Jose Prager - Goats Grimore

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Goat's
Grimoire
Jos Prager

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I dedicate this book to my father, and to my soul mate, Mnica.

Father, you taught me the game, and you taught me how to play it right.

Mnica, yes, it was love at first sight.

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Illustrations by Gonzalo Carrera Graniel

Proofread by Mike Vance & Mauricio Jaramillo

Copyr i ght 2013 by J os Pr ager

The Author asserts the moral right to be identified as the creator of this
work. All rights reserved.

No par t of thi s publ i cati on may be r epr oduce d, s tor ed i n
a r etr i eval s ys tem, or tr ans mi tted, i n any f or m or by any
means , el ectr oni c, mechani cal , photocopyi ng, r ecor di ng,
the i nter net, or other wi s e, wi thout the pr i or per mi s s i on
of the author i n wr i ti ng.

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Contents
Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
3386. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
This eye. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Duplo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
This eye 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
This eye 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
34
45
51
The goat knew me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Heavy amnesia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Mind flight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Scanner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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81
Psychological jar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Mr. Green's system. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Goat touch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Blank bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Leatherface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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126
PK team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Cliff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Acknowledgements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Preface

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What you are holding between your hands is a collection of nine, fully
scripted, mentalism routines and five utility devices that have been
carefully developed and successfully tested by me with the help of Luke
Jermay and Peter Turner.

After each effect, you will also find what I like to call Peter Turner's
"Golden Touches," which take each effect to a level you never thought
possible. Read carefully. There are many hidden gems between the lines.

Jos Prager
April 2013

3386
Jose Prager & Luke Jermay

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3 3 8 6 Ef f ect:
The performer begins, addressing a woman in the group:

I can already sense that you are the type of person who is open to new
and unusual experiences. I get the feeling that you have a great deal of
untapped creative energy; you are the type of person who has 10
proj ects going all at once; you find it a little difficult to finish those
proj ects, but you have a really active imagination. This is good news, as
for successful demonstrations of telepathy, a strong imagination is one
of the vital elements. Would you like to try an experiment?

The spectator smiles and agrees. The performer continues:

OK, I am going to try to tell you one of your most deeply protected
secrets. Already many things are coming into your mindthose things
that you would really rather I not know, the things that you really
would rather I not tell everyone here.

The performer allows the weight of his claim to set in, and then after a
beat smiles to break the tension, and continues:

I n your mind, focus on a piece of information that I could not know.

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The performer pauses, and after a moment or two continues:

OK, not that. Change your mind and go for something else. J ust allow
your mind to cycle through different pieces of information that a
stranger would not, could not, know about you. I will work with
whatever my imagination brings to me.

The performer pauses and then smiles:

Perfect. We will go for something personal but safe, something you
will be able to change: your Pin number. J ust focus your mind even
stronger on your Pin number.

The performer pauses and writes something on a piece of paper. After a
moment or two, he looks at the paper and then scribbles it out, without
anyone seeing what he has written. Seemingly, he has made a mistake,
but continues addressing the participant:

Please really focus your mind on your Pin number. I know this is
something that perhaps you would prefer I not know, and that makes
sense, however the brain is an amazing thing. The moment we even begin
to think about something, the full thought forms. So right now, even if
you try to resist, the moment I plant the idea of walking to the ATM

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and pressing the numbers, your numbers, your Pin number, into the
machine, it appears fully in your mind. I t is odd, isnt it?

The spectator agrees that even as they were trying to not think about
their Pin number, they did. The performer continues:

Perfect. I knew you were the perfect person for this.

After a moment, the performer writes something new on the paper,
which he folds and hands to the participant, who holds it in their hand
in a closed fist. He mentions:

I am committed. I cannot change my mind. However, I do not think I
will regret my final decision.

Addressing the participant, the performer continues:
Please be 100% honest. What is your Pin number?

The participant replies: 2678

The performer smiles and continues:

Good. I do not regret my decision. I will show you my decision in a
moment, however first I want to try something else, something more

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difficult. I knew that you were the type of person with great untapped
creative potential, the type of person with great imagination, the vital
skill when it comes to successful telepathy. So I want to see if you can
read my mind. I t is only fair. I know your Pin number; now it is time
for you to try to find out mine.

The performer takes a second blank page of paper and opens it and
writes something on it, and refolds it, handing it back to the spectator
to hold. He continues:

I have again committed myself. I have written my Pin number on the
paper. I want you to follow my guidance, and I am confident you will
be able to read my mind. I am 99% sure of that. Do not try to work this
out logically, there is no way you can. Do not try to rely on reasoning,
there is no reasoning. J ust follow the first thought, the first idea that
comes into your head. Listen to my instructions and do not second-guess
your first thought, your first intuition.

The performer leads the participant through a series of instructions, at
the end of which she forms a set of numbers in her mind, which she says
aloud. The performer takes the paper from the participant and opens it,
so only he can see what is written on the paper. The performer once
again asks that the participant say aloud the number she had in mind,

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the number she formed when trying to guess the performer's Pin
number. She replies: 3386.

The mentalist turns the paper around dramatically, revealing that the
participant guessed the performer's Pin number accurately.

The performer again asks the participant to say her own Pin number
aloud. Amazingly, written on the other piece of paper for all to see is the
very same number.

3 3 8 6 S etup:
On a blank billet, in the centre, write "0000. " Now scribble over these
numbers until they cannot be read. Ensure you have rendered these
numbers totally illegible by scribbling them out. This will be used later
to subtly prove that you wrote their Pin number before they told you
theirs.

3 3 8 6 Method:
As with much mentalism, the real secret to this routine is in the
scripting and the delivery of that scripting in performance. The
mechanical method is simple, allowing you to really focus on delivering
the performance your audience deserves. We will detail the mechanical
method for this routine in this part of the manuscript. I suggest you

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follow along with some billets in hand to really understand how simple,
easy and smooth this routine will be in performance. When you have
fully understood the mechanical method for this routine, please go
back and read the performance script again a few times. It has been
designed to make the performance of this routine as smooth and easy
for you as possible. While it is possible to change the script to suit your
own personal style, I suggest you retain the general structure and form
of the script, as it includes many hidden linguistic deceptions that will
increase the impact of your performance.

Begin by asking your participant to think of their Pin number. After a
dramatic pause, pretend to write 4 digits on the blank billet, and after a
few seconds to scribble them out; use your nail against the paper to
simulate the sound of the pen on the paper. Ask your participant to
concentrate harder, and after a few seconds write 3386, fold it into
quarters, place it into your spectator's hand and ask her to make a fist
around it. Claim that you have committed yourself and that you can't
change your mind. Ask them to be honest and to say their Pin out loud.

At this point, commit their Pin to memory! It is only 4 digits, so this
should not be too difficult; however, I tend to turn the numbers into
images in my mind using some simple memory techniques, just to be
sure I will not forget them. Say that, before showing if you are right or

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wrong, you want them to try to read your mind. They will attempt to
guess your Pin number.

Take the prepared billet (the billet on which you earlier wrote 0000 and
then scribbled out), and write their Pin just below the scribbles, fold it
the same way as the first one and place it inside their fist. They now hold
their Pin and your Pin in their fist.

Tell your participant that you will concentrate on your Pin and they are
going to receive it; you will guide them since they have never done
something like this. Ask her to let go of reasoning and to allow the
numbers to come to her mind. You will make use of an adjusted
psychological force. At first glance this may appear to be the same as the
classic 37 force. However, please pay close attention to it as you read it
and you will soon see the differences. Frame the use of this
psychological force as a guided process, to help them succeed as they are
new to this and instruct the spectator to bring the numbers to mind at
each stage of the force.

For example:
I am going to guide you. Since this is your first time, please do not
second-guess yourself; go with your very first instinct, your true
intuitive reaction. We will work 2 digits at a time. Let' s begin with the
first 2 numbers in my Pin. The first two digits, together, make a

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number lower than 50. Both digits are odd in fact; they are the same
number repeated11 would work, but 15 would not. Already I know
there are two numbers that have come into your mind. Lock those
numbers in your mind and do not change your mind. I t is vital we work
with the very first reaction you have.

You have now successfully executed a modified psychological force.
This is my method to force the number 33, and it will hit 99. 99% of the
time. In the years I have been using it, I have found it to be highly
reliable and highly effective. You will now continue with the forcing
process, having the spectator focus their mind on the final 2 digits in
the number:

You are already doing remarkably well. Let' s now turn our attention to
the final 2 digits.

Together they form a number bigger than 50, and this time both are
even and different one from the other. Again I can sense you already
have numbers in mind. Please lock those into your mind for me. Do not
change your mind. Trust your first reactions.

You now explain that they have to mentally place the first two digits
followed by the other two digits to form a complete Pin:

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Great. Please take the first numbers that came into your mind, and put
them in front of the others. You should have 4 digits in your mind, 4
digits that have come to your mind, with no real reasoning or logic.
They are j ust arriving in your mind from your own imagination, your
own intuition and instinct. I can already tell you, I am thrilled I asked
you to do this

You will next take the billets from the spectator's hand. Open and hold
one in each hand, making sure that the writing on them is facing you
and not visible to anyone else. Ask the participant to name out loud the
Pin they formed inside their head when trying to guess your Pin
number. Turn around the 3386 billet to reveal that they successfully
received your Pin! This is the first formal climax within the routine.
Allow the impact of this moment to really sink in, and for your
audience to show their appreciation. Do not be tempted to rush to the
final climax and in the process not give this strong moment the time is
deserves to sink in.

I am a mind reader, so I know as you read this you are thinking to
yourself: What happens if the force misses? Thanks to my 33 force,
they will always get at least two digits out of four. If they get two or three
digits correct, it is still very impressive; don't forget to congratulate
them! If they do not get the force 100% correct, simply handle this as a

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warm-up test and congratulate them for whatever success they did
achieve.

Now continue with the second formal climax of the routine. Ask the
participant to name their Pin number out loud. After a suitable
dramatic pause, turn the other billet around to reveal that you correctly
received their Pin! The subtle detail of the scribbled number convinces
everyone that that is the first billet you used, making the one-ahead
principle completely invisible.

You need to deliver the Pin force smoothly and quickly. One of the
easiest ways to do this is by memorizing the Pin force script. Here is the
complete Pin force script; read out loud and repeat, repeat, repeat, until
you are 100% comfortable with delivering the script each and every
time in performance:

I am going to concentrate on my Pin, and hopefully you are going to
receive it. Let go of reasoning and allow the numbers to come to your
mind. I am going to guide you since this is the first time you have done
thisTo make it easy for you, I will think in two digits at a time. The
first two digits I am concentrating on, together, make a number lower
than 50. Both digits are odd, and in fact they are the same number
repeated. For example, 11 would be OK, but 15 would NOT. Got a
number in mind? Perfect. Please remember it. Now I am going to

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concentrate on the last two digits. Together they form a number greater
than 50; this time both are even and different one from the other. Got a
number in mind? Great! Now please place in your mind the first two
digits followed by the other two digits to form a complete Pin, and
make sure you remember it.

Addi ti onal thoughts by Peter Tur ner :
One thing I always take into account in performance is logic; an effect
minus logic is often so transparent that it makes the effect see-through
and easy to work out from an audiences perspective, often making the
simplest pieces of mind reading seem bolder in performance than they
need to be.

One such principle that has long been a problem for me and other
performers I have talked to is the one-ahead: a devastatingly simple
principle that is so easy to perform badly. It is not so much the principle
or effect of a one-ahead that is the difficulty, but a logical reason as to
why the participant should say their thought out loud at all. Here I offer
a logical reason that I have been using for a long time and perfectly fits
this type of routine (a one-phrase one-ahead).

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Cl os e up
{I will frame this in the context of the current routine. }
I would like to try something a little interesting with you. Can you
generate a four-digit number in your mind for me? And please, for the
purpose of this, make it as random as possible.

For all intents and purposes, this number could be a pin code, but to
protect your privacy, I am obviously not going to reveal your actual pin
code, so this will make a nice substitute.

Lets take this a step further. I want you to constantly keep changing
the numbers, so even you dont know what numbers you are going to
generate.

