Professional Documents
Culture Documents
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BY JOHN RDGGI
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Introduction
The Pychic Entertainment Package
Prologue
The Premise
The Methods
An Interview With the Left-Brain
!murt ffiuro
The Routines
Psi-Graphico
Whillicker's Favorite Method
The Ultimate Psychometry
Conclusion
ReadingUst
John Riggs
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In contrast to the Magician, with his truckload of flashy apparatus
and his leggy assistant, or the Juggler, with his flaming torches and highlyhoned skill, the Psychic Entertainer seems almost impoverished by
comparison. His props are minimal.
So, what is the Psychic Entertainment package?
The package, dear friend, is you.
Ideally, the props used in a Mentalism presentation should be an
adjunct to the program - not the program itself. We cannot delight the eye
with lovely, scantily-clad assistants, or colorful apparatus and flying balls
and clubs. We have only and ultimately ourselves.
Weportray ourselves as individuals who have developed the powers
ofthe mind to uncanny levels. Do we look the part? Do we act the part?
Is the package worth the money? Are we extraordinary?
Intelligence and expertise is not something that can be faked. You
must be able to converse intelligently with your audience about subjects
about which they may be knowledgeable. If you use a psychological
premise, be darned sure to get your facts straight. Once the facts are
straight, then you may extrapolate at will. ..
Mentalism is the aristocracy ofthe conjuring profession. We must
at all times be worthy ofthe royal lineage we share with Washington Irving
Bishop, Dunninger, Koran, and Fogel. Mentalists seem to be among the
most curious and inquiring members of the conjuring profession - and,
come to think of it, I haven't heard of a gospel Mentalism act. Not since
Oral Roberts, anyway.
We must be eclectic, dynamic, and electric. Our love ofour art must
be contagious. We are a very select breed. The percentage ofpeople who
can entertain others is very small. The subgroup of that nwnber who can
market their way into making a living at performing is smaller still.
Mentalists comprise an evensmallerpercentage. And those who love what
they do may even be smaller!
I've' often been asked whether or not a Mentalist should use a
disclaimer:
No.
And with that, dear friends, let us dive into that Aristocrat of
Presentations:
TbeQ8 A Aet!
.\
John Riggs
images, and vague whispery insights into the person's energy field.
"1 sense a strong attraction to nature, an appreciation ofa spring
day. I seem to smell the perfume offlowers. The color blue has some
Significance. I see a lady in a blue dress, an old-time dress, and she's
humming to herselfand dancing to musicfrom a music box. She seems
to be anticipating something nice.
"1 seem to sense that your energy field is drained, as though you
have been undera lot ofstress lately. Someone aroundyou is causingyou
vexation. They are not working in your best interest. Your energies are
sapped by worry andstress. You seem to be doing a lot ofthings that you
do not necessarily enjoy doing, just because it is expected ofyou. This
is draining you ofthe natural 'joi de vivre' that you should have. These
negative influences will dissipate ifyou confront them. The dark things
always flee from the light"
ThePsychometricreading approach, illustrated above, can be used
ina Q & A format, butI liketohavedifferent 'flavors' formypresentations.
My Q & A premise gives answers to questions, with character reading
John Riggs
The Premise
"Let your premise define your method .. "
John Riggs
Row Many?
People are concerned with answers to their questions. Ideally,
then, it logically follows that you should answerthe questions, and as many
of them as possible.
Questions sealed in envelopes take time to open; returning the
questions to their owners takes time - nluable time that, in the audiences
opinion, could best be used answering their questions!
I know this is true from trial and experience. I used to do a PsiGratico variant as part of the Q & A act, and answer five real questions
and two 'gag' questions. I would return the slips ofpaper to their owners,
along with the check-sheetthatis a vital part ofthatexcellentroutine. After
every show, I was bombarded by dozens ofaudience members who pulled
their slips from the leftovers, and who wanted me to 'tell themsomething'.
OK., so I'm giving away an extra hour of free show. I am reluctant to
refuse, because the more people I can touch directly, the more shows I will
likely book.
.
8
Bow Fast?
This calls for a rapid-fire methodology. My preferred method
appears later. An integral part of holding the audience's attention is the
possibility that "I'm Next!"
I also do not think it necessarily strengthens the effect to read
aloud every question for verification. It is possible to phrase the answer
so the audience 'picks up' on the question.
