to please him.”

“Wow. You’re scaring me now. You were wrong with one thing though… I’m
the third child in a family of two older brothers and a younger sister.”

I smiled softly and sipped the coffee again. It was good coffee. Not the bitter
kind. The foam was slowly settling.

“Would you like me to show you just how powerful your thoughts can be
and how they can influence your reality?” I proposed. “It’s a bit offbeat, but
it’s interesting.”

She perked and showed her interest. “Sure. What do we do?”

I reached into my pocket and removed my business card wallet. From inside I
extracted a stack of blank business cards, wrapped and held together by an
elastic band. I held the stack in my left hand, flicked the wallet closed with my
right and replaced it in my pocket. I pulled three cards from the top of the
stack and placed the stack down to my right, ends facing her and out of her
reach.

“Who carries blank cards?” she remarked suspiciously.

“I do.” I said. “I keep my business cards in the inside pockets of my business

card wallet. I use these cards to make notes on and write people’s numbers
on. I also use them for times like these.”

The three cards I had removed were obviously blank. I took a pen from my
pocket and drew a symbol on each card. On the first card I drew a circle. On
the second card I drew a plus sign. The third card received a triangle.

“Look at those three cards as they lie there. Reach out and touch one that
appeals to you. Take your time to decide on one.”

She complied and a moment later picked up the plus sign.

“An interesting choice” I said. “The plus sign indicates a cross-roads… a

coming to a point in your life right now where you need to make some sort of
decision. It’s also a sign of ambition and independence. We recognize the
meanings of symbols and can acknowledge them on a subconscious level. The
Nike ‘tick’ is an excellent example of this. You may very well be faced with a
choice right now that will influence your future in these regards. ”

11
“Interesting” she said.

“Now lets mix the cards and then place them face down, removing the
conscious mind’s influence, and additionally so that I don’t know their
relevant positions. Listen carefully now… I want you to pick up one of the
business cards and take a look at the symbol. Remember the image and
replace the card as you found it on the table. Then, because you may think its
possible for me to know which one you touched - perhaps due to
remembering the placement of the cards on the table – I want you to pick up
the other two and swap their positions. So in other words, if you pick up the
middle card and look at it’s symbol, replace it and swap the cards at either
end for one another. In that way you have touched all three and looked at and
remembered only one. Let me know when you’re done. Do you understand?”

“Yes. Got it!”

I turned my head as she complied once more.

I turned back when she said it was ok. I stood
up, reached into my right trouser pocket, and
extracted a little bag. Inside was a bronze
pendulum.

“Ooh, I like these” she said.

I smiled and sat down again. “Have you

played with one before?” I asked.

“When I was younger ” came the reply.

“Good. It seems we’re all drawn to these

things when we’re younger” I smiled again.

“I am going to show you each symbol, one at a time. I will ask you each time
if that is the symbol you looked at. For each question I want you to answer the
same: ‘Yes’. Try and keep your voice tone and facial expression the same each
time. Don’t give anything away. Simply say ‘yes’ to each question and symbol
you see. Understood?”

I reached out with my left hand and touched her hand lightly.
The pendulum hung suspended from my right hand. My elbow was braced
on the table. Keeping light contact with her hand, I asked her to turn over the
first card.

“Is that the symbol you’re thinking of?”

“Yes” came the reply.

12
I waited. The pendulum didn’t move. I asked her to turn over the second
card. I repeated the question.

“Yes” she said again.

I waited. The pendulum moved slightly. I asked her to turn over the third
card. Once more I repeated the question.

“Yes,” she responded diligently.

“Interesting,” I said. “At the second card the pendulum moved slightly. That
was the symbol you were thinking of wasn’t it?”

“Yes,” she drew back her hand slowly. “That was just lucky,” she said. The
look in her eyes betrayed her confidence again.

“If you say so,” I replied. “Would you like to give it a try yourself?”

“Yes,” she replied.

“Ok. Do the same thing as before,” I mixed the cards and replaced them on
the table. “Choose one and exchange the position of the other two while I look
away again.”

I turned back around when she was ready, picked up the cards and started
mixing them.

“Now you also have no idea where the card is that you chose.” I replaced
them on the table and continued, “Hold the pendulum like I did before,
bracing your elbow on the table and letting the bob hang over any one of the
cards. Now this requires an amount of sensitivity and openness. You know
that one of these cards is the one you chose – you consciously just don’t know
which one. Again, neither do I. You cannot consciously lie to yourself, so
you’ll need to speak to your subconscious mind. In other words, you have to
ask yourself if the card you’re holding the bob over is the card you chose. If it
isn’t, the pendulum won’t move, or might move very slightly because you’re
new to this and the subconscious is always eager to learn. If it is the card you
chose, the pendulum will begin to swing more wildly than with the other
two. I’ll talk you through it.”

“Ok,” she said as she stared at the pendulum.

“Relax your grip on the pendulum, holding it loosely. Open your mind and
follow your intuition. Let your subconscious speak to you. Don’t move the
pendulum consciously, just let it move by itself. There, you see, a tiny
movement. Ask the question to yourself now… ‘Is this my card?’”

13
We waited a moment, and I continued, “Not much movement there it seems.
Move along to the next card. Try again.” I waited a few seconds before
moving on. “Try the last one. Ask yourself the question again, and really
imagine the pendulum being able to answer it. Don’t move it consciously, but
allow your subconscious to move it, if that is the card you chose.”

The pendulum began to swing, slow at first until it moved in a nice, wide
circle. Excited, I asked her turn the card over.

“Whoa!” she exclaimed. “That is the card I was thinking of! Awesome!”

“Nice! Well done.” I waited a moment. “Now we can up the stakes a bit if you
like… make it more interesting.”

“What do you mean?” she asked.

“Why don’t you see for yourself,” I replied once more. “Why don’t you let
your thoughts create your reality? Why don’t you simply test this
assumption?”

As I said this I reached over to the stack of cards to my right and picked it up.
She watched me carefully as I held the stack high in my left hand - out of
view so that whatever I wrote could not be seen. I wrote a single word
(unknown to her) on each of the four cards; extracting each from under the
elastic band and placing them face down in front of her on the table. She
looked at their blank backs. She had no idea what was written on them.

“I’m going to guide you through some imagery and some memories. Some
experts say that you have the ability to feel different emotions simply by
describing them, or even thinking about them. We’re going to test this
assumption, and if you play along as best you can you will be creating your
reality with immediate results. The more you play along with this and the
more you can imagine, the more you will feel and be able to succeed. Are you
ready?”