I am going to commit to my thoughts on this card, and after this I will
give you a chance to change your mind further. Then whatever four
digits you say out loud after this point, after you have changed your
mind as many times as you like, will be your final decision. I want you
to j ust keep changing the numbers in your mind.

The performer writes down his impressions. (Write 3386. )

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Change your mind a few more times ( pause a few seconds) and say the
four digits that are in your head right now ( snap your fingers) . These
four digits are the four digits that you have committed to. Are you
entirely happy that these numbers are completely random?

(Let the participant answer)

From this point onward, I will refer to these numbers as your pin
code.

[What is great about this approach is that there is now a logical reason as
to why the participant is saying the numbers out loud. Look at this in a
simplified sense. They are repeatedly changing their mind and only
commit to the four digits when they say them out loud. So they have to
say them out loud, which is great as it logically makes sense.

Another interesting thing to point out here is that anybody who steps
into the effect at this point will hear the four digits being called a pin
code and see a much more impressive effect! ]

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S tage
An interesting principle for stage with a one-ahead is something that is
often overlooked, but very simple, and from the audience's perspective
makes this entire thing completely impossible.

Ask a member of the audience to stand. After you have repeated the
above script about changing their mind and mentioned that whatever
digits they say out loud are going to be the digits that they commit to,
you write your impressions (WRITE NOTHING) and place it
somewhere everyone can see.

Make a point of saying to the audience that you have committed to the
number on which you think they are going to settle. Say to the
participant:

I am going to ask you what the numbers are in few seconds, but for
now let me ask you a couple of questions.

(Ask a couple of random questions. )

In fact, I am going to change my mind, pick up the prediction, pretend
to scribble it out and now write "3386. " (THIS OBVIOUSLY SETS US UP
FOR OUR PLOY LATER, BUT ALSO SOMETHING EVEN MORE

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BEAUTIFUL. ) Approach the participant, take his/her wrists and look
right at her and say:

I think I am happy with what I chose.

Ask for a round of applause and walk the participant to the stage. Under
the round of applause, say:

Sorry, I forgot to ask. What were the digits you chose?

The participant will sing like a canary, believing you have committed to
something. And now you have your piece of information.

[As you can see, this is beautiful, as no one else in the room knows that
you know the four digits, meaning no one else in the room could ever
even begin to work out the method. ]

After you have proceeded to get the participant to make a guess at your
number, say to the participant:

Can you tell the audience FOR THE FI RST TI ME what your four
digits were?

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[This one line will psychologically imply to the audience that the digits
were never said out loud before that moment. ]

{As you can see with the above two pieces, they are beautifully
constructed in a way that not only makes them logical, but also makes
the method more water tight. These principles dont have to be applied
to just this routine, but can be applied to any routine that requires any
sort of one-ahead, making them great for flexibility purposes. }

The s wi tch
Another thing that always bothered me about a one-ahead (or one
behind) was the switch at the end. You can always mis-number the cards
if there is more than one phrase, but in this circumstance there is only
one phrase.

So I have found this method to be the most convenient and disarming.
All you need for this is a wine glass or shallow glass (not a shot glass).
When you have committed to your thought, screw it into a ball and
drop it into the glass. Once the participant has committed to their
thought, ask them to crumple theirs and drop it into the glass also.

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Now stay away from the glass and reiterate the events to the audience;
this creates a time delay. Bring everyones focus back to the glass and
ask the participant to tip it onto the table.

When the participant pours out the glass, it naturally makes it
impossible to keep track of whose ball of paper is whose and makes
them only identifiable via the squiggle inside.

[As you can see, this technique will work in stage, parlor or close-up
scenarios. ]

The l ogi c f or the par ti ci pant s r es tr i cti ons
This is something I often talk about in depth: restricting without
seeming restrictive. The force at the end of this routine (in order to get
the participant to guess your pin code) is a very old force reframed.
What I am going to do here is offer my personal opinions on how to
make it seem even fairer, shedding a new light not only onto this force,
but any force that has the same (or similar) restrictions.

I am going to guide you. Since this is your first time, please do not
second-guess yourself; go with your very first instinct, your true
intuitive reaction. We will work two digits at a time. Let' s begin with
two of the numbers in my Pin. For now, it doesnt matter which two.

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Do you think this two-digit number is above fifty or below fifty?

Let them answer. Give them a completely FREE CHOICE. [The reason
you give them a free choice is that they can either aim at the first two
digits or the last two. ]

If they say below fifty, apply this force.

The only clues that I am going to give you are that both digits are odd.
I n fact, they are the same number repeatedeleven would work, but
fifteen would not. Already I know there are two numbers that have come
into your mind. Lock those numbers in your mind and do not change
your mind. I t is vital we work with the very first reaction you have.

You have now successfully executed a modified psychological force.
This is my method to force the number thirty-three, and it will hit 95%
of the time (in my opinion).

If they say above fifty, great. Just have them go for the second two digits
with this force.

The only clues I am going to give you are that both digits are even, and
they are both different from one from the other. So sixty-six would not
work, but sixty-eight would. I can sense you already have numbers in

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mind. Please lock those into your mind for me. Do not change your
mind. Trust your first reactions.

This sets you up for something so psychologically fair.

I f they went f or bel ow f i f ty the f i r s t ti me
Because you went for a number below fifty last time, lets make it
interesting this time. Go for two digits higher than fifty, and this time
because YOU WENT FOR ODD, make both of these digits even and
different one from the other. So sixty-six would not work, but sixty-
eight would. I can sense you already have numbers in mind. Please lock
those into your mind for me. Do not change your mind. Trust your first
reactions.

[You will notice the little line I slipped in that will fly right by, but will
be great when the participant creates a false memory later on. They will
think they chose odd or even the first time. The reason this flies by is
that you are giving your participant instruction, and because of the
social compliance created (with them guessing a number), they are
practically forced to stay mute until you have finished giving them
instructions. By the time you have finished giving them instructions,
they are focused on the instructions and forget the one slipped-in line. ]

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I f they went f or above f i f ty the f i r s t ti me
Because you went for a number above fifty last time, this time go for a
number below fifty, and because YOU WENT FOR EVEN, this time
make both digits odd. I n fact, make it the same number repeatedeleven
would work, but fifteen obviously would not. Already I know there are
two numbers that have come into your mind. Lock those numbers in
your mind and do not change your mind. I t is vital we work with the
very first reaction you have.

[This is all about reframing the force depending on the participants
choices. You may notice by doing the force this way that the two digits
might be back to frontIs that a problem?

In all honesty, I would not be bothered if the participant gets the four
digits in the wrong order. This can look stronger sometimes (after all, it
is their first time mind reading).

If this is something you potentially worry about, dont! Fifty percent of
the time, they will (based on probability) accidently get them in the
right order, so again this is not something you have to worry about, as
you get the kicker of revealing their pin code. ]

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Another s ubtl ety f or ens ur i ng a s tr ong f i ni s h
There is another thing I took note of when reading this routine. You
have to ensure that the routine ends on the strongest possible outcome.
With the problem of the participant missing a couple of numbers (it is
not likely but still possible), you HAVE to ensure that their guess is
opened first.

The reason is, if by some anomaly in probability they miss the numbers,
then you can still open yours and be 100% perfect, meaning you are
going to finish on a really high note.

The way to achieve this is to draw a black dot on the back of the first
billet (before you start the routine), and when you crumple it up, ensure
that you can see it. Dont make the dot so big that the participant
notices it. Just to reiterate, the dot goes on the back of the billet on
which you are going to write 3386.

When the glass is tipped over, nonchalantly remark, I am not sure
whose is whose, but open that one first, while pointing to the billet
with the dot.

Now, even if the participant only gets two of the four digits, she gets a
round of applause, which is great for a first attempt, but it ensures you

30
get a more rapturous round of applause when you open the one with
their pin code.

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Thi s eye ef f ect:
The performer hands one spectator a pen and a blank card.

He begins:

I would like to try an experiment of a specific skill. This skill is
known as psychometry. I t is the idea that an obj ect handled by someone
somehow retains information about that person. To do this, we need
some target information.

Please, I would like you to write on the paper you have a place that
you would like to travel to in the future. I t can be anywhere you would
like, but it must be somewhere you have not travelled to in the past, but
somewhere you would like to travel to in the future. When you are
finished, fold it in half so the writing is on the inside and recap the
pen.

The performer turns his back to ensure that he cannot see what is being
written. When the spectator has finished his writing, the performer
extends his hands behind his back and asks for the paper.

The performer turns back to face the spectator and continues:

33
I get the sense that this is the desire of someone who has faced many
challenges in their life, someone who finds themselves at a crossroads.
Soon a mentor figure will present themselves to you, and if you follow
their guidance you will begin to move in the direction you want to. . . this
has been your past. I n your present you are faced with decisions on a
personal level, decisions that you must deal with now.

The secret is to allow the past to stay in the past so you can move
toward the future you deserve. . . look at this eye. . .

The performer points with his left hand to his right eye.

After a moment of focus the performer continues:

I have good news for you. . .

The performer turns his back and hands the paper back to his
participant. After the participant has taken it, the performer again
faces him and says:
I see you in the future on a beach, in a sunny place, relaxing with a
significant other, someone very special to you, that you have not yet
met. I see you in Brazil. . . where is it you wanted to travel?

The spectator confirms that this is indeed where she desires to travel.

34
Thi s eye s etup:
My Duplo gimmick is at the core of this method, so let me please first
explain to you how to construct what I like to call an organic
duplication system.

Mater i al s R equi r ed:
A black Sharpie (fine point) marker
A black Crayola washable ink marker
Pair of scissors

I ns tr ucti ons :
1. Open the Crayola marker from the bottom and remove its ink
cartridge.

2. Using a pair of scissors, cut off approximately one inch from
the Crayola cartidge.

3. Take the Sharpie and remove its ink cartridge (do not remove
the tip).

4. Once the Sharpies cartridge has been removed, insert the
Crayola cartridge into the Sharpies barrel and reassemble the
Sharpie.

35

5. After the Sharpie has been reassembled, take a blank piece of
paper, business card, etc. , and scribble on it until the remaining
Sharpie (permanent) ink is gone.

What does the gi mmi ck do?
It allows you to obtain an impression from a business card. You will
need to place some saliva on the palm of your hand. Then, you will need
to apply a bit of pressure while ensuring that your palm makes direct
contact with the spectator's drawing on the unfolded card.

Thi s eye method:
The key to the routine is to ensure that the touching of the paper causes
the spectators to understand, without saying it, why the paper is being
held behind the back. This process, when performed, makes total sense.
Review the scripting for this performance piece to properly understand
the manner in which this is handled.

Hand out your Duplo gimmicked pen and instruct your spectator to
record the name of a destination they would like to travel to in their
future.

36
Here is the first major performance point: you will turn this routine
into a performance piece of predicting the spectator's future.

You can use any single piece of information the spectator can desire in
the their future. It could be the number of children they would like, an
item they would like to own, the car they would like to driveanything
that a spectator can desire owning/attaining in the future. If you wish to
make this routine more spiritual in nature, you could ask the spectator
to record the quality that they wish to improve in their personality. In
this manner, the routine becomes about personal growth.

Whatever presentational hook you decide upon to achieve the
revelation of the information, you will hear the spectator recap the pen
while your back is turned. As soon as you hear it, you are going to lick
the palm (fleshy part near your thumb) and immediately to place both
of your hands behind your back (right over the left). Have the spectator
hand you the paper behind your back, turn around and deliver this line
while you apply the impression of the word to your left palm:

their guidance, you will begin to move in the direction you want to. . . this

37
has been your past. I n your present you are faced with decisions on a
personal level, decisions that you must deal with now.

The secret is to allow the past to stay in the past so you can move
toward the future you deserve. . .

Bring your hand with the impression to the front (hiding the
impression inside your hand), and point to your eye and continue:

Look at this eye. . .

After a few seconds of focus:

I have good news for you. . .

Turn your back to hand the billet back to your spectator with your right
hand, and at the same time take a peek at impression in your left palm,
which will be very close to your face. This is a beautiful, invisible, fluid
peek.

Face your spectator and finish:

38
I see you in the future on a beach, in a sunny place, relaxing with a
significant other, someone very special to you, that you have not yet
met. I see you in Brazil. . . where is it you wanted to travel?