In obscurecases, it is advisable to referto the question indirectly, in
the course of answering it, to convey the question to the rest of the
audience.
So, the effect, as I see it , stripped to the bare essence, is this: The
performer grabs a slip, calls off the name,and through whatever Psychic
agency, provides somekind ofanswer. A littlecold-reading is thrownin
for goodmeasure. The sliphas then servedits purpose, and is discarded.
John Riggs
Psi-Graflco
A ground-breaking routine by Dr. Charles Scott (Cicardi). The
performerhas a group ofpeople write down, on 3 x 5 cards, some specific
information about themselves. This couldbe a fantasy, some celebrity they
admire, theirfavorite color, astrological sign, etc. The informationon each
slip is clairvoyantly 'read' by the performer, and then opened in order to
give the unknown participant a graphology reading. Using the traits
discovered in the person's handwriting, the performer fills out a check
sheet of graphology traits, and unerringly returns the slip, along with the
personalized report, to the correct person.
This routine originally appeared in Magick# 412. It uses an easilygimmickednotebook, containing the padded Graphology reports, to allow
you to obtain the information. Psi-Gratico can be used as a complete Q
& A, but I think it is better, unless you are working a very small living-room
or office show, to use just fiE participants, as Cicardi himself suggests
in the bonus insert 'Beyond Psl-Graflco', and as he performs it on his
television program Mind Probe.
Chapter Seven is devoted to Psi-Grafico and some of its variants.
SuperScript
The next evolutionary step from Psi-Graflcc emerged from the
devilishly clever mind ofLee Earle. Superscript allows you to return the
10
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John Riggs
12
The Methods
"...In order to read ufe andpredict the probable course oflife, one must
understand the basicfacts oflife. Summed up - he was telling me that to
achieve our goal - we must seek our goal in communion with others.
Those who admire us - who respect us - who love us. Here is a natural
rule ofthe Universe...
" -Robert Nelson; The Dantu SYstem g[Life Span Readings.
obtainthe information.
Let's considerthe time frame of the method first.
Pre-.how
methods involve having audience members fill out information
beforethe show. Theinformation is either(a)obtained withanimpression
device, or (b) the slip or slips containing the information is stolen out
without the spectator's knowledge.
The first approach, using an impression device, is a preferred
method-of-choice ofmany leading mentalists. Thismethod offers several
advantages.
First, it allows the spectators to keep possession of their slips for
posterity. It also, from the performer's view, offers him the advantage of
being able to think about the information in advance, and screen his
questions.
This is an important point. You must incorporate a way to screen
your questions. It is quite conceivable to pick out five slips in a row that
ask: "Will I marry so-and-so?" and "Will I win the lottery?". Andthere
goes your dramatic ending down the pipes!
I used to go through my leftoverquestions at the end of a show,
and grieve over thejewels left unaddressed in the bottomofmy basket. I
used a one - ahead method, and consequently had no way to screen the
questions, completely missing the opportunity to mine out those nuggets
ofgold that couldhavebroughtthe house down. Keep screening in mind
as we discuss other presentations later in this book.
13
John Riggs
Stealing the slips before the show has its points, too. It allows you
to screen your questions, picking out the strongest and most effective
questions to use during your program. But always bear in mind that
everyone in the audience thinks his or her question is important, no matter
how mundane or mediocre we may think it is.
The subterfuge of slip-stealing also provides the performer with a
sanitary method, as nothing happens during the show to provide any clue
as to how you are receiving the information.
Slip - stealing methods run the gamut to the bold one-on -one
approach described in Richard Osterlind's book
SurrQupdaJ, Cepter Tear ap<UWw:..:IWlpiQUes, published by Micky
Hades, to gathering the slips in envelopes, and then switching out one
entire envelope full of slips!
Some performers have the slips filled out before the show, sealed in
envelopes, and placed in a bowl. They then boldly steal out several
envelopes, retire to the restroom, and open and read the stolen envelopes.
If they fmd suitable material, they either memorize the information or
prepare a crib sheet. Once again, the advantage is screening. If you need
more info, you steal some more envelopes.
Also, I suppose, while you are in the restroom, you could take
advantage of Stanley Jaks' method of eavesdropping in the men's room
before the show, to glean some nuggets ofinformation. Although it occurs
to me you could get a lot more info from eavesdropping in the lady's room!