“I don’t know what to do,” came her reply.

“Don’t worry, I’ll talk you through it,” I said. “Let’s begin. Close your eyes,
and begin to drum your fingers on the tabletop. Allow the movement to first
be a conscious movement, and once you have a rhythm, just let your
subconscious mind take over and continue drumming your fingers… that’s
right.”

She began to drum with the fingers of her right hand. Soon she had a good
rhythm going.

14
“Now take a moment to think of the one thing you desire most in your life
right now. Try to see it in your mind’s eye. Continue drumming your fingers,
and nod your head when you have a picture of it and you’re visualizing it
clearly. Good. Now amplify that picture, make it brighter and bigger… bigger
and brighter now. Bring it closer to yourself… see yourself in the picture as if
you already have what you desire. Live yourself into that picture. Feel the
feelings you would feel if you had what it is you desire. If there were any
sound you would hear if your desire were fulfilled, imagine that sound right
now. Immerse yourself completely in your desire right now… let it fill your
entire being. Excellent.”

She began to breathe heavily; her skin flushed. A smile began to creep across
her mouth. The drumming was still steady.

“You’re doing very well. Feel that feeling for a little while longer… amplify
and make it as big as you can. Now in a moment I’m going to ask you to stop.
When you stop I will ask you a simple question; just answer without thinking
about it. Ready? Open your eyes. What would you say… left or right?”

“Left,” came her reply.

“Excellent,” I said as I brushed away the two cards on the right. “Quickly
now: one or two?”

“One,” came her answer.

I pushed one card away and drew the other towards me. I wrote the word
‘desire’ on the back.

desire
“Good, you did well. How are you feeling?”

“Pretty good thanx. I’m buzzing a little.”

“That’s to be expected,” I said. “You immersed yourself well into the

visualization. Now, whenever you want to have that same feeling again,
simply try drumming your fingers as you begin to imagine those feelings. In
fact, if you do this often enough you’ll be pleasantly surprised what will
happen with that desire of yours. You’ve also singled out one card. By
immersing yourself in the feelings of desire, and not thinking critically about

15
what you’re doing, you’ve let go of the outcome. This is another way in which
you can access your intuition. We’ll see afterwards how you have done. For
now though, lets continue.”

I pushed the card to her far left so that it was a little beyond my comfortable
reach. I wanted her to know, without saying so, that I would not touch the
card again. I reached over for the others and mixed them around on the table.

“Close your eyes again and place your fingers on the cards. This time I want
you to think of the motivation behind your desire. How badly do you want
this? It’s one thing to have a particular desire… but its even better having a
driving force behind that desire. So, imagine a scale numbered from one to
ten in your mind’s eye right now. Decide where you are currently on that
scale. You might be on a four or a seven… whatever it is, get your starting
point. You have it? Good. Now, what would it take to push that right up to a
ten? Perhaps there is something you need to do to start the process? Imagine
for a moment and decide what that something is. Decide to do something
about it. How badly do you want this? Why do you want it? Feel those
feelings and amplify them. Take a deep breath, open your eyes, and call out a
number… one, two or three?

She opened her eyes and called out “Three!”

“Hold onto that one as I take these other two aside.” I did so and wrote the
word ‘motivation’ on the card under her right middle finger.

motivation
“Two cards left. Place your index fingers on the cards and close your eyes
once more. I fully believe that we all have the resources within us to
accomplish anything if we truly desire it. Nothing can get in your way. If you
have done something once before that you at first thought was impossible, the
chances are that you can do so again with the same resources. You have the
power within you.
In fact, you have done things in the past that you were first unsure of; and
you have done them well. Think back to those times right now… to a time
where you accomplished something you thought impossible.
Feel the feelings of accomplishment… how happy and proud it made you
feel… feel the power. Focus on all that good energy flowing through you.
Excellent. Drum your fingers as you feel that power. Good. Now quick, open
your eyes… without thinking… right or left?”

16
“Right,” came her reply once again.

“By focusing on our inner power and a sense of accomplishment, we will

avoid the obstacles in our way. We’ll see those obstacles as they really are:
challenges to be embraced!”

I took the card from under her right finger and pushed it aside. I wrote the
word ‘power’ on the card she held onto, and then turned my attention back to
the card I had moved aside. I wrote the word ‘obstacles’ on it.

power
obstacles
“You have hopefully avoided the obstacles to your desire,” I said as I looked
in her eyes.

I tilted the card towards myself to check it. In reality though, I was trying to
build a little suspense before revealing it. I looked at the card, looked at her,
and then turned it over slowly so that she could read it. I didn’t say a word. I
waited.

She read it, and then turned it over to read the other side. A mild look of
surprise etched on her face. She quickly checked the back of the card again.

“You’ve successfully avoided the obstacle,” I said. “Let’s see how well you
did with the others.”

I indicated to the other cards. She reached for them and began to turn them
over. Her surprise turned to mild shock, then excitement.

“This can’t be… wow… this is unreal.” She mumbled.

“Well, you created the desire and found the relevant emotion and feelings for
it. Cause and effect. You were successful at making your thoughts real.”

17
I sat back in my chair and relaxed. I didn’t want to step on the moment too
much. Silence, I found, was a wonderful catalyst to awe and wonder. She sat
there with the cards and her thoughts, every now and again picking one up to
make sure that the same word was indeed written on the other side.

“Would you like to try one more?” I said, sensing that I could push the effect I
was having a little bit further.

“Ok,” came her reply.

I pulled a card from under the elastic band and gave it to her. I handed her
the pen too and asked her to draw a picture.

“This is a two-step process. First, I want you to think of a simple image or

design to draw. You can add in some detail if you like in order to make the
drawing only something you would know. The only thing I would suggest to
keep in mind is not to make it too complicated, as step two will involve you
visualizing what you have drawn. This is similar to the process of
manifestation also spoken about in the Secret. The first part is always to
decide what it is you want, adding the detail to make it as real as possible.
The second step is to let it go, but be able to return to a visualization of it as
you need. The third step I’ll explain in a moment.
So decide on a simple drawing, and then add the detail to make it uniquely
yours. I promise not to look.”

I turned away as she began to draw. I smiled at my friend who had been
silently witnessing the exchange the entire time. “Interesting,” is all he said.

She told me when she was done.

I asked her to keep the card face down so that no one could see anything.
I turned back around and silently extended my hand in the direction of the
card. She handed me the card, which I carefully placed into the wallet still
lying on the table.