This is a great routine; the scripts and presentations are fantastic. I
thought I would add a variation with a few of my touches and subtleties
that I thought of when I read this wonderful piece.

The first thing about this that stood out for me was the title The eye;
when I think of a psychic eye, I instantly think of the center of my
forehead, and because of that I want to shape that around the core of my
presentation.

The scripts for the routine are going to stay the same. The only
difference is that I am going to use three cards instead of one, making
this a "sneak thief"-type routine (but I think you will agree that this is a
beautiful method) and not similar in any sense to sneak thief
(confused??).

39
[Here is the streamlined presentation]:
The performer places a blindfold upon his head and is verified to be
essentially blind. Three business cards are introduced and handed one
at a time to the participant. On these business cards, the participant is
instructed to write, upon two of them, places they have been and, on
one, a place she wishes to go.

(The performer can be out of the room at this point if the participant so
wishes. )

The cards are mixed up into ANY order; they are examined to ensure
that there are no bumps in the cards and no way to feel that they are
different. (Thats right, no nail nicks or visible differences. )

The performer states that he is going to identify the card that has the
place that the participant wants to visit by his skills of intuition.

The cards are then brought one at a time up to the performers third eye
(his forehead), and after a little deliberating he says to the participant:

Something amazing is about to happen. I f I correctly identify the card
that has the destination you want to travel to on it, stand up and walk
back to your seat. When you walk toward your seat, the audience will
burst into a round of applause.

40
The participant freaks out and makes her way to her seat while the
audience applauds rapturously.

The performer removes his blindfold and stops the applause. He calls
for the participant to stop and looks right into her eyes for a few
seconds and says:
I s the place you want to go Brazil?

When it is confirmed by the participant, the audience breaks into
another round of applause. Sounds interesting, right?

Br eakdown
First I will tackle how to identify the card and then get into the
subtleties.

The trick to this is a technique called olfactory. There is not much
written on this subject, but this makes for a very simple way to tell on
which card the place is writtenso simple I think it will make you
smile.

Take a business card, spray it with perfume from a distance and let it
dry out. Now take two identical cards and place them behind the
perfumed card.

41
I n per f or mance
Hand the card with the perfume on it to the participant to write the
destination they want to travel to first. Then have them write
destinations they have been to on the other two.
All you have to do when you bring the cards up to your forehead is to
smell them, and whichever one kicks off the smell of perfume is the
right card!

Simple, but so effective.

[This part of the routine is all about theatrics; pretend you are having
trouble divining the exact card, and in close-up performance always
reveal the destination card last. By saying, " I dont think this is it or
this I think this is it! "

A quick note: the only difference between close up and stage is the
blindfold; when close up you can close your eyes. It is just the same. ]

The peek
Performing the routine this way also gives us a massive amount of time
to peek and a disconnection from the billet, which makes the thing
seem even more impressive from the audience and participant's
perspective.

42
Not only that, it gives us two ways to gain the information. The first way
is simple and requires no gimmicks, as you say to the participant:

I believe it is this card.

All you have to do is hold the card below your nose, face up, so the
participant is looking down, giving you all the time in the world to
employ a downward peek from the blindfold, and the misdirection
creates itself logically.

[For those new to blindfold work, tie a blindfold around your head and
you will notice you can clearly see straight down the sides of your nose! ]

What is great about this is that you have set up your participant to take
the card and to head straight back to their seat, to a round of applause.
This is your cue to remove your blindfold.

If you are in a close-up environment and you arent using a blindfold,
you can place it (after finding what you believe the card to be) behind
your back and use the impression-to-hand (Duplo) described in the
actual routine.
BUT

43
I would create a time delay here and hand her the card to fold and to
place away and then move into another routine. During the dead time
in the next routine, I would turn and reveal the place.

[This is great, as it not only kills dead time in another routine, meaning
you dont have to make up filler, but it also ties the two routines
together and is so disjointed from the participant placing the card into
their pocket that it is impossible to backtrack, making the reaction
larger. ]

An important thing to focus on here is the time-delay principle; it is
something I have discussed at great length in the past. Dont be tempted
to reveal a piece of information just because you have it. You can save it
for later in use for a one-ahead, or part of a Q&A. If you let three or four
pieces of information like this build up (remember the aim of the effect
was just to locate the card), you will have a beautiful Q&A that is sure
fire.

You could also take this piece of information and place it into your
confabulation at the end, or use it as part of an ultra-clean mental epic.
The point I am trying to express (forgive me for my tangent) is that you
can use this information for much, much more later.

44
Describe the feelings you get from this place. If you know what it looks
like, describe a few things from there and go on a remote viewing
journey with your participant.

Doing this, you can apply something so wonderful; after revealing the
place, after having them feel and mentally travel with you, you can
nonchalantly say, You can now tick this off of your to-go list.

If you say that line with conviction, I promise you it will make your
audience/participant feel amazed. Whats even more amazing is how
they describe the effect afterward to their friends!

45
Thi s eye 2 ef f ect:
The performer hands two spectators a pen and a blank business card
each. He begins:

I would like to try an experiment in the unexplained, a blind test of a
specific skill. This skill is known as psychometry. I t is the idea that an
obj ect handled by someone somehow retains information about that
person. To do this, we need some target information.

Please, I would like each of you to write on the paper you have a place
that you would like to travel to in the future. I t can be anywhere you
would like, but it must be somewhere you have not travelled to in the
past, but somewhere you would like to travel to in the future.

When you are finished, fold it in half so the writing is on the inside.
When you are finished, please hand them to me.

The performer turns his back and extends his hands behind his back, to
ensure that he cannot see what is being written. When the spectators
have finished their writing and handed the papers to the performer, he
openly mixes the papers as he continues:

We will pick one of the papers as a random target.

46
The performer continues to mix the papers behind his back as he turns
around to face the spectators again. He then brings one of the papers
from behind his back in each hand and instantly hands them to the
spectators for which he is performing. He continues:

I will work with the paper I feel drawn to the most, the paper from
which I feel the most vibration.

The performer places his hands above the papers, and then after a
moment of focus, he continues by reaching forward, grabbing one of
the papers, closing it in his hand and closing his eyes.

After a moment or two, he continues still with his eyes closed:

their guidance, you will begin to move in the direction you want to.

The performer opens his eyes and locks his gaze with one of the
assisting spectators and continues:

I am talking to you, arent I ? This is you; this has been your past. I n
your present you are faced with decisions on a personal level, decisions

47
that you must deal with now. The secret is to allow the past to stay in
the past, so you can move toward the future you deserve. I have good
news for you. I see you in the future on a beach, in a sunny place,
relaxing with a significant other, someone very special to you, that you
have not yet met. I see you in Brazilwhere is it you wanted to travel?

The performer then continues addressing the second spectator:

I can feel that you are a little disappointed. I can try to work with you
if you want.

The spectator confirms they would like a reading, and the performer
continues:

I see you in a cold place, a place that you have considered visiting
many times in the past, but for some reason or another it has not
happened. However, I do see within the next year or two, you sitting in
an ice bar, in Finland. Does this make sense to you?

The spectator confirms this is indeed accurate.

48
Thi s eye 2 method:
Duplo is at the core of this method. It will allow you to get one-ahead
with great ease. The key to the routine is to ensure that the mixing of
the papers as well as the target selection causes the spectators to
understand, without saying it, why the papers are being held behind the
back. This process, when performed, makes total sense.

Review the scripting for this performance piece to properly understand
the manner in which this is handled.

To perform the effect, you will hand one spectator a marked billet with
a small nick in the outside corner. This nick will be felt by running
your thumb along the outside edge of the billet, along with the
gimmicked pen and an ungimmicked paper. The second spectator is
handed an unmarked billet, ungimmicked pen and ungimmicked
paper.

When the spectators hand the papers back to you, instruct the
spectators to record the name of a destination they would like to travel
to in their futures. Here is the first major performance point: you will
turn this routine into a performance piece of predicting the spectators'
futures. You can use any single piece of information the spectator can
desire in the their future. It could be the number of children they would

49
like, an item they would like to own, the car they would like to drive
anything that a spectator can desire owning/attaining in the future. If
you wish to make this routine more spiritual in nature, you could ask
the spectator to record the quality that they wish to improve in their
personality. In this manner, the routine becomes about personal
growth.

Whatever presentational hook you decide upon to achieve the
revelation of the information, you will have the spectator hand you the
papers, with your back turned to them, and spend a moment mixing the
papers. Draw attention to this moment, and then slowly turn to face
the spectators. Take a deep breath, as if preparing.

This sequence silently communicates to the spectators that we are
about to begin; it also communicates that what has happened until this
point is not of importance. In reality, as this is happening, you will
locate the marked billet by running your finger along the edge of the
billets. Next, you apply the impression of the word onto your palm.
Instantly bring both hands out, each holding one of the folded papers.
Be careful not to flash the impression on your palm. Hand the
spectators a paper each and then allow the hand with the
impression to drop to your side.

50
Next, bring your non-impression hand close to the papers and pause.
Screw up the non-marked billet. You will pretend that this is the billet
that belongs to the spectator who really wrote with the gimmicked pen
on the marked billet. Review the effect description/script to see how
you will reveal the information. When you have conrmed that you
have accurately guessed the correct desired destination, you will,
without calling attention to it, open the screwed up paper as if to
conrm to yourself you were correct. In this moment, you will read
and remember the destination chosen by your second spectator.

At this point, pause and communicate to your spectators, through your
attitude and body language, that the demonstration is over. Gesture for
the second billet to be handed to you. At this moment, screw it up and
place it with the first billet.

When the time is right, continue by stating:

I sense you are a little disappointed that I did not work with you. We
can try if you want.

In this way, the second revelation seems totally off the cuff, and at this
point, all papers are out of play and you reveal the information you just
learned when reading the paper.

51
Thi s eye 3 ef f ect (by Mi ke Vance):
I would like to try an experiment of a specific skill. This skill is
known as psychometry. I t is the idea that an obj ect handled by someone
somehow is imbued with information from that person, even their
thoughts or intentions. To do this, we need some target information.

I need you to draw a quick simple picture on this card. I will turn
away so that I cannot see what you are drawing.

Once they are done, and with your back toward them and your right
hand held behind your back, tell them:

Please fold the card into fourths, and place it into my right hand.

When you have the card, turn around, leaving your hands behind your
back. Bring out your left hand, point at you left eye and continue:

Look into this eye. . .

After a few seconds of focus, say:

I ' m getting an image, but it is not clear. I ' m getting the impression of a
house. I s that correct?

52
The spectator replies that it is not. Continue:

I ' m sorry, but the image I was getting was too fuzzy. I ' m going to need
physical contact to get a clearer picture.

Move your right fist in front of you. Ask her to hold out her right hand
under yours. Stare directly into her eyes (or turn your head to the left)
as you put the card on her palm-up hand and then grasp her hand with
yours as if shaking hands, with the folded business card in-between the
hands. Pointing at your left eye with your left hand, again ask:

Once again, look into this eye. Ah, yes. The house was j ust the surface
of the picture. We need to walk through the front door and into the
kitchen. There, in a bowl on the counter, is an apple. Did you draw a
picture of an apple?

The spectator acknowledges that she did, and you get your well-
deserved applause.

Thi s eye 3 method:
This is an alternative handling of the Duplo effect. Ask the spectator to
draw a picture. Turn around with your back facing the spectator and
take the folded card into your right hand while licking your left hand.

53
Turn back around, facing the spectator, while transferring your left
hand behind you as well. While you patter, get your impression on your
left hand.

The patter plays the percentages as Banachek does. If you instructed
them to draw a picture, suggest that you see a house, one of the higher
percentage hits. If you are right, you are already done and don't need to
use your impression at all.

If not, then bring your left hand forward and gesture with your left
hand as you talk. Quick, sweeping movements with your palm toward
the spectator should not flash the transferred impression. You can also
look at your left palm in front of you, either openly during an open-
hand gesture, or by putting your left fingers to your forehead to
concentrate, etc.

Then, suggest that you need contact with the spectator to clarify your
vision. Turn your head to the left as you bring out your right hand with
the folded card and drop your left hand to your side. Ask them to hold
out their right hand under yours. Put the card on their palm-up hand
and then grasp their hand with yours as if shaking hands. Look into
their eyes.

54
Explain that the house was the key, but that you didn't/couldn't delve
deeply enough without physical contact. Now, travel through the
picture in whatever way you need to arrive at the drawn object. If it is an
animal, find a stuffed animal. Food will be in the kitchen. A car will be
in the garage. Vegetation can be out in the yard. The sun and stars and
clouds lie overhead. Pictures of just about anything could hang on the
walls. Just about anything can be found in the house picture.

Dupl o cl ean- up:
The impression can be removed openly as well. Before you do the trick,
establish the visual habit of holding your hands in front of you while
talking and rubbing your right thumb in the left palm. After the trick,
use the established behavior to clean up.

The goat knew me
Jose Prager & Peter Turner

56
The goat knew me ef f ect:
The mentalist places his phone, his keys and a coin onto the table.

I n front of you on the table are three obj ects. These three obj ects right
now mean nothing. What' s interesting is that sometimes the greatest
things in life can be right underneath our own nose and we dont even
know it. "

The mentalist takes out a bill.

" I made a prediction. . . . I f it fails, you can keep this money. "

The mentalist places the bill onto the table.

I f you were to instinctively choose one of these three obj ects right now,
which would it be? Go ahead and grab it.

The spectator grabs the phone, and the mentalist continues:

The choice you made speaks volumes about you. The interesting thing
is, you didnt j ust randomly choose the phone, no matter what you
believe. Subconsciously your mind told you to select the phone. A good
representation of this is every time you move your arm, you dont

57
consciously think MOVE. A phone is a metaphorical bridge that
connects people from all demographics in seconds. I t is faster than a
plane; its an obj ect that is depended upon by most people j ust to get
through their day in an organised fashion. The sort of person that might
choose a phone would be someone who is a mediator, the glue that holds
everything together in social situations; a person that is relied
upon for organisation; someone who actually makes plans happen and a
person that people turn to in times of despair.

" I knew you were that kind of person bef or e you even came over here.
I know you are thinking, right now, that there is no way I could. . .

" Place the phone close to your ear.

The spectator now hears for his amazement a recording repeating:

I knew that you would pick the phone

The goat knew me s etup :
You have to make an audio recording of yourself saying:

I knew that you would pick the phone

Transfer this audio to your phone.

58

Open the audio, and make sure to place the volume bar as low as you can
go without it being completely offjust enough sound so that when you
place the phone near your ear, you can hear the recording.

Now configure the song so it plays over and over again.

You can easily set it up in front of your spectators. There is nothing
strange with what you are doing; you are just checking your phone.

You can have the phone ready in your pocket; the recording will be
playing over and over as long as you want.

You also need a plastic keychain. There you will write, with small letters,
You will pick the keys.

Finally, write with a black marker on a bill: You will pick the money!
Fold the bill so the writing is hidden inside.

You will only make the setup once, and you will be ready to perform this
effect as long as you are carrying your Phone and your keys (the coin
can be easily borrowed).

59
The goat knew me method:
We are simply making use of multiple outs and a little reading.

When they choose an object, it gives us the opportunity to talk in a
special light about them, to make the entire effect a lot bigger and to
take the attention away from the other two objects. It gives them a
reading that suggests why they chose the object they did.

This makes it personal.

Using these scripts below, they will believe you knew them and knew
the choices that they would make.

I f they pi ck the phone:
is, you didnt j ust randomly choose the phone, no matter what you
believe. Subconsciously your mind told you to select the phone. A good
consciously think MOVE. A phone is a metaphorical bridge that
connects people from all demographics in seconds. I t is faster than a
plane; its an obj ect that is depended upon by most people j ust to get
through their day in an organised fashion. The sort of person that might
choose a phone would be someone who is a mediator, the glue that holds
everything together in social situations; a person that is relied upon for

60
organization; someone who actually makes plans happen and a person
that people turn to in times of despair. I knew you were that kind of
person before you even came over here. I know you are thinking right
now that there is no way I could. . . place the phone close to your ear.

*Make sure to place the phone volume as low as possible using the
volume bar. It does not matter if you are in a quiet place; the voice
coming from the phone will not be noticed by your spectator until they
place it near their ear or they turn it up so everyone can hear.

I f they pi ck the keys :
is, you didnt j ust randomly choose the keys, no matter what you
believe. Subconsciously your mind told you to select the Keys. A good
consciously think MOVE.

Keys are metaphorically depicted as the tools that open passageways
to new pastures, a must in security and essential in protecting privacy.

The sort of person that might choose the keys is someone that is
constantly thinking forward and investing in new ideas for a better
future. They are more often than not very private people that keep

61
things bottled up, and at the best of times keep people at arms reach.
They are the sort of person that is trusted with secrets because of their
private nature. I knew you were that kind of person before you even
came over here. I know you are thinking right now that there is no way
I could. . . take a closer look at the keys.

I f they pi ck the coi n:
is, you didnt j ust randomly choose the money, no matter
what you believe. Subconsciously your mind told you to select the
money. A good representation of this is every time you move your arm,
you dont consciously think MOVE. Richness, to gain richness, is
something that all mankind seeks, but more often than not is unachieved.
I t doesnt represent greediness. Quite the opposite, it represents visual
progression. The sort of person that chooses the money might be the sort
of person who constantly aims to strive through adversity; often a
thinker, constantly refining his or her thoughts in order to ensure that
their life is the best it can be within their own circumstances; successful
and life enriched. I had a feeling you were that kind of person before
you even came over here. I know you are thinking right now that there
is no way I could. . . I placed this bill right here since the beginning I n
reality my money never was at risk

62
This is my favorite effect in the book. I love this effect for the premise
and the fact that you get to give a reading. I am about to share with you a
way to do this without multiple outs. These methods will take some
practice, but genuinely work.

You will also notice that I have altered the script very subtly. Please do
not overlook the power that this piece has. It will blow your participant's
mind.

The mentalist places his phone, his keys and a coin onto the table.

I n front of you on the table are three obj ects. These three obj ects right
now mean nothing; they seem insignificant. What' s interesting is that
sometimes the greatest things in life can be right underneath our own
nose and we dont even know it.

Take these three obj ects. When we look at them in their simplest form,
they are j ust a phone, keys and a coin, but look beyond the title and see
what these things really are.

A phone is a metaphorical bridge that connects people from all
demographics in a matter of seconds. I t is faster than a plane; its an

63
obj ect that is depended upon by most people j ust to get through their
day in an organized fashion.

Keys are metaphorically depicted as the tools that open passageways
to new pastures, a must in security and essential in protecting private
obj ects that we wish to hide away from the world.

The coin is often wrongly associated with greed, when metaphorically
it is a universally understood language that is passed from hand to hand.
This small seed has the power to make the world stand still.

I want you to think about these obj ects. I nstinctively in your mind be
drawn toward one of these obj ects; focus on it and concentrate on holding
that obj ect.

(This is where you have one of four options to gain the information of
which the participant is merely thinking. )

Method #1
Look directly into the participants eyes as you are telling them to
concentrate on holding the object and feeling it in their hands. You will
notice they look directly at the object!

64
When you think you have a feel for which object the participant is
looking at, close your eyes and ask them to look at you and to see you
holding the object.

[This is great, as when the participant looks up, you have your eyes
closed. This means that there is no way for them to backtrack a method,
as they will believe you had your eyes closed the entire time. ]

Method #2
If the above method fails, I would then proceed into this method. If you
are not comfortable with the above method, you can just move straight
into this.

This method is very old but underused. Take the participant's wrist.
This is where you need to make a quick decision: do you believe your
participant is compliant or non-compliant?

I f your par ti ci pant i s non- compl i ant :
As you have come into this with an air of skepticism, I want you to
try to lead me in your mind away from the obj ect.

Hold the participant's wrist above each object. There will be one of two
tells here which should give the game away very easily.

65
One tell is that they will pull you toward another object, rapidly
eliminating that object and making it 50/50, and then you find which
object they subtly pull you away from, leading you to the object.

The second tell is that they will pull you away from the object instantly,
and you know it is that object.

(Sounds easy, right? Thats because it is, but it does require practice. )

I f your par ti ci pant i s compl i ant
This is the scenario you will find yourself in more often than not.

Ask the participant to guide you with their mind to the object and to
imagine being drawn toward it.

Hold their hand above the objects, and whichever object they pull you
back toward is the object of which they are thinking!

Again, it is ultra-simple and often overlooked, but so strong.

[The secret here is the framing; even though the principle is old, I
believe framing them like this is new. I took into account their natural
actions and framed them in a way that pulls the muscle reading in your
favor (mind the pun). ]

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Method #3
This is the boldest of the methods I have found, but works in a tight
spot. Address the participant:

Can you please pick up the obj ect and show everyone else of what
obj ect you are thinking?

At this point just apply a gypsy peek. [To perform a gypsy peek, cover
your eyes with your hand and peek through the space between the little
and fourth fingers. ]

Method #4
This is the simplest of the four. If I was going to perform this method, I
would ensure that there was only one key on the table as opposed to
many (but I will explain a subtlety should you want to keep the many
outs).

Ask the participant to pick up the object that appealed to them and to
show the audience.

All you have to do is place your palms face down onto the table and
listen/feel from where they pick up the object. Ensure your eyes are
tightly closed at this point.

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[As an added subtlety, if you say make sure you dont make any noise
and you leave the keys in a bunch on the table, what will happen is that
you will make the participant avoid taking the keys, because they will
take into account the noise factor, which is great for the reading you are
about to give. ]

The r eadi ng
Instead of revealing the object at this point, you are going to give a small
reading based on the object you believe the participant has chosen. It
really doesnt matter how long winded the reading is (the less the better,
of course), as when you reveal the object from an audiences point of
view, you confirm the reading.

Here are three simple and short readings:

I f you thi nk they chos e the money:
I get a nice feeling from you; I believe you are the sort of person who
constantly aims to strive through adversity; often a thinker, constantly
refining your thoughts in order to ensure that your life is the best it can
be no matter what the circumstance. You will always be successful and
life-enriched in any venture or path you take, and because of that the
choice you made speaks volumes about you. I believe, based on
everything I am feeling, that you went for the COI N.

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I f you thi nk they chos e the phone :
I get a nice feeling from you. I believe you are the sort of person who is
a mediator; the glue that holds everything together in social situations; a
person that is relied upon for organization; someone who actually makes
plans happen and a person that people turn to in times of despair, and
because of this there is only one obj ect you could have chosen: the
PHONE.

I f you thi nk they chos e the key:
The feeling I get from you is that you are the sort of person that is a
thinker. You are constantly thinking forward and investing in new ideas
for a better future. You are more often than not a very private person
that keeps things bottled up, and at the best of times keeps people at
arms reach. You are the sort of person that is trusted with secrets
because of your private and introverted nature. You often hold the weight
of other people' s stress on your shoulders, dont you?

Let them answer.

Because of all of that, you most certainly thought of THE KEY.

[A really cool thing to do here, if you did leave a bunch of keys and were
going to ask them to pick up an object, is to throw it into the reading. It
is an added hit.

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I think you are also the sort of person that second-guesses yourself; you
often think of what you are going to do or say, build yourself up and at
the last second talk yourself out of it. For that reason, I believe you
thought of one obj ect and changed your mind at the last moment.

You can now not only point out what object they thought of first (the
keys), but also point out the object that they changed their mind to! ]

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Heavy amnes i a ef f ect:
By a show of hands, how many people in this room have ever walked
into a room and completely forgotten what you went in there for? This
mental phenomenon interested me so intensely, for years I tried to work
out what it was that triggered a state of temporal amnesia to the point I
almost forgot myself why I was doing it.

The mentalist waits for a little laugh from the audience.

I am going to choose somebody I believe this will work perfectly with.

The mentalist selects a female from the audience.

Each one of these cards has a different word upon it. I want you to
randomly select one of them.

The mentalist asks his spectator to extend his left hand in front of him.

The mentalist begins to deal the cards one by one and asks his spectator
to call out STOP at any moment.

The spectator says, " STOP. "

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The mentalist cleanly takes the card he was stopped at and continues:

Stare at the word for a few seconds, concentrate, and you will
notice for a few seconds everything apart from my voice becomes very
difficult to focus on.

The mentalist holds the card facing his spectator, and he rips a corner
from the card.