“I actually need the pen back please,” I smiled softly and held out my hand
again. She handed me the pen.

I pulled another card from the stack and placed

the stack back into the wallet. I picked up the
wallet and replaced it in my pocket.

“Now it’s just me and your thoughts,” I said as

I looked into her eyes.

“Will you be able to visualize the picture

clearly, without difficulty? Good.

18
I want you to keep your eyes open and stare into mine. Relax your shoulders.
Take a deep breath, let it out slowly and relax even more. You will feel a
wonderful warm feeling begin to move over your body. Allow your mind to
slowly clear as you begin to focus only on my voice. That’s right. Continue
taking deep breaths, letting the air out slowly. You will feel an impulse to
blink your eyes. That’s right. Continue to stare into my eyes… listen to the
sound of my voice… allow all background noise to just fade away… it’s no
longer important. The only thing left that is important is listening to the
sound of my voice. Good. You’re doing very well.
Now, in a moment, I want you to begin visualizing the drawing that you
made just a moment ago. See it in your mind’s eye now. See yourself drawing
on the card… allow the drawing to take shape and focus on it. That’s very
good. Keep staring into my eyes and just think about the drawing.”

Without breaking eye contact I began to scribble on the card in front of me. I
didn’t allow her to see… I held her focus the entire time. I turned the card
over when I was done.

“That’s very good. You did very well. Slowly begin to un-focus your eyes.
Blink slowly and return your attention to where you are. Hear the
background noises once again filter through. Take a deep breath, and as you
let it out, return to your normal state… the state you were in before we began.
That’s good. 1… 2… 3… you’re back! How do you feel?”

“Very relaxed,” she said with a smile. “Have you been hypnotizing me?”

“It was merely a trance state, yes… hypnosis? Maybe. It was certainly a
precursor to the hypnotic state. I just wanted you to relax though in order to
visualize clearly, that’s all. That visualization process you can also do at any
time to focus your thoughts on what you want. The more detail you add the
more real you make it.

Now, let’s see if you were successful in letting your thoughts go, so that I
could pick them up.”

I pushed the face down card across to her. She slowly reached over and
turned it over.

“Oh my god!” she cried. “That’s incredible!”

“Did I get it?” I asked nervously.

“Yes! Absolutely! That’s just incredible! Did you do that? I mean, did you just
read my mind?”

“Yes I did, but only because you released your thought,” I replied. “You did
very, very well.”

19
“So you read my thoughts?”

“Yes,” I said again. “It’s one thing to relax enough to release your thoughts,
it’s another thing entirely to pick up on those thoughts. It takes a lot of study
to be able to read people and thoughts.”

“How did you learn that?” she asked sincerely.

“That,” I said, “we’ll leave for another time. It’s all a process that begins with
what you just did.”

20
Deconstructing The How

Although it’s been months since that day, I often use the above scripting as a basis for
that particular sequence, and the results are almost always the same.

As you will appreciate, the routine is best suited for a small group of people ideally
focused towards one person in particular, with maybe three to four onlookers. Any
more spectators and your primary participant may feel too self-conscious.

This routine is also best suited to situations where you won’t be repeating it… perhaps
at a dinner party where you are called on to do something. It can be a little time
consuming because of the visualizations; but it’s within that little exercise that the
realism is found, and the participants and spectators leave with more than just a
memory of you showing them something.

You can of course use the different phases by themselves if need be. Just keep in
mind though that the overall effect can become very diluted.

As mentioned in the introduction, there is nothing really new here. This routine is
more of a hybrid of ideas that rely on a structure and flow for their impact, rather than
the effects themselves.

This is my absolute favorite close-up routine to perform. I always have everything

ready in my wallet just in case the situation arises. I also don’t go out of my way to
perform this. The strength of this routine lies in its deceptive “impromptu” nature. If
you don’t have any business cards on you and you’re able to find some to use, then
this routine becomes truly impromptu.

The routine is constructed to flow in a natural, progressive way, building from a

simple exercise in focusing the participant’s thoughts and emotions to reading her
mind.

Various performers have inspired the different phases of the routine, and I will
attempt to give credit wherever it is due.

Scripting

It is my sole desire that by giving you the scripting as I perform the effects you will
begin to understand the context and atmosphere I set that makes these effects so
strong. In no way am I suggesting that these scripts are the only way to perform the
effects, nor am I saying that you should copy mine verbatim. The scripting and effects
work as well as they do because the ideas conveyed are what I truly believe.
Additionally, my belief is that my sincerity regarding these ideas will be conveyed
subconsciously to the participants. For me, this particular routine and its
corresponding effects are not purely theatrical presentations as you would usually find
in Bizarre or Storytelling Magick.

21
There is a certain amount of realism that I want to convey with this. This is
accomplished by layering the script in the sort of language associated with
conversational hypnosis.

This is one of those rare routines that uses conversational hypnosis throughout the
effect, yet doesn’t overtly state that that is the reason for what happens. This isn’t just
a hook to hang your NLP hat on. You’re actually using simple techniques that will
give the participant a tangible experience, and at the same time you have placed a nice
neat frame around the effects you use.

My intention is to create a moment of emotional experience for the participant that

will tip their scales a little in the direction of the mysterious and believable. In other
words, through the scripting primarily, and the effect secondary, I want to plant a seed
that has the potential to grow into an awareness of wonder in this world. I want to
bring about a sense of real magic, without actually calling it that. For a strong impact
when performing your mentalism, use this mindset when creating your own scripts.
Remember though, that the script given in the routine is only a guideline of the kind
of things to say – you don’t need to say anything verbatim.

On with the program…

22
Phase One

The first phase, I’m sure you will recognize, is a variation of the Bob Hummer
Principle as discussed in various publications.

My good friend “M” shared this effect with me while I was on holiday visiting him. I
am not going to mention his full name here as I don’t know for sure where the
variation of using the Circle, Cross, and Triangle symbols came from, and don’t want
to cause any unnecessary ripples. “M” did give me permission to use it though, and
this is his contribution to the routine.

Drawing and using the symbols on business cards, instead of using normal playing
cards, elevates this effect to a new height. The symbols themselves also help cue you
to the self-working nature of this effect.

I added a mini-reading to start things off. I intentionally keep the outcome or direction
I want to go in away from the participant. Keeping her off-balance adds to the interest
and mystery (hopefully), and helps delivers the appropriate climaxes I seek. In the
above example she chose the Cross or Plus sign. I give her a short reading* using the
cues I discussed in my Simple ESP Card Reading System**.