Focus on the connection between yourself and the word that you selected
as it j ust seems to fade out as though you never actually saw a thing,
and the more you try to focus on things that seem important, the less
important these things become.

The mentalist now places the ripped card onto his spectator's empty
hand.

The more you focus on how unimportant these things become, the more
irrelevant they seem. . . What word do you THI NK you saw?

The spectator unexpectedly names the word.

Great.

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The mentalists smiles.

As I mentioned earlier, I searched long and hard to answer the question
of why we forgot things when we walked into a room, and the answer
was so simple I overlooked it. . . Distraction. I t seems so obvious; surely it
cant be that simple. . but it is! I will prove it. This has not been about
remembering a word on a card. What it did was give me enough time to
distract your mind in a way that I guarantee you wont have noticed. . .
See the corner in my hand? I t' s no longer here.

The mentalist slowly and cleanly opens his fingers, which were in full
view the entire time, to show that his hand is now completely empty.

Do you remember me going to the other side of the room and placing
the corner under that cup of wine? No? Really?

The mentalist point to a man and continues:

How about you, sir? No? You honestly don' t remember me going to the
other side of the room and placing the corner under the cup?

The mentalist now addresses the whole audience:

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Does anyone actually remember me going there and placing the corner
under the cup?

Everyone moves their heads, saying no.

The mentalist points with his hand to a cup of wine and directs the
spectator to go for it.

The spectator grabs the corner and sees that it matches perfectly with
the torn card in his hands.
He addresses the whole audience:

You have j ust experienced amnesia.

Heavy amnes i a s etup:
Take 25 blank billets, place them into a vertical position and write one
random word on each.

Heavy amnes i a method:
A portion of the methodology involves forcing the top word card of the
stack. The top word card (force card) has a missing corner, which the
performer has previously torn and hidden. The forcing procedure is
achieved in the following manner:

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1. Bring the stack of word cards into a vertical (necktie) position so
that the torn corner of the top card is not exposed.

2. Deal the cards singly until the spectator tells you to stop. As you
deal, you are leaving the force card in the topmost position. In
effect, you are performing a second deal. However, given that
the top card has a missing corner, it becomes a simple task to
perform this simplified second deal.

3. Once the spectator calls stop, take the top word card (force
card) and slide it to the right, making sure to cover the torn
corner with the same hand you are using to remove the card
from the stack. When you take the card in your hand, use your
index/middle fingers and thumb, respectively, to conceal the
missing corner from your audience.

The performer now holds the chosen word card in front of him,
covering the torn corner with his fingers. Next, the performer takes the
card and pretends to tear it. The illusion is simple, yet deceiving.

The rest is simply a matter of the performer mimicking the tearing,
holding and vanishing of the corner while delivering the script outlined
previously.

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What Jos has ultimately offered here is an out, should the amnesia
effect not work. I would focus primarily on making the first phase of
the routine come off. I perform this type of routine all the time and can
vouch for the fact that if you are confident and come across as credible,
people will honestly forget the word that they saw on the card.

If they forget the word on the card, I would then forget the second half
of the routine, and know that I had an ultimately compliant subject and
proceed to make them forget their name. Remember about social
compliance when someone is in a group of people and you are going to
perform something like this a lot of the time; the participant is forced
via the pressure from everyone looking at them to comply.

Use this effect as a tool to gain confidence in using suggestion in your
routines; you can afford to fail as you have an out, which is ultimately
important here. If you find that you have a really compliant subject, you
can now add five or ten minutes of hypnosis to your set. Once you start
to gain confidence, eliminate the second part of this routine and the
cards; you have the basis here to have an effect that will teach you the
confidence you need to hypnotize.

Never overlook the importance of a good out!

Mind Flight

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Mi nd f l i ght ef f ect:
The performer is introduced and walks onstage. He reaches the
microphone stand and begins:

Have you ever heard the expression ' flights of fantasy' ? I like it. I t
reminds me that with our imagination, our minds are capable of
achieving the most fantastic things. When I was a child I dreamed about
traveling the world, seeing the exotic mysteries of far-off lands. These
days I do get to travel a fair amount, but no j ourney I have ever made
has lived up to the fantasy destinations my imagination created as a
child.

The performer leaves the platform and hands a sealed envelope to a
spectator in the audience. He invites this spectator to accompany him
back onto the stage, where she takes a seat center stage. The performer
continues:

I would like you to make a fantasy j ourney right here and right now.
For a moment, I would like you to close your eyes and bring to your
mind a number of places you would like to travel. These can be any
places in the world. They dont even have to be real, they can be purely
fictional placessomewhere from a movie, a book, or even of your own
imagination. The choice of your fantasy destination is left entirely up

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to you. Begin by bringing into your mind a few different places you
would like to visit in this imaginary j ourney. I will give you a few
moments to bring those places to mind.

The performer pauses, and after a moment or two he continues:

Do not tell me any of those places you have in mind, but a simple yes
or no answer. Do you have a few different places in mind?

The spectator confirms they do. The performer continues:

I would like you to decide on one final destination: a place you would
like to visit, a fantasy location. Pick one, j ust one of the places you
have in mind for me now.

The spectator nods her head, confirming they have a single destination
in place. The performer continues:

The interesting thing about all the fantasy j ourneys I have taken in
my own imagination, is that they have never been taken alone. This
will sound hard to believe, but you were al ways with me. J ust last
night, we took a j ourney together in my imagination, and I can pr ove
i t. I did not know your name then. So I had to identify you in a
different way. . .

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The performer opens the envelope and removes a folded sheet of paper
from within. He then continues:

You have been holding this envelope from the beginning, from before
you even picked which place from the many in your mind you would
take a fantasy j ourney to, and you could have brought any number of
fantasy destinations to your mind. Which place did you end up
traveling to?

The spectator announces:

Hogwarts School, from Harry Potter.

The performer continues:

Yes ! That is perfect. That final choice was made right here and right
now, correct? You had other destinations in mind, but it was Hogwarts
that you settled on right here and right now?

The spectator confirms this is correct. The performer continues:

Like I said, in our fantasy j ourney I did not know your name, so I had
to describe you. Please read what I wrote on the paper last night.

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The spectator reads aloud what is written on the paper. It is a perfect
description of her psychical appearance. It then reads:

"Together we visited Hogwarts school for magic. "

The prediction is written in bold, large ink on a large sheet of paper. The
spectator is thanked offstage, and the performer accepts the applause.

Mi nd f l i ght s etup:
My impression pad called Scanner is at the core of this method, so let
me please first explain to you how to construct what I like to call an
examinable impression pad.

Notepad with spirals/rings on the top, front and back covers
made of clear plastic
Clear contact paper (sticky clear plastic used to protect book
covers)
Pair of scissors

I ns tr ucti ons :
1. Take one of the covers from one of the sides of the pad, and
open it up. You should now be looking at the inside cover.

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2. Take your contact paper, and measure 2 squares about the same
size as the covers, and cut them out using the scissors.

3. As you know, contact paper is sticky on one side and glossy on
another, so take the sticky side and stick one square on each of
the inside covers. You must apply the film gently and not rub it
down too hard.

Upon examining the pad, you will see that it resembles a normal pad,
even with the contact paper stuck to one side of both covers. It looks
very ordinary like it should. It even looks normal after an impression
has been made.

About the pen/mar ker :
Cheaper pens are better than expensive ones as you need to apply some
pressure to get them to write, I personally use an HB#2 pencil and it
works perfectly.

Handl i ng and peek:
Take the two sheets that are closest to the cover you used in your
preparation and flip them over onto the contact paper.

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So in essence, if you are now looking down at the pad, you should see
one sheet, followed by another sheet, followed by a cover. Hand the pad
to your spectator and have them write down their thought. Tell them to
tear off the paper and fold it up and place it in their pocket. The pad is
now in this position after they tear off their sheet: There is one visible
sheet of paper that is blank, followed by a cover. Have the spectator
hand you back the pad.

To see the impression you will find a lonely place and will remove the
contact paper from the pad then. You can calmly look at the impression.

Mi nd f l i ght method:
This routine will blend the simple with the sophisticated in a really
elegant manner. It will make use of preshow work to achieve a
surprising and uncommon outcome. Normally preshow work is limited
to the harvesting and revelation of information. In this demonstration,
we are harvesting and revealing information, but we are disguising it as
a prediction. We are also able to eliminate the notion of preshow work
by having the spectator make their final choice in real-time onstage.

With your Scanner Pad ready to go, you will look at the audience before
the show begins and pick a spectator that has something interesting or
unique about their appearance; this might be a bright or odd-colored

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piece of clothing, hair color or some other element. The important
thing is that the spectator can be described in a few lines of text, and
later be instantly recognized by the audience. A quick scan of your
audience will instantly locate your spectator.

You will approach this spectator with your Scanner Pad. You will
address them:

Later in the show I would like to try a special experiment with you. I t
is all about creative thought and imagination, and I do not want to put
you on the spot in the show, so I want to get the hard work done now. I t
will make things much easier for you later.

By framing the approach in this way, your preshow work is framed as
being hel pf ul to the spectator, rather than it being some odd process.
You will then continue:

I want you to think about your favorite book. I s there somewhere in
that book that if it were real, you would want to be able to visit?

The spectator thinks for a moment and then confirms there is. You
then offer them the pad and ask them to record this place, on the pad. It
is important that you offer the spectator the restriction in language, by
asking them to think about their favorite book, and a place connected to

85
it. They will have no problems in creating the thought or mor e
i mpor tantl y remembering it later onstage. This is something they
al r eady knew, and therefore they will have no problem recalling it
later onstage. You will continue with this approach, asking the spectator
to think about their favorite movie and finally their favorite childhood
movie. Have all three pieces of information written on the pad and have
the spectator retain the paper. Be clear that you have not, and will not,
read the paper. I suggest turning your back on the spectator as they
write on the pad.

Finally, you will instruct them:

Later in the show I am going to ask you to pick one of thos e thr ee
places. I do not want you to pick one yet. Wait till I ask you to settle
on one final destination. So when you are onstage, have those three
places in your mind for me. Allow them to cycle around in your
imagination, and later you will select the one we will use in our
experiment. Please do not tell anyone the places, and do not show
anyone the paper. I t is important you know that you and you al one
have these places in your mind.

You will now head to the backstage area and access the information
obtained with the pad. You will prepare three predictions, each with the

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description of the spectator and one of the destinations you have
acquired from your preshow work.

To speed this process, up I often begin with a set of template
predictions ready. These have the bulk of a description already filled
out:

A woman, with blonde hair wearing a ________ top and _______ shoes.
She has _______ eyes.
Together we will travel in our imaginations to_______.

I simply fill out the blanks to fit the spectator and add one additional
line of more-detailed information to the second line of text. Once these
predictions have been filled out, you will load them into one side of a
standard double envelope. You will use the double envelope as an open
index, with the ability to show it empty after the prediction has been
removed. In performance you will open the index side of the envelope,
remove the correct prediction, and then display the envelope empty by
showing the empty side of the separation. Handled smoothly and with
confidence, this is a very confounding combination of deceptions.
I fold all three papers slightly smaller than the last, creating a set of
staggered predictions, and place them into the envelope in the order I
preshow the information: Book, Movie, Childhood Movie. This means
that I am never confused as to which paper to remove.

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Your preparation is now complete. You preshow work has been
completed. Now it is show time. Please review the effect description for
the staging and scripting I use.

Walk onstage carrying the envelope. Invite the spectator onto the stage
with you. You will then have them imagine a number of fantasy
destinations. The scripting here is important. You will ask them:

For a moment, I would like you to close your eyes and bring to your
mind a number of places you would like to travel to. These places dont
even have to be real; they can be purely fictional placessomewhere
from a movie, a book, from your childhood dreams. The choice of your
fantasy destination is left entirely up to you. Begin by bringing into
your mind a few different places you would like to visit in this
imaginary j ourney. I will give you a few moments to bring those places
to mind.

You will then pause and continue:

I am right that you already have a few different places in mind,
correct?

The spectator will confirm. You will continue:

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Good. Now, I would like you to make the final choice. From the places
in your mind, I want you to settle on one of them as your final
destination.