When the short reading is done, arrange the cards face down in front of the participant
in the following order, from left to right:

1. Circle (one continuous line)

2. Cross (two lines intersecting)
3. Triangle (three lines forming a triangle)

For clarity the symbols are shown face-up in the illustration, although in reality the
cards are actually face down. Instruct the participant to choose any single card, turn it
over and remember the symbol, and to turn it face down again. She is then to swap the
positions of the other two cards.

*See the Bonus Effect: Instant ESP Card Readings below.

**Available at www.mindillusions.co.za/simplereading.htm

23
For instance, if she turns the card in the first position over, she must commit the
Circle to memory. She turns the Circle card face down again, and swaps the Cross and
Triangle around. The script provides the reason to swap the other two cards around.
The impression you’re creating is that by eventually touching all three cards you
won’t be able to tell which one she looked at. You will turn away while she does this.

When she is done, turn back to her and pick up the cards starting at her left (position
1), placing one on top of the other. In other words, pick up the card in the first
position, place it on top of the card in the second position, pick them both up and
place them both on top of the card in the third position. With cards now in hand, mix
them in the following sequence:

1. Move the top two cards to the bottom.

2. Move the top two cards to the bottom.
3. Move the top card to the bottom.
4. Move the top two cards to the bottom.
5. Move the top two cards to the bottom.
6. Move the top card to the bottom.

Essentially you have just moved ten cards to the bottom in a 2-2-1, 2-2-1 sequence.
Deal the cards back onto the table face down, from left to right in front of her. So far
everything appears normal and consistent.
Tell her that as you turn over each card you will ask her if that is the symbol she is
thinking of. She must lie and say “yes” every time, as in the script above

Pick up the card on her far right first (position 3), and turn it over. This card is the one
closest to you, and since she is to answer the same for each card it doesn’t make a
difference to her which one you begin with. Follow by turning the middle card
(position 2) over next, and end by turning the card at her far left over last (position 1),
each time asking if that is her card.

The card in position 3 will tell you everything you need to know:

• If the card in position 3 is the Circle (1), then she chose the Circle.
• If the card in position 3 is the Cross (2), then it’s neither the Cross (2), nor the
Circle (1)… she chose the Triangle (3).
• If the card in position 3 is the Triangle (3), then it’s neither the Triangle (3),
nor the Circle (1)… she chose the Cross (2).

It may sound confusing but if you follow along with cards in hand you will get it
quickly. Run through it a couple of times; choosing a different symbol each time…
and see where the cards end up after you have moved 10 cards to the bottom of the
stack. Use the table above and you will soon see how it works.

While the symbols themselves help hide the fact that this is a card trick, the additional
use of the Pendulum serves to misdirect away from the method even further. Also, by
using the Pendulum, you’re setting the stage for a repeat of phase one. This time
however, she uses the pendulum and finds her own card. How?

24
The cards are marked, which allows you to know where they are at all times at a
glance, and to also know which one she chose.

In fact, since the cards are marked you don’t have to use the method as explained in
the first part of this phase at all. You simply have to turn around and spot the card that
is still in the same position.

However, if you didn’t mark the cards, you would proceed as in the explanation. You
can still have her find the card on her own using the pendulum as in the second part…
but then you’re at a disadvantage to guide her to the correct card. This gives you
options to play with though:

i) Do you mark the cards and play it safe; succeeding in both parts of phase
one?
ii) Do you leave the cards unmarked and succeed in the first part, and take
your chances in the second? Which would play stronger for you?

The second part of phase one is not foolproof by any means. But since you’ve already
established your credibility with the pendulum and reading her thoughts, its ok if she
fails to find her own card. You’ll do the best you can though to subtly lead her to her
card by doing the following:

By timing your words to her actions, and planting the suggestion of movement or no
movement from the pendulum, you’ll have a better chance at guiding her to move the
pendulum over the correct card. Let’s take a look at how the script accomplishes this.
Take note of the parts in bold, and the explanations and motivations that follow in
brackets.

“Now you also have no idea where the card is that you chose.” I replaced
them on the table and continued, “Hold the pendulum like I did before,
bracing your elbow on the table and letting the bob hang over any one of
the cards. Now this requires an amount of sensitivity and openness.
(Preparing her to be open and responsive.)
You know that one of these cards is the one you chose – you consciously
just don’t know which one. Again, neither do I. You cannot consciously lie
to yourself, so you’ll need to speak to your subconscious mind. In other
words, you have to ask yourself if the card you’re holding the bob over is
the card you chose. If it isn’t, the pendulum won’t move, or it might
move very slightly because you’re new to this and the subconscious is
always eager to learn. (Setting up the possibility of the pendulum moving over
the incorrect card. After all, it will be through your guided interpretation of the
movements that she finds the card.)

If it is the card you chose, the pendulum will begin to swing more
wildly than with the other two. (Suggesting once again that specific
movement will indicate the card.) I’ll talk you through it.”

“Ok,” she said as she stared at the pendulum. (Suggesting that she stares at
the pendulum heightens the probability of trance, which in turn makes her more
prone to suggestibility.)

25
 “Relax your grip on the pendulum, holding it loosely. Open your mind
and follow your intuition. Let your subconscious speak to you. Don’t
move the pendulum consciously, just let it move by itself. There, you
see, a tiny movement. Ask the question to yourself now… ‘Is this my
card?’” (Here you’re guiding her to move the pendulum no matter what. If it’s not
her card you still want to suggest a tiny movement in case she is already causing
the pendulum to move. The key is to make it sound like everything you say is
following the pendulum’s actions, when in fact it’s the other way around – you are
controlling the movement of the pendulum by your words.)

We waited a moment, and I continued, “Not much movement there it

seems. Move along to the next card. Try again.” (As the expert with
pendulums it’s up to you to call the shots. Wherever the card is in the lineup on the
table, you want to move along to it fairly quickly, without giving the impression
that you’re rushing past the others. With practice you’ll learn the subtleties.) I
waited a few seconds before moving on. “Try the last one. Ask yourself
the question again, and really imagine the pendulum being able to
answer it. Don’t move it consciously, but allow your subconscious to
move it, if that is the card you chose.” (Enforce the suggestion of movement
from the pendulum when you come to the correct marked card. Make it seem like
its part of her practice in using the pendulum successfully.)

The pendulum began to swing, slow at first until it moved in a nice, wide
circle. Excited, I asked her turn the card over.