Here you are repeating the exact scripting you used with the spectator
before the show, when you explained she would pick one of the
destinations as her final destination onstage. Using this language acts as
a trigger or anchor, and she will instantly be guided to think about the
three destinations you acquired in your preshow work. She will not
settle on one of these destinations as her final choice.

This means you can then underline the impossibility of the situation by
having her confirm that this choice, this final destination, is a choice
she has made right there and then, a choice she has made after you
handed her the envelope. Do not underestimate the power of having the
spectator orally confirm these facts. It eliminates the possibility (in the
minds of the audience) of any prior preparation.

After the spectator has confirmed these facts, ges tur e for the
envelope. Her natural response will be to gi ve the envelope to you,
without the need to ask for it. Have the spectator announce the
destination she has in mind, open the index side of the double envelope
and remove the accurate prediction. Then display the empty side of the

89
envelope to the spectator, asking her to confirm there is nothing else
inside the envelope.

Finally, read the prediction, and accept the applause.

This piece is a wonderful piece of preshow work, on the basis of which
you can create many wonderful variations.

Stick closely to the scripts offered above; they are of ultra-importance
to ensure the clean nature of the effect.

Here is what I had in mind (as a variation) when I read this piece.
I would approach someone I knew would be sitting at the front of the
audience. I would then ask them to think of someone they have seen
that stood out to them from within that room, someone that if you were
to say the description out loud we could instantly recognize (someone
they do not know). Ask that member of the audience to write that
persons description down and to keep it hidden away at all times.
Explain that later you will ask the person to point to a random member
of the audience, and as they randomly went for that person, point them
out.

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Leave the audience member with that and go preshow the member that
they have written down!

Later, when you are performing, all you have to do is point to the first
person you pre-showed and ask them to point to a random member of
the audience. You know they are going to point to the person that you
have pre-showed in order to make this work.

S tage
As the above is great for parlor (as they are pointing out a person), with a
minor adjustment you can work this on stage. Instead of asking the first
participant to point to someone, ask them to simply call out the
description of someone that stood out to them. Then ask anyone in the
audience that thinks they match that description to stand.

This is where you have two choices: if the second pre-showed person is
in eye-shot of the first, you can have them point to the person, OR if
they are not, you can just point to the person that you pre-showed.

[Dont be afraid if the person doesnt point to the right person; just
proceed into a different routine. Not the end of the world! What is great
about setting up an additional pre-show is that, when it comes to the
revelation of the description in the variation I am about to share,
because you didnt choose the participant, it makes the whole thing

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seems so much more impossible and the reactions will be a lot greater as
a whole. ]

Now we have taken care of how to ensure that the pre-showed
participant gets onto the stage. Lets take a look at the preshow I would
apply to the actual participant coming onto the stage.

First, I find my candidate.

Later in the show, I would like to try a special experiment with you.
I t is all about creative thought and imagination, and I do not want to
put you on the spot in the show, so I want to get the hard work done
now. I t will make things much easier for you later.

[As this is very similar to my approach, the scripting here I think is
perfect. ]

I want you to think of a place you have been to and absolutely loved,
( wait for their confirmation) and now I want you to think of a place
you would absolutely love to visit.

[The participant has two destinations in mind now; this is where things
get a little sneaky. ]

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Ask them to commit to the two places and to write them down. Ensure
that they write the destination they want to travel to at the top and the
destination they loved underneath (it is essential).

Address the participant:

As you went for these places, you could have chosen any place. Hell,
you could have even made the places up; as far as I am concerned, these
could be made up placessomewhere from a movie, a book, from your
childhood dreams. What is ultimately essential is that there is no way I
could know these places!

Later, I am going to ask you to think of making a mental j ourney to a
place, a place that could even be made up; I want you to think of one of
these two places for me.

[Ensure that they understand; if I think they arent, I reiterate. ]

When I ask you to change your mind, I want you to j ump from one of
these places to the other. I f I tell you at any point to keep changing
your mind, j ust keep cycling between these two places. I f you do all of
this for me, I am going to try and guess at least one of these places.

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[Now you have done something wonderful. You have set up the
participant to change their mind as many times as you want, and they
will only ever change between two pieces of information. ]

Write down the participants description (on its own) and seal it into an
envelope. Now when you go on stage later, you hand out the envelope to
a random member of the audience (of course, that random member is
the member we have asked to choose someone for us in preshow).

Ask that member to stand and point to someone in the room. They do.

Completely free choice?

Let them confirm that it is.

Do you know each other?

Get confirmation from the two that they do not.

Wonderful.

You can either invite the participant onto the stage or deal with that
participant at their seat (for this effect it doesnt matter).

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For a moment, I would like you to close your eyes and to think of a few
places; these could be places you have been to or would like to travel to.
These could be made up placessomewhere from a movie, a book, from
your childhood dreams. The choice of your fantasy destination is left
entirely up to you. I n a few moments, I am going to send you in your
mind to one of these places.

[You have just employed what is known as a call-back line (the lines
about the movie, the book); they will remember you mentioning this in
the pre-show and therefore will not even pay it any attention. If you had
not mentioned these in the pre-show in the way you did, they could at
this point potentially let their minds just wander somewhere else. This
prevents that. ]

Thi s i s agai n wher e we di f f er f r om the or i gi nal :
I want you to keep changing your mind for me.

Give them a few seconds to do so.

Now, honestly, there is not j ust one destination you were thinking of,
correct?

Let them answer.

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You have now changed your mind a few times.

Let them answer.

I want you to focus on one of the destinations. You changed your mind
from any one of them. I n fact, make it interesting, and go for a
destination you would love to travel to.

[Lovely use of dual reality here: to the audience, you are telling them to
go for any of the destinations that they changed their mind from; to the
participant, you are directing them to go for the destination they would
like to travel to.

This serves a beautiful purpose: it lets you know exactly which
destination they are thinking of, because you just disregarded the entire
"change your mind" thing without having to openly tell them to
disregard it. ]

This is where you let your participant travel in their mind to that place. I
would make an effort to Google the place before the show starts, so I
could point out a few bits and pieces before the final revelation. For
instance with landmarks, I would not reveal the actual landmark, but I
would reveal it in a totally ambiguous way that only the participant
would understand. I would finish by revealing the place real time.

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Get your round of applause and then ask the participant to take a seat.
As the participant is taking a seat, cut the applause short.

Sorry, sorry, can you stand back up for me?

Let them stand.

Be honest. Did you try to catch me out there?

Let them answer (the answer doesnt make a difference).

Scribble the place they loved to visit on the pad (keeping it hidden from
the audience and the participant) and say to the participant:

At the last second, you changed your mind from another destination. I
j ust saw this as you were taking a seat, and I got a sense this was a
place you loved to visit.

Let them answer and turn your pad around for an even larger round of
applause. Let them take a seat now and start to talk to your audience.
Then stop mid-sentence.

I forgot the envelope, the envelope!

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This is where you can fill in a script about how you made a journey the
night before and saw yourself in that very room. The details were a little
hazy, but you wrote down what you saw.

Now when the envelope gets opened, it devastates people, especially the
person holding the envelope who chose the participant. It really
solidifies the fact (from the audiences perception) that they did in fact
select the person at random!

[As you can see in this routine, the many layers that are placed together
make this an impossible piece of what appears to be real mind reading.
Pay attention to all the little nuances and scripts, and think about how
you could utilize this layering process in your own routines. It is a little
bit of extra work, but on stage it gives you all the room you need to be
playful! ]

Psychological jar
Jose Prager & Peter Turner

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Ps ychol ogi cal j ar ef f ect:
A spectator is called onstage and asked to think of a random word. Once
they have a word in mind, the performer asks them to change their
mind several times. The performer then asks the spectator to confirm
that there is nothing written down and the word only exists in their
mind. After going through a strong process of mind reading, the
thought is finally revealed.

Ps ychol ogi cal j ar method:
This is the best preshow you will ever get.

You approach the participant with your Scanner device.
You ask them to think of a random word and to write it down and let
them take the paper out and ask them to fold it.

" The reason I am asking you to write this, is it is j ust a target for me to
aim for. Also it saves you having to worry about something later on as
you can j ust focus on this.

" Last week I was performing something similar and the lady really
messed me up.

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" You know what? You are a really genuine person. . . I don' t think youre
the sort to mess me up. "

Wait till she responds.

" Ok, we don' t need that then. Tear it up and get rid of it, SO THERE
I S NOTHI NG WRI TTEN DOWN AND I T ONLY EXI STS I N
YOUR MI ND.

" Also, please make sure that there is no ink or anything left on the pad. "

The Scanner allows for a full examination and nothing will be found.

" Later I am going to ask you to focus on your word and to change your
mind. . . When I ask you to change your mind, you will j ar
psychologically, and in that moment you will give away the
information When I tell you to change your mind, YOU MUST
STI CK HARDER to the word you have committed to. "

Then reiterate:

" We have nothing set up, there is nothing written down, it j ust exists in
your mind, and when I ask you to change, stick harder and harder on to
what you committed to. "

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NOW, when in performance, say, Can you think of a random word for
me? She will say yes. You will say, CHANGE YOUR MI ND.

She will say she has (even though she hasnt).

Change it again.

She will stick harder.

Then ask her, " This is not written down anywhere, and it j ust exists in
your mind?"

She will say that its true.

At that moment, you can nail it.

She changed her mind several times and claimed nothing was ever
written down. There is no way you can know what she is thinking.

When you preshow the participant, after she has committed to the
writing, chat to her for a moment, and then proclaim:

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You know, what you are is a very genuine person. I dont think you are
going to mess me up at all.

[The reason for this is that now you know her a little more; there is a
reason for her tearing up the paper. Dont overlook the power of this
method; I will personally preshow two pieces of information.

You can always preshow a pin number. That way if you wanted to tie
this type of preshow into one of the other effects such as 3386, you
never have to ask them to say anything out loud. The ultimate value
from work like this is learning how to correctly utilize the information
you receive. Think about the other effects in this book or in your own
work and how can you weave them into already existing premises.
Another thing to think about when getting two pieces of pre-show
information: go for some actual real mind reading and readings, as you
always have two pieces of information to fall back on. If they write
down a name, see if the name is male or female. Reveal that as a piece of
information (that is one hit), the length of the name (two hits), think of
a letter in the name (three hits), and then the reveal. Essentially, take as
many hits from one piece of information as possible. What is great
about this sort of thing is that you also get more of a process when it
comes to your mind reading without having to think. ]

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Another little subtlety I am going to share here is something that I have
used in the past and also answers a question that everybody worries
about: What happens if the participant mentions the paper on stage?

The answer is simple: paint it red. I will paint a simple scene.

Performer: Can you focus on a name for me?
Participant: You mean the one I wrote down?
[Dont freak out]
Performer: I f you have written down a name recently and thought
about this person, please feel free to go for that one. What is essential, is
there any way I could have known you had written that name down?

[Look at the clever dual reality question. To the participant, it implies
that there is no way you could have known what they committed to on
the paper before the show. From the audiences point of view, the
question seems like you are asking if there is any way you could have
known this was written down somewhere (before she came, at home
wherever). When the participant says, "No," it completely blows any
theories out of the water.

Mr. Green
system

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Concept:
Mr. Greens system allows for a very clean and impressive prediction
using no pocket writing, nail writing, one ahead, pre-show work or
assistants. In its most basic form, some influencing takes place, and
then a participant calls out a thought. The mentalist finishes by cleanly
removing a folded envelope with his completely empty hands from an
inside jacket pocket that has not been touched at any point. The folded
envelope contains a written prediction that perfectly matches the
participants thoughts. Everything can be examined.

Coin envelope
Jumbo paperclip
ID card holder on a retractable reel
Safety Pin
X-Acto knife
Business card
Pen
Small Notepad
Jacket

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Mr . Gr een s etup:
Sound like a lot of materials? Dont worry, its a gimmick you make once
in less than 30 seconds, and then all you have to do is reset your
prediction each time. You will only really hold on to a gimmick, a pad
and a pen. This easy setup will allow you to perform an extremely clean
prediction with no illogical moves.

Connect your retractable ID card holder to a paperclip on one end and a
safety pin on the other; this is the pull that will transport your billet
without anyone noticing. Attach the safety pin with the gimmick to the
inside of your jacket, roughly around the left arm, in the middle of the
bottom linings around the armpit area. All jackets and body types are
different, so experiment and see where your perfect location is. It
should be well concealed, yet within easy reach with your right hand.

Stick a business card with a pre-written prediction inside a coin
envelope. Fold this in quarters with the envelope flap inside and cut out
a window with an X-Acto knife on one of the outer quarters of the
envelope. The written prediction on the business card should have a
blank space that shows up right where the window is. Stick this folded-
up envelope into the jumbo paper clip. Make sure you only stick the
non-window half of the envelope onto the clip so it doesnt interfere
when you write on it later. Leave this secretly hanging inside your jacket

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and place a pen clipped to the inside jacket pocket. To check your setup,
slightly open your jacket to display the left inside pocket; your gimmick
should be completely hidden.

Mr . Gr een method:
Approach your participant with a notepad in your left hand, and open
to a new page as you talk to them and begin explaining that youre about
to try a test using influence. As youre talking, reach inside your jacket
with your right hand to grab the folded envelope on the clip and
immediately grab the pen. This should be a very casual and normal
movement. Secretly pull the envelope and pen in your right hand so the
reel expands and place this with the window facing you behind the
notepad. The spectator will be in front of you, so they will not see
anything. This can be done with many people in front of you; the angles
are pretty good thanks to the large cover you get from the notepad. Do
not pull the notepad forward too much. Pull it only to where it would be
natural to hold a notepad casually and close to your body as you talk.
This will also make the retraction noise softer later on. Subtly transfer
the grip you have on the envelope, so your left thumb pushes down
against the pad and your right hand will be freed up to only hold the
pen.

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Whatever premise you use, tell the spectator that youre going to take
some notes as you try to influence their thoughts. Ask them some
questions and jot down what they say, perhaps even try some
psychological forces. You can show them the notes you take down later
on, so theres no need to worry. Casually ask them to name a thought
be it a name, number or wordone that is clearly very different from
the rest of the questions youve been asking and could not possibly
know. Whatever they say, just smile and jot down a few more notes,
perhaps some that include a bit of cold reading to explain that youre
pleased with what theyve just said. Right before jotting down those
final words, write their thought on the window of the folded envelope.
You are now ready to retract the reel inside your jacket. The notepad
covers everything, so nothing will be seen. All that is needed is a bit of
misdirection as you talk, so casually bring the notepad a little closer to
your body and let go of the gimmick with your left thumb, where it will
retract back to the safety pin.

The dirty work is now done. Before you reach for the prediction, allow
more time to pass as you openly talk and hand them the pen and pad.
Let them see your empty hands; you truly are clean at this point and
have never gone near the pocket or even placed your hands inside the
jacket. Be subtle with this. Dont say, Look, I have nothing in my
hands, as that is too much; just let your attitude and body language
clearly imply it. Some may feel differently about this and opt to do a

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clear display of empty hands for a more test conditions approach.
Whatever you decide to do is up to your personality and character.

Now, reach inside your jacket with your right hand and remove the
envelope from the clip, displaying it with the window side facing you.
As you can see, you dont actually show your pocket when you remove
it, but its clearly implied. Some may opt to show the inside jacket
pocket as empty at this point. In that case, remove the folded envelope
from inside and immediately open the jacket with your left hand, as you
hold the envelope in your right hand and tell participants to check that
pocket. Slowly and carefully unfold the coin envelope, open the flap and
remove the prediction. The folded nature of the billet will even lead
many to think later on that the prediction was completely folded up and
closed inside, making any tampering with it impossible. As they stare at
the prediction, casually crumple up the window envelope and put it
away. Let the moment sink in.

Addi ti onal I deas & S ugges ti ons :
The folded envelope will be secured to the clip thanks to its
thickness, so there should be no way it slips out. If for some
reason you notice yours is slipping out, try any of the following:
Tighten the clip more, get a bigger clip, sandpaper the clip so its

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not as smooth or lock the envelope into place by allowing it to
be stuck against both short rounded ends of the clip.

With some clever handling and using a jacket thats the same
color as the reel, you can cover the gimmick with your hand and
let the reel rest against the arm of your jacket, so you can
casually display the writing on the pad as you talk.

Remember not to retract the reel too far for less noise. The
noise will not be noticed with normal ambient sounds, but
talking and moving the pad with your hands as you talk will
cover this. All reels work differently, so play around with yours
and see if you need to add a piece of felt near the safety pin to
decrease the sound. I dont find any of this necessary, but I do
find it worth mentioning.

The writing on the pad will depend on your style of
presentation and premise. It might be lots of words or just 2 or
3. Whatever you decide, use lots of showmanship and show a
process. Whether its your eyes or your hands, do something
that will make them feel that something strange happened.

Compared to most secret writing techniques, this is done slowly
at your own pace, so feel free to write long words down. Keep

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your writing on the window neat and uniform with the other
things written on the billet. While youre free to use double
writing, its much more logical to use this jotting notes
approach, and you can relax and concentrate on your
presentation.

Besides jotting down notes, some may prefer to sign or write
the date on the notepad for the spectator to keep as a souvenir.
In this case, youd write those in the middle of the pad before
your presentation. Use that moment to secretly write the
participants thought.

Besides being great for close up, many will love doing this on
stage. Use a large clipboard and youll have twice as much cover!
Simply switch to a marker for this approach. A normal fine-tip
Sharpie will work fine and be logical on both the prediction and
clipboard.

With some clever tweaking, the notes can be in one color and
the prediction in another. Think about that

In the beginning, you may want to clip the pen to hang on the
outside of the inner jacket pocket for less fumbling as you grab
the gimmick.

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Using misdirection to cover the moment you retract the reel is
always a good idea even if its already covered. Make sure its
close to your body. A nice idea to play around with is to tell the
spectator to breathe in (move the pad closer to your body a little
and let go of the folded envelope) and breathe out. As you say
breathe in, your hands move toward your body as you explain
this to your participant.

Some may prefer to remove the envelope visibly from the
pocket. I dont find this necessary, as it requires a bit more
fumbling around, which is the last thing you want before the
reveal. Still, if you can reach in and remove the envelope fast
enough, you can quickly drop it in the pocket as your left hand
opens the jacket to display the pocket.

If you want them to examine the envelope too (not necessary),
many switching options are available. Create a replica folded
envelope and stick it inside the pad. As they read the prediction,
it can be easily switched under the pad. You have all the
misdirection in the world. You might also want to crumple up
another envelope and stick it into your pocket for a very easy
pocket switch after initially putting it away and removing it
later on as an afterthought.

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Any prediction theme is possibledreams, lottery numbers,
names, countries, phobias, emotions, etc. You have a very
strong thing here; dont turn it into a trivial guessing a word
trick. Use a bit of cold reading while jotting down the notes to
make this a more profound experience.
This, for me, is an interesting piece. It is a principle that is very easy to
utilize and would catch most people off guard. The thing that didnt
really appeal to me about this piece (as it doesnt suit my style) is the fact
that it is essentially an influence-style effect. With a little bit of
tweaking, you can make this into a real-time mind reading piece.
There are only a couple of little subtleties that need adding to this
routine to change its feel entirely. One of these subtleties is asking
someone to think of something, and then looking at them and sealing a
piece of card into an envelope without ever asking them what they
thought of.

Make a couple of notes about them and their persona and then finish by
asking them what they thought of. Apply the move and let the envelope
go inside the jacket. Now when you retrieve the envelope a moment or
so later, the participant will believe that it is the one you placed in there
right at the start of the routine!

114

This is only a small, small subtlety, but it takes it away from the
psychological illusion-type effect and makes it more about reading
someone.

5

Mr. Green system expos ed!

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Goat touch ef f ect:
Have you ever found that you have finished a friend' s or a partner' s
sentence without even knowing what subj ect your partner was going to
talk about?

I t' s a phenomena we all share, but it happens very rarely.

There is a connection that we are often not aware of and goes beyond
mere thought and words.

The mentalist selects a couple.

Can I try something with both of you? Perfect! From this point
onward, I want both of you to stay completely silent, and not to say a
word until I say so.

The mentalist asks the man to relax, to close his eyes and to be aware of
any sensations that he might feel from this point onward.

And you, Miss, please keep your eyes open the entire time, and stand
right here.

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The performer now positions the woman right in front of the man. The
man is now right behind the woman. The performer extends his index
finger and slowly slides it across the womans chest.

Sir, be honest, did you feel something?

The man replies that he did, right in his chest , like someone slid a finger
across his chest.

You can now open your eyes No one touched you I j ust touched
her, and she was standing right there in front of you the whole time
with her eyes completely open.

The lady confirms this to be true.

Hold on tight and don' t let go, because connections such as this do not
happen all the time.

Goat touch method:
You select two people who are either good friends or in a relationship. In
this instance it is a man and woman who are married.

119
You verbally ask them to stand in front of you, the woman positioned
on your left side and the man on your right side.

You ask them to remain silent from this point onward, until you ask
them to speak.

After asking the woman to keep her eyes open and to move "right here,"
move her slowly and silently one step to the front by placing your left
hand on her right shoulder and your right hand on the right side of her
upper back.

However, your hand on the womans back is not flat, but perpendicular,
with your fingers extended and only the base of the wrist making
contact with the woman's back.

This allows your hand to stick out and for your index and middle
fingertips to make contact with the man behind by swiping your
fingertips on his chest as you move the woman into the final position,
right in front of the man. Imagine this movement as an "L. " You take the
woman one step to the front and then to the right, just in front of the
man.

Dramatically and slowly swipe your index finger from left to right on
the womans chest, above her breasts.

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Now both the man and the woman man have felt the same touch.

Deal i ng wi th a woman behi nd:
If your spectator in back is a woman, you need to be careful with her
breasts! Dont touch them! I know it seems tempting, but just dont!

An easy way to avoid this is to place your extended hand in the lower
back of the front spectator instead of placing it on the upper back. This
way you will touch her stomach.

Now just swipe your finger on the stomach of the spectator in front.

121
The goat touch expos ed!

122
Blank Bank
Peter Turner & Jose Prager

123
Bl ank bank ef f ect:
" Being a mind reader means that everyone is always sitting there
thinking: ' I hope he doesnt tell everyone my secrets, ' or, ' I hope he
doesnt tell everyone my credit card information. ' Now I could do that,
but honestly I dont want to cause problems for you. So instead we will
play a game, a game of imagination. This means we dont have to worry
about your real credit card data. I nstead, using your imagination you
will create a new card at a new bank. . . "

The mentalist removes his wallet and a blank business card, and at the
top of the blank card writes: "Blank Bank. " He then hands this card to
the spectator and continues:

" I t' s called the Blank Bank, and its so new and exclusive that you get to
choose the last 3 numbers of the card. So I want you to take a moment
and to think of a three-digit number. "

The performer adds 6 zeros to the business card, followed by 3 blanks
for the spectator to fill in their numbers.

" You can also you choose the owner. . . a good chance to get creative! I t
could be a fake name or even a favorite celebrity. Really anyone. "

124
The performer adds a second line onto the card for the spectator to
write a name on.

" Take the new card and PRI NT the information on it, both the 3 last
digits and the owner.

When they are done:

" Lets place the new card in a secure place, and let' s place the card back
into the wallet Hand it to me face down Make sure I dont see the
information

The performer hands the wallet to the spectator and asks him to hold it
between his hands.

" Focus on one of the last 3 digits from the card. "

The mentalist concentrates for a few seconds and continues:

" What is interesting about general members of society is, when they are
asked to focus on a digit in a series of digits, the mind tends to flit; the
mind thinks of one thing and j umps to something else. . . That' s exactly
what you did. "

125
The spectator smiles.

" Focus on the first digit 2 No? Really?! Again, focus on the first
digit3Yes! . . . Focus on the second digit Thats a 2! And the last
digit7327! "

The spectator confirms this to be true.

" Now focus on the name of the owner. . . j ust the first letter. . . A! "

The mentalist places his hands onto the spectator's shoulders.

" Scream the name in your mind, over and over. "

The mentalist begins to nod his head, like he is getting a rhythm.

" Angelina. . . Angelina. . . Angelina. "

Time for everyone to freak out!

126
Bl ank bank s etup/method:
The core method of this effect is as you expect: a peek wallet. Any peek
wallet should do the job, but not as good my peek wallet Leatherface.