“Whoa!” she exclaimed. “That is the card I was thinking of! Awesome!”

Speak in a fairly soft, monotone and commanding voice. Use deliberate pauses as you
make your suggestions. You’re coaxing her to move the pendulum over a given
location that only you know of. Treat the other two locations, no matter where they
might be in the lineup, as practice runs and don’t spend too much time on them. Be
aware that the longer you spend at a particular card location the better the chance is
that the pendulum will swing in a wider arc.

Conversational Hypnotic Language: Keeping it Simple

RAPPORT - All conversational hypnosis begins with rapport. Rapport alludes to

being in sync with the other person. You can achieve rapport in a conscious manner
by observing the behaviors, mood and language of the other person.

Most of the rapport between you as performer and the participant (and audience)
happens naturally in the context of a performance. They have asked you to do
something (or you have proposed to show them something and they have agreed), and
they are thus open to your suggestions. (The only time this may not be true is if you
encounter a heckler or skeptic.)

Although rapport is a given in these situations most of the time, you can heighten the
degree of rapport by doing any of the following:

26
 1. Copy the way the person sits, but do so subtly. If she sits forward then you
lean forward a moment later. If she sits back then you can lean back a moment
later, placing your hands on the back of your head. Don’t make it obvious;
keep it simple. The slightest matching or mirroring of the other person can
bring you into rapport.
2. Observe how animated or calm the person is, and pace their actions with
relevant gestures.
3. Pace their breathing rate. As you approach the moment to begin the
visualizations or even starting the effects, slow your breathing down. Chances
are that they will follow.

These above suggestions aren’t necessary for success, but they do add to the impact of
what you will be doing.

INDUCTIONS - The induction you will use in this routine is very simple. All you
need to do is focus her attention on the pendulum at first. By staring at the pendulum a
light trance is produced at any rate. You can enhance it further by using the following
words:
• Imagine
• Pretend
• Remember
• Think

In the second phase of the routine you will lead them into visualization. Again, this is
simple. Use the above words to help her focus on her memories, imagination, or
feelings.

Example - “Easily and naturally follow my instructions as you listen to the sound of
my voice. Imagine the pendulum moving around in a circle…” or “Think of a desire
that you have… one that you want fulfilled… pretend what it would be like if it were
fulfilled…”

EMBEDDED COMMANDS - Embedded commands are a sneaky way to get

someone to do something without them realizing it is your idea. Your embedded
command is normally a suggestion of some action, said in such a way that the person
easily accepts the suggestion without critically thinking about it. In the above routine
the embedded commands are used as follows:

“Don’t move the pendulum consciously, just let it move by itself. There, you see, a
tiny movement.”

Using a… pause… can really impact on what you want to… say… as the conscious
mind struggles… to fill in the… pause.

27
Additional Credits

There is a lot of information available for using words and language structure to
enhance a routine or effect. Kenton’s Wonder Words immediately comes to mind, as
do various free resources available through Google searches.

Matthew Schouten suggested

the second part of phase one
wherein the participant finds
her own card with the
pendulum. The mechanics
behind the pendulum
(ideomotor response) is
discussed more fully in
Banachek’s Psycho-
Physiological Thought
Reading. My feeling is that it
isn’t foolproof though in this
particular context, hence the
development of the script to
cover any discrepancies.

When “M” (who is not Matthew by the way) and I first developed this routine we also
included psychological forces and bit of business. After a while of performing it I
found that the forces were unnecessary and slowed things down too much, as were the
bits of business. The obvious choice, if you want to include it, would be forcing the
triangle and circle as in Banachek’s Psychological Subtleties 1.

Spend some time running through this effect and you’ll commit it to memory in no
time – and will be able to perform it anytime that you have three of the same business
cards at hand.

28
Phase Two

Four blank-on-both-sides business cards are subtly marked by your favorite method,
yet again. My solution, since the cards start off blank on both sides, is to finger-nick
them… 1 nick on a short side for Desire, 2 nicks on a short side for Motivation, 1 nick
along either the top or bottom of the card for Power, and no nick for Obstacle. A
similar marking system is used for the cards in Phase 1. Let’s have a re-look at the
scripting and presentation that will act to hide the force:

We’re at a point in the routine where the stack of bound cards has been taken from the
card wallet and you’re holding them in your left hand. (Grab a stack and follow along
with me.)

As you write the word Desire on the first card, hiding what you are writing from the
participant’s view, you will secretly nail nick the card on the short side. I find it
easiest to nick it on the right side. Place the card face down on the table and repeat the
writing and nail nicking with the other cards, writing the words Motivation, Power
and Obstacles as necessary.

(Before the participant is asked to close her eyes and visualize, you can request that
she reaches out and touches a card with the index and middle finger of each hand.
Having her close her eyes and undergo a guided relaxation and visualization further
serves to disconnect her from her tactile experience of touching the cards.)

The situation is now that four cards lie face down, writing unknown, in front of the
participant as you place the rest of the stack back in the card wallet. Leaving the card
wallet where it is, you proceed with the first emotion and visualization. The important
thing is to take your time with the relaxation and visualization of each emotion. Don’t
rush her.

Equivoque

She sits with her eyes closed, touching the four face down cards with her fingertips:

“Now take a moment to think of the one thing you desire most in your life
right now. Try to see it in your mind’s eye. Continue drumming your
fingers, and nod your head when you have a picture of it and you’re
visualizing it clearly. Good. Now amplify that picture, make it brighter
and bigger… bigger and brighter now. Bring it closer to yourself… see
yourself in the picture as if you already have what you desire. Feel the
feelings you would feel if you had what it is you desire. If there were any
sound you would hear if you had your desire, imagine that sound right
now. Immerse yourself completely in your desire right now… let it fill
your entire being. Excellent.”

29
 I watched carefully as her state changed. She breathed heavily; her skin
flushed. A smile began to creep across her mouth. The drumming was still
steady.

“You’re doing very well. Feel that feeling for a little while longer…
amplify and make it as big as you can. Now in a moment I’m going to ask
you to stop. When you stop I will ask you a simple question; just answer
without thinking about it. Ready? Open your eyes. What would you say…
left or right?”

“Left,” came her reply.

“Excellent,” I said as I brushed away the two cards on the right. “Quickly
now: one or two?”

“One,” came her answer.

I pushed one card away and drew the other towards me. I wrote the word
‘desire’ on the back.

Whether the participant says “Left” or “Right” is of no consequence here. Since she is
unaware as to what you’re really up to, and hopefully immersed in her private
thoughts about her Desire at the same time, you can direct and discard her choices as
you need. The cards are marked and you’re able to keep track of which group needs to
be discarded and which needs to be kept at each stage while you narrow down the
choices.

Whether she says “Left” or “Right”, discard the appropriate pile that does not contain
the Desire card, and treat the remaining two cards numerically as “One” or “Two”,
again discarding the other card until Desire remains (you know which card it is
because its secretly marked). Now let her see you write the word Desire in clear view
on the blank side of the (Desire) card. The first card is done.

Mix the three remaining cards and have her touch them again with her fingertips.

“Close your eyes again and place your fingers on the cards. This time I
want you to think of the motivation behind your desire. How badly do
you want this? It’s one thing to have a particular desire… but its even
better having a driving force behind that desire. So, imagine a scale
numbered from one to ten in your mind’s eye right now. Decide where
you are currently on that scale. You might be on a four or a seven…
whatever it is, get your starting point. You have it? Good. Now, what
would it take to push that right up to a ten? Perhaps there is something
you need to do to start the process? Imagine for a moment and decide
what that something is. Decide to do something about it. How badly do
you want this? Why do you want it? Feel those feelings and amplify them.
Take a deep breath, open your eyes, and call out a number… one, two or
three?

30
1-
• She calls out “1”: If the ‘Motivation’ card is in position 1, under the left index
finger, simply let her hold onto it and discard the other two under the right
fingers. Write the word ‘Motivation’ on card 1.
• She calls out “1”: If the ‘Motivation’ card is in position 2, discard card number
1, under her left index finger, and separate the remaining two cards so that one
will now be under her left index finger and one will be under her right index
finger. Now give her the choice of “Left” or “Right”. Either way she chooses,
discard the incorrect card and write the word ‘Motivation’ on the correct
(marked) card.
• She calls out “1”: If the ‘Motivation’ card is in position 3, under her right
middle finger, again, discard the card in position 1, separate the remaining two
cards, and repeat as above.
2-
• She calls out “2”: If the ‘Motivation’ card is in position 1, under the left index
finger, then discard card number 2, and separate the remaining two into “Left”
or “Right”.
• She calls out “2”: If the ‘Motivation’ card is in position 2, which will be under
the right index finger, simply let her hold onto it and discard the other two
under the incorrect fingers.
• She calls out “2”: If the ‘Motivation’ card is in position 3, under her right
middle finger, discard card number 2, and separate the remaining two into
“Left” or “Right”.
3-
• She calls out “3”: If the ‘Motivation’ card is in position 1, under the left index
finger, discard card number 3, and separate the remaining two into “Left” or
“Right”.
• She calls out “3”: If the ‘Motivation’ card is in position 2, which will be under
the right index finger, discard card number 3, and separate the remaining two
into “Left” or “Right”.
• She calls out “3”: If the ‘Motivation’ card is in position 3, under her right
middle finger, allow her to hold onto it while you discard the remaining two
cards.

After writing the word ‘Motivation’ on the correct (marked) card that she chose (you
forced) as above, you’re now down to two cards: ‘Power’ and ‘Obstacles’. Here the
choice is obvious: “Left” or “Right”. Go through the visualization for ‘Power’ and
allow her to hold onto the ‘Power’ card while you pull the remaining blank card
toward yourself and write the word ‘Obstacles’ openly on it. Reach across and with
the other card still in front of her, scribble the word ‘Power’ on it. Focus her attention
back to the ‘Obstacles’ card in front of you. End the effect as described in the routine.

“You have hopefully avoided the obstacles to your desire,” I said as I

looked in her eyes.

I tilted the card towards myself to check it. In reality though, I was trying
to build a little suspense before revealing it. I looked at the card, looked at
her, and then turned it over slowly so that she could read it. I didn’t say a
word. I waited.

31
Simply let her sit with what is about to come, as she begins to draw her own
conclusions. Please don’t step on the moment.

Equivoque Summary

I know it sounds tricky but if you are keeping track of each marked card at each
relevant phase of the routine, and you consistently first discard to leave her with her
ultimate choice, the Equivoque principle is well covered:

• The first time (‘Desire’ card) you do it, you give the option of “Left” or
“Right” first, and the choice of the number second.
• The second time (‘Motivation’ card) you do it, you give the option of number
first and “Left” or “Right” second, as needed.
• The third and final time (‘Power’ card) you do it, you give the only option that
remains that makes sense - which is the option of “Left” or “Right”. Again,
you discard the incorrect card, but this time immediately write the word
‘Obstacles’ on it… and a moment later (time misdirection) call her attention to
the fact that she “hopefully avoided the obstacles”.

Find the rhythm in this above procedure and you will see that it works well.

Anchoring

Anchoring is a way of linking elicited states of arousal and emotion to a particular

object, person, place, time or situation. The concept is simple: Get into the state of
emotion you desire and at the peak of the state perform some unique action that
associates the two. Then, the premise goes, by performing that unique action the
associative emotion is recalled.

In the routine above, drumming on the tabletop as she imagines or experiences those
different emotions will anchor her to those emotions… as well as anchor her feeling
good, to you. This is a wonderful by-product of the routine. Remind her that she can
feel those same feelings later while she drums her fingers.

Additional Credits

I developed the middle phase of the routine after being inspired by John Riggs’s
“They Hell Fire” (available on his lecture DVD “Unchained” at
http://www.jonsaintgermain.com/books02.htm). John has kindly given permission for
mention of his work here. His routine is in turn inspired by Cicardi’s work.

Matthew Schouten suggested the themes of Desire, Motivation, Power, and Obstacles
in keeping with the overall theme of the routine: creating your own reality. As he
pointed out, these themes are also more appropriate for corporate clientele.

32
Equivoque has been studied, used and written about by the best. There is nothing
really new here either. What I do recommend however is not to rush the presentation
(there is no need to because of the relaxed mood created by the visualizations), and to
find the rhythm where your words suit your actions while discarding or writing on the
business cards.

33
Phase Three

The third phase is a simple dressed-up drawing duplication, utilizing Mark Striving’s
Sight Unseen Case. The SUC, for those not in the know, is a wonderful peek device in
the disguise of a business card wallet. Although I highly recommend the SUC, almost
any other peek wallet within reason can be employed.