Cons tr ucti on/de s tr ucti on of Leather f ace :
1. Obtain an inexpensive tri-fold wallet.

2. Open the wallet and lay it down in front of you. As it is a tri-
fold, you will notice that there are three sections: left, middle
and right.

3. In our example, we will use the left section as the "hot"/peek
portion. In the pocket(s) of the left portion, place a credit card
you no longer use. This will provide cover for the peek.

4. Fold the left section inward, so that it now touches the middle
section.

5. From the outside of the left section, cut out a window about the
size of a business card. You will need to cut through all of the
layers of material until you reach the credit card you inserted
into the wallet in step three.

127
6. It is now a simple matter of having a spectator write down a
thought on a business card, and placing that business card
behind the credit card we inserted into the left side of the
wallet.

To get the business card into position for the peek as noted in step six,
simply place it behind the credit card in the left ("hot"/peek) section of
the wallet.

Leather f ace peek:
Hold the wallet length-wise, so that the peek section is closest to you.
Place the business card, writing side down, into the peek section (behind
the credit card). Then, fold the section furthest away from you upward
this section will form a right angle with the middle section of the wallet.
Push the peek section forward so that the "hot" side of the wallet comes
into view. Obtain your peek as you push the peek section
upward/forward and finish closing the wallet by folding the peek
section inward so that it rests atop the middle section; simultaneously
fold the outermost section inward on top of everything, thereby
concealing the peek area. At the end of the peek, both sides of the wallet
can be shown (the more casual, the better). The wallet can be placed
between their hands.

128
I mpl i cati on:
In the words of Peter Turner: "Implication is a wonderful tool. "

Fail when revealing the first digit to lead them to think that you did not
read their information. If you had read it, you would not be wrong at
any point!

It's as simple as that.

The problem with most peek-wallet effects is the justification of placing
the card into the wallet. For this reason, it is not something that I use
frequently. However, when I did use a wallet, this is the justification I
would always use.

We will set this up as a little challenge; inside here there is ( count an
amount of money into the wallet) 20 pounds. I f I dont manage to
correctly read you, I will give you the money inside this wallet. Because
this is a challenge, naturally your instincts will be to do whatever you
can in order to win the money.

For that reason, I want you to write down a couple of pieces of
information for me to aim toward. The written information acts as

129
insurance for me, and at the same time people dont j ust think you are
agreeing with me.

[In the sense of a challenge, paint the writing process red. Again, this is
an invaluable touch you can apply to other pieces already in your
working repertoire. ]

I want you to place the card into the wallet, so it is in there with the
money, and someone else can hold it and act as the j udge. This prevents
you from swapping the card at any point and really ensures that the
money is going to get handed to you if I dont successfully manage to
read you.

[It logically makes sense now why the card is going into the wallet. It
couldnt be more logical from the audience/participant's perspective.
Make sure you set a few rules in place; that is, they print the letters and
numbers so people can easily read them after the challenge has taken
place. Make the challenge light-hearted and not aggressive and people
will naturally love the fact that it is a little challenge. You may want to
be cheeky and set this up as a proposition bet and get yourself a drink if
you are in a bar scenario. ]

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I would ask them to focus on four digits as in a bank card scenario; a pin
code is taboo. You could even ask them to write their actual pin code,
and if they refuse, say:

A couple of moments ago, this guy was the biggest skeptic on the
planet. There must be an amount of doubt in his own mind for him to
worry about writing down his actual pin code.

[Again, this is just a throwaway line and a little bit of fun; this is a
perfect routine as an ice breaker. ]

When I ask a participant to think of a digit in the middle, I use binary
opposition like this:

" What is interesting about general members of society is, when they are
asked to focus on a digit in a series of digits, the mind tends to flit; the
mind thinks of one thing and j umps to something else. . .

Wait for a smile or a little tell (it doesnt matter if it doesnt come, but it
usually will) and proceed.

Based on that affirmation there (point to their face), that' s exactly
what you did, but what specifically interests me about you is that I

131
would have to determine what you would consider a boring enough digit
to move to something more intricate.

[With use of the words general and specific, what you do there is
separate the participant from everyone else, making it seem like they
are the only person that would make the choice they have made. ]

What I feel with you is that you are an outgoing person. I can tell that
by the fact that you instantly rose to this challenge. I think you are also
the sort of person that is fairly stubborn and will often cut off your own
nose to spite your face. ( The participants friends will confirm this at
this point. ) Based on all of this, I believe you would definitely be the
sort of person that would find rounded shapes more boring than intricate
sharp ones.

[Cutting off your nose to spite your face is a British expression. I am not
sure how universal it is. ]

Pause for a few seconds.

Focus on the number as a whole for me.

Reveal the information any way that you see fit from this point.

132
[The reason I make no guess as to the digits in the middle in this
variation is that you have set up a challenge and you cannot afford to
miss.

As you can see with this routine, it is an anyplace-anytime type of
routine, and framing it as a challenge makes the entire difference as to
the outcome of the effect as a whole. The justification is what is essential
in this routine, as it could be any piece of information, but I believe
creating a bank card is a nice premise. ]

PK Team

134
PK team ef f ect:
The term Telekinesis was coined in 1890 by Russian psychical
researcher Alexander N. Aksakof; it has been demonstrated in more
recent years by the likes of Uri Geller and featured in many films. At
its most simple, it is the ability to cause obj ects to move with the power
of your mind. I t was later adopted and slightly modified by American
parapsychologist J . B. Rhine in 1934, in connection with experiments
to determine if a person could influence the outcome of falling dice.
Often referred to as mind over matter, telekinesis is used to refer to
affecting of obj ects such as metal by mere thought alone. Popular culture
such as movies, television, and literature have provided us with scores of
examples of people with the ability to cause obj ects to move, bend, warp
and even break using apparently nothing more the power of the mind. I
do not claim any supernatural abilities, but rather wish to present to
you now my own findings with experiments in Telekinesis.

Now, as with most things, it is best to begin with something simplea
warm up if you will. I have a key, which I am going to balance along
the edge of this table.

The mentalist places a key onto the border of the table.

135
Now, even though it is balanced, you can see that if we were to blow on
the key or even knock the table slightly, it will not fall off the edge.
The balance point is much too far forward for the key to fall off the
edge by mere accident.

The mentalist removes the key from the table and continues:

Now, what you' re about to see is something that will seem very small.
However, in principle, this obj ect could be a mountain; we might need
more people working together to harness enough mind power, but
nonetheless together we could attempt to move mountains. After all,
there are over 100 of you in this room right now. However, if we can do
this, it will open the door to further interesting demonstrations. Miss, I
want you to focus with me. I want you to concentrate all of your
conscious energy and thought on a specific point in this room. You
might pick to focus your attention on the clock at the back of the room,
or maybe on a friendly face in the audience. However, it is important
that your conscious mind is busy focusing on something else while your
subconscious mind is focused on one idea. That idea is: you can move
obj ects with the power of your subconscious mind. I know that sounds
crazy, however I want you to enter into this test with a spirit of open-
mindedness and genuine belief in the fact that you can cause obj ects to
move with nothing more than the power of your mind.

136
I , too, will play this game, and hopefully together we can cause
something small, but nonetheless impossible, to happen. I would like
everyone to remain silent while we both focus.

After a few moments, the key falls and the performer finishes:

Now, that is what is possible if j ust two minds focus on one outcome.
I magine what we could do if we were to all focus on one common goal
and worked together to achieve the outcome we desired. The common
focus and desire combine to create miracles. The next time you find
yourself in a situation that seems impossible to deal with, j ust remember
that the power of the mind can literally move mountains.

PK team method:
The method for this effect is my PK method called "Cliff," which will
allow you to make a key, a spoon or even a card box fall. As an
alternative, you can use Banacheks PK pen.

As you will learn, the secret is self-contained and its just a matter of
waiting before the object falls. The first time you place the object on the
edge of the table, it will not fall because you will simply not allow
enough time for it to fall.

137
Cl i f f r equi r es :
Zots brand clear adhesive dots, which can be obtained at most art-
supply stores or online.

I ns tr ucti ons :
1. Remove one of the Zots from its plastic strip.

2. Begin by tearing a small piece of adhesive from the adhesive dot.
Note that you will only need a very small piece in order to effectively
perform "Cliff. "

3. Once you have torn off a small piece of adhesive, place the adhesive
on the l i ghter end of the object you wish to use for your
demonstration.

4. Place the object onto the edge of a table. Be sure to place plenty of
pressure onto the end of the object where the adhesive resides. This will
allow the gimmick to stick to the surface.

5. You will simply allow some time to pass before it falls.

138
6. Once the object has fallen, pick it up and remove the
gimmick/adhesive in the action of picking it up. Its a completely
invisible movement.

Car d Box S etup:
1. Using a box cutter or knife, cut a tiny flap/opening on one corner of
the bottom of the card box.

2. Apply the gimmick/adhesive to the bottom of the card box.

3. Stand the card box on a flat surface. It will fall after the adhesive
releases sufficiently.

Notes :
Not all keys and spoons are the same. You will need to
experiment to see which types work better than others. While
experimenting, you will need to determine the correct gimmick
size and amount of pressure to use.

If you want the object to fall more quickly, use a smaller piece of
adhesive and apply less pressure. If you want to make the object
fall after a long period of time, use a larger gimmick and apply
more pressure.

139
The illusion provided by "Cliff" is excellent, especially given
that the larger (lighter) portion of the object is on the table. A
spectator would assume that the majority of the object's weight
is on the table when, in fact, the opposite is true.

Keep in mind that as an alternative you can use Banachecks PK
pen.

There is not much I can add to this routine other than a quick
alternative presentation. Depending on your character, you can be
controversial with any type of PK effect, and instead of claiming the
ability to move something with your mind, you can frame it as a spirit
moving the object in a sance-type performance that gets the entire
audience involved and chanting.

If you have the entire audience chanting and the object moves, they all
feel a part of the process, which makes the feat a lot more impossible, as
you were chanting at the same time, and the only logical method is that
you all did what you set out to do.

Acknowledgments

141
3 3 8 6 This routine was inspired by Bill Cushmans The Fource.

Dupl o Richard Osterlind introduced me to the concept of
getting an impression behind my back on his No Camera
Tricks bonus DVD.

Heavy amnes i a The vanishing corner concept has been
previously explored by Daniel Madison in his book I nside.

S canner I independently came up with the use of contact paper
on a plastic notepad to achieve a secret impression. I sent this idea to
several people I trust; the majority of them thought that it was original
and unique. I was really excited at this point. . . and then one of them
contacted me and let me know that a very similar idea was published in
2004 by Brian Halliday under the name of The Invisible Assistant
(thanks to Greg Arce for pointing me in the right direction). I knew that
the vast majority of mentalists were not aware of this idea (not even
myself and some very knowledgeable mentalists), since The Invisible
Assistant disappeared and was unknown for almost 9 years now. I came
to an agreement with Brian, and now I own the rights to The Invisible
Assistant.

142
Mi nd f l i ght This routine was inspired by Luke Jermays "PPP
Prediction" and his "Inkblot Test," in which the notion of multiple outs
and preshow work reframed as a prediction were first published. The
techniques in this routine were created by Luke and appear here with
his express permission. The "PPP Prediction" was circulated in a private
manuscript as early as 1999, and the "Inkblot Test" appeared in a
privately published manuscript, The I nk Blot Test, published in 2004.

Mr . Gr eens s ys tem It has come to my attention that T. A.
Waters published a routine called "Backdate" in his book Mind, Myth
and Magick. While I have never read it, I understand that it uses an
elastic pull to reveal a prediction visibly pinned to the back of a jacket. I
would like to credit this routine for its use of a pull for a prediction.

Goat touches Many brilliant mentalists have divulged their
personal methods to achieve secret touches, Banacheck, Lior Manor,
and Ormand McGill to name but a few.

Leather f ace My peek wallet Leatherface is very similar in
design to Dr. Stanley Jacks Wallet, which as far as I know is no longer
available for sale.

143
Cl i f f Banachek told me that he played with a similar idea of
sticking an object to a surface and waiting for it to let go, but he never
published his results.

Jose Prager - Goats Grimore

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