My offering here is simply the subtle use of the wallet throughout the routine, doing
away with the much feared “heat” that mentalists often complain about when bringing
out such props. The idea is to use the wallet or case within the routine in such a way
that it appears incidental to the effect: it is merely what it proposes to be… a business
card case that holds bits of paper. The routine is structured so that by the time the
wallet is used to peek, it no longer features in the audience’s critical minds.

You’ll also note that I have at my ready a reason for carrying blank business cards
that seems to make sense, especially when I proceed to use them in that exact context.

In dissecting this third phase further you’ll notice that once the peek wallet is put
away no further reference is made to it. All that is left is the participant’s thoughts and
my revelation. That’s where I want her focus to be… not on the card or wallet.

If you re-read the scripting for this third phase of Drawing Duplication you will see
that I provide the participant with a thread of plausibility. In fact the entire sequence
from the beginning first phase leads up to this moment, and hints to the participant
that she could have similar experiences if she perseveres.

It was with reading Chuck Hickok’s Mentalism Incorporated book that I first began
giving thought to a scale of believability, or a thread of plausibility. Mentalism has the
potential to have such a strong impact that the novice performer can ruin the effect by
moving up the scale too fast by doing too much. This fact is confirmed in online
forum questions from newcomers who sense they don’t have the credibility they seek
in the effects they perform.

(The problem is once again related to context, consistency and developing a persona
congruent with your own character or personality. If any of these elements are not
present, then leaping from being an expert in body language – as an example – and
finding cards, to a sightless vision act, tips the scale of believability against you. I believe
that if you want to have impact in mentalism you have to be believable. Your audience
must be able to identify with you. Being congruent and consistent with what is believable
within the parameters of your performing character is essential. Furthermore, if you are
not a successful and convincing actor, then your performing character in mentalism is
best tailored as close to the real you as possible.)

34
Also note my final remark to her question “How did you learn/do that?” which was,
“That, we’ll leave for another time. It’s all a process that begins with what you just
did.”

I haven’t lied to her in order to escape the question, nor have I made any disclaimers.
I have presented an emotional experience… and to make a disclaimer at any point
within this structure is to rob the participant of that experience. I suggest that with any
magic or mentalism you perform, that you ready yourself with something to say when
the inevitable is asked. It’s also time to break that old mold of “Can you keep a
secret? So can I,” or “I do it very well thank you,” or any other such snappy remarks.
We must begin to treat our audiences with respect if we are to be respected and taken
seriously as entertainers.

When I silently extend my hand towards her after turning back around, I expect one of
two things to happen: either she will give back the pen or she will hand me the card. It
really doesn’t matter what she hands me first, as I’ll simply then ask for the other,
implying that she misunderstood me. It’s a subtle manipulation without her feeling
that it is… and I have successfully taken the card back without really asking for it. In
this manner, she is left with the impression that what has transpired is just the normal
course of events.

I have read somewhere that there is a particular rhythm in theatre, and that we should
strive to utilize this concept in performance. For instance: a climax at the end of an
effect can consist of one moment (the revelation of the prediction for instance), or the
climax can consist of two or more moments, each one stronger or more impossible
than the last. This concept that I read, suggested that three climaxes or moments feel
theatrically correct... that two is too little and four is too much, and both these will
make the effect feel off balance. Three is just right. So it is with this third and final
phase that the business card wallet will be utilized covertly, and removed from sight
openly.

Take the card and place it into the wallet, in position for the peek. Extract a blank
business card to duplicate the drawing on, close everything up inside the wallet, get
your peek, and put the wallet away. The rest is presentation as per the script.

If you should use the presentational ideas in this routine, then don’t take your eyes off
hers as you draw. Don’t break eye contact. Eye contact ensures a high level of rapport
in this instance as well as adding a level of legitimacy to what you are doing… in
other words by keeping eye contact you’re providing the participant and any
spectators with the supposed process of reading her thoughts. By not looking at what
you are drawing the chances are that your drawing won’t be perfect. That’s a good
thing.

Don’t show her the drawing. Allow her to turn the card over and see it herself. Resist
the temptation to look at it to see if you got it right. You can now sincerely ask if you
did. This plays dramatically stronger.

35
Additional Credits and Thoughts

Peeks and peek wallets abound. Richard Busch provides some excellent ideas in his
books Peek Performances and Peek Encores that can be substituted here.

36
Conclusion

In summary, this routine epitomises what I enjoy about mentalism so much, and is
exactly what I strive for in my performances. The focus is more on the participant's
experience of it, while the performer's ego takes a back seat. I know that some
performers cringe at this approach because it places them outside of the spotlight. But
I don't think so. I don’t focus on that. This is my attempt at a journey back to the
routes of magic where the mystery worker had the power to transcend the ordinary
and mundane – where magic was revered and not thought of as mere foolery. My
skills or "powers" implied are far stronger that those same skills or "powers" overtly
stated. I want my audience to be thinking, “What else can he do that he isn’t telling us
about?”

I also enjoy the role of a facilitator, and what I like to call ‘non-performance’. My
opinion is that this is the direction mentalism should now be taking if we are to grow
it any further. We have so much information at our disposal but we are not using it
correctly. Our current focus is in the wrong place. It shouldn’t be about new, bigger or
better methods, but rather how to affect our audiences: how to touch them emotionally
and meaningfully. The question I then dare you to ask yourself when creating your
routine or deciding on an effect is this:

“How would I feel if I was shown this piece of magic? Would I be in total awe and
wonder? Would I get gooseflesh and emotional, wondering if I might be missing out
on something bigger than me? Or would I be entertained and think how clever, yet
really not care too much?”

And even just as important is this:

“What do you want to do with your magic/mentalism?”

Every top performer knows the answer to these questions. They have it in the mind
what their Intent is. They embody their heritage and the magic that they are a part of.
This is what separates them from the rest. Allow me to give you one more example:

The novice, when learning real magick, begins with the rituals that are designed to
help focus the mind and energies of Intent. There is a structure and a system in place
and everything must be followed to the letter. It’s like baking a cake: first the recipe,
then the ingredients and the equipment, and then following the procedure for baking.
Soon enough, with enough practice, the practitioner is no longer a novice. He (or she)
has committed the steps and the elements of baking to memory, and can perform
magick without the recipe. In due time comes the realization though, that just as there
is no longer a need for the recipe, so too there is no need for the specific ingredients,
or equipment, or even procedures. The novice has become a master when he (or she)
realizes that there is no need for any of those things, as magick lives inside of them.
They embody it. They are it. And then the circle comes complete when the master
gives up this title and realizes that there is no such thing as magick… there is no cake.
Everything is magick.

Philosophical rant ended. Do with it what you like.

37
The Secret is a thought-provoking documentary-style movie about manifesting and
how to use The Law of Attraction to create whatever you want in your life. Whether
you believe what this movie proposes or not, you’ll find in it an excellent resource of
metaphysical insight. If you haven’t seen it yet I highly recommend it – and you may
want to watch it more than once. You can also sign up for a mini-course delivered to
your email inbox – this is a great way to learn more before buying.

Finally, I have seen on so many instructional DVDs performers who grunt when
trying to read a mind. Please don’t. And don’t grimace either. It’s unprofessional and
it’s bad acting. Do yourself and your audience a favor and watch the movie
Phenomenon starring John Travolta. John’s character, George Malley, apparently
experiences a strange encounter on his birthday, which causes him to develop what
we would call, psychic phenomena. George is a gentle, simple and humble sort of guy
devoid of ego. When he is asked to explain how he moves a pen or pair of spectacles,
he says that “it is a partnership between me and the pen… it’s not that I will it to
move, but rather that I ask it to move”. His newfound abilities amaze him as much as
it does his friends, and he develops a childlike enthusiasm for it. This is the mindset I
take and the approach I use. For me, it is an elegant and convincing approach that
makes sense. Watch the movie again and see what I mean. See the dance.

Have impact with this. I do.

Alan Strydom | Plettenberg Bay | South Africa | February 2007

38
Bonus Effect

* Instant ESP Card Readings

This little idea was inspired in October 2006 when Chet Cox found himself
being interviewed on radio without warning. Chet luckily had a few items on
his person such as bits of paper and a pen (and an ESP deck!), and he was able
to give an awesome performance on the air for much longer than the radio
station had intended! While Chet came through with flying colors, my mind
started to wrestle with the “what ifs”.

Chet had related the story to me afterwards how my Simple ESP Card
Reading System and Richard Osterlind’s version of Acidus Novus had saved
the day, but I couldn’t help but wonder what would have happened if Chet
did not have an ESP deck with him.

Not wanting to place him, or anyone who purchased SERS in such a

predicament, I offer this little tidbit.

The idea is based on the intuitive nature of the Simple ESP Card Reading
System. If you’re ever in a situation where you have nothing on you but want
to give a reading – and assuming you know nothing of Palmistry or
Numerology – simply draw the 5 ESP symbols on a piece of paper (or each
one on its own piece), and ask your Sitter/Participant to gaze at the symbols.

“Allow your attention to settle on just one of these symbols. Let it stand out
for you… call out to you… which one are you drawn to?”

Now give a reading (using the Simple ESP Card Reading System prompts) for
whichever symbol the Sitter/Participant points to or calls out. The premise is
an old idea based in pop psychology whereby we, as humans, have a
tendency to look for reason and meaning in things outside of us. Many of us
have an old habit of looking for signs. Consider as an example, the old idea of
asking a question and opening an inspirational book and taking whatever you
read or see as the answer to your question. Fortune Cookies act in much the
same way… by taking our time to choose a particular cookie we hope to find
an inspirational message that will answer the questions foremost on our
minds at that particular time. We hope to receive some guidance. Symbols in
dream interpretation act in a very similar manner. So does choosing numbers
for the lottery if you think about it. It’s almost a superstitious act.

We can thus give a reading for a particular symbol that a Participant is drawn
to, without having to carry a deck of ESP cards, or for that matter Tarot cards,
around with us.

39
Similarly, if ever on radio and you want to give a reading, but need a way to
initiate it, simply ask the caller to close his or her eyes and lead them into a
brief visualization of the symbols. You needn’t use all five symbols, as three
are enough. The more you can have the caller focus on what you’re saying,
the better chance you have of him or her calling out a symbol which (perhaps
subconsciously) has meaning for them. Then simply use that symbol as a
basis for the reading as you begin to free associate the meanings.

For added performance impact remember that any piece of paper can be
subtly marked. By turning the pieces of paper with the symbols drawn on
face down you can give a “destiny” themed reading.

As you no doubt have realized this type of reading is best used in emergency
or for very, very short readings. You could however, ask the caller (or Sitter)
to name the symbols in their personal order of preference, thereby extending
the reading from what is foremost on their mind to what is of least
importance. Add in the spreads from The Simple ESP Card Reading System
and you’re good to go with even more information.

Use with fun and care.

Bonus Effect Disclaimer

The ideas in Instant ESP Card Readings were developed independently of Enrique Enriquez
Invisible Tarot. On learning of Enrique’s book, I sent this bonus effect to him. In Enrique’s
own words:

First of all, thanks for sharing your material with me.

Regarding the Bonus Effect, yes, I would say the premise is the same; but The Invisible Tarot is a
specific procedure to systematize that premise. It is an application to use Tarot imagery in a very
specific way, as a tool to unleash the sitter’s own imagery. In that sense, it is my personal opinion
that there is no conflict. It is like if we both have our own versions of the Center Tear. Loren himself
pointed out to me that he had a tarotless-tarot idea on his tarot Business Bundle package, and I
am sure there are other approaches based on the same premise.

I appreciate your interest and attitude on this.

All the best,

EE

Enrique’s Invisible Tarot can be found at www.mevproshop.com

THE END

40
PALMISTRY QUICKIES
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I gave your book (Palmistry Quickies) a quick read (pun intended) and
love it!

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I have done many parties where I did only walk around palmistry
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Millard Longman

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41
 Finally, an easy card reading system designed with you in mind!

Contents include:

1. The Simple ESP

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System (SERS)
explained

2. Preferred cards to
be used and why

3. How to easily take

your reading to
miracle status

4. Safe method for

answering
particular
questions

5. How to
incorporate SERS
into other systems

6. Recommended
spreads and why

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to get you started

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“Where it gets really good,
is when Alan urges the
reader to use their intuition
and deductive reasoning. This 30 page ebook includes all you need to give a reading
And when he insists on a using the novelty of ESP cards, and is suited to the beginner
moral foundation for the as well as the seasoned professional reader.
reader. It's one of the
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“Alan's system is excellent. www.mindillusions.co.za/simplereading/htm

If you do readings, or are
considering doing them, I
highly recommend Alan's “Alan takes the premise originally outlined by Rudy Hunter in
ESP System. Easy to learn MAGICK issue 413, and reworks and expands it to a complete
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ever seen. I have always from the previous section.
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42