John Riggs
oftbe slip!
With a couple ofgag questions, and a good memory, you are loaded
with a couple of concrete facts that you can parlay into a superb ending.
Many years ago, George Anderson released a book called DypaThis indispensable essay describes a method for doing
a Q & A act absolutely cold, with nothing written down.
The idea is that individuals from certain age groups, and certain
social circles, have major issues in common.
Corinda also has a 'Table of probabilities' which, if you can
interpret it, gives you the same sort of information, It is in the chapter of
1J Steps on - you guessed it - Q & A.
Statements about these commonalities are thrown out to audience
members, and the odds are very good that some or most of them will hit!
It is an elegant idea, and one that was just made for a climax for a Q & A
presentation!
Say you havejust answered, using the One-Ahead, about five or six
questions, and two 'gag' questions. You have also taken the opportunity
to memorized a couple of names and questions. Do this:
"Ladies and Gentlemen, I do not have time to answer all ofthese
questions, but let me address a few that J feel are most important.
"Someone in the audience is concerned about their husband's
16
John Riggs
Orville Meyer, who learned it from Charles Scott, and who contributed
several handlings to Bascom's Magick. Which is where I first heard of it
in the early 1980's.
The general idea is that ifa question is written on a card, and the card
folded in half, it is possible to refold the card, so that it looks exactly the
same, and yet you can read the information.
The method requires that the writing is restricted to one-half of the
folded card, so that the message is not visible from the front, but this is
easily accomplished by having an area defmed on the card, clearly
identified as the'writing area. The remainder of the card can have designs,
logos, instructions, or booking information printed upon it, as long as both
sides of the card appear identical.
In brief, the questions are refolded as they are removed from the box
or basket, and the performer secretly, yet openly, reads the question!
He then pretends to get 'Psychic vibes' about the question, and gives
his Olympian response. The slip is discarded, and the procedure repeated
ad infinitum.
If the audience has been instructed to write their names on the
outside of the folded slips, the performer can pretend to be studying the
person's signature, when, in reality, he is reading the question.
If you have balls of solid brass, this is the method for you!
BUnclloldecl Q fI A The cat's Pajamas
.'
John Riggs
Weird and
.mu:Jw:.
This method was recently 'Docctored up' and resold as a Psychic
Pitch for $250.
I have made extensive use of Bascom Jones' Magick in this book
for a reason. Magick is simply the best source of ideas, methods, and
presentational hints existing in the world today.
Sadly. Bascom is no longer with us, and one of the disappointments
of my life is that I never got a chance to meet him. But I consider myself
one of 'Bascom's Boys', as he, more than anyone else, shaped my approach
to Mentalism during my impressionable years.
There are, of course. many other sources for material and ideas. I
will include a partial list of easily-available sourcebooks at the end of the
book.
The pointbeing made, there is no shortage ofmethods to gain access
to the spectator's question.
What then?
20
The Aaswen
"The most beautiful thing we can experience is the mysterious.
It is the true source ofall art and science. "
-Albert Einstein
"... We live in such times, that if blatant nonsense is uttered with
a straightface, listeners will believe they are imbibing profound
.-J
"
wlsuom...
-Ray Hyman, Linking Ring Parade, October, 1986
"... You ought to know, Ray!... "
JohnRiggs
are interested in working good gigs need to see themselves as being in the
Motivational business.
Hopefully, people should leave the show feeling quite a bit better
that when they came. If you like to work.
Avoid giving advice: If you encounter a question that is too 'hot',
do not be afraid to either pass on it, or, ifyou are qualified to do so, request
that the person should consult with you privately after the show. It is not
appropriate, in an entertainment format, to dwell on certain subjects, or to
provide psychotherapy! Of course, never give legal, medical, or financial
advice.
People believe what you say: Even if they say they do not, people
remember what you say.
Mentalism, especially something as strong and as personal as the
Q & A, hits the subconscious mind like a sledgehannner. You have heard
the stories about people who saw a fortune-teller 'on a lark' and were told
something that worried them for years! Don't do it.
Keep it moving. Don't strain and hesitate on every question. Vary
the pace a little. Some answers pop into your head almost as fast as you
can talk. Some answers are a little more difficult to receive.
Some you don't get anything at all! Drama...
We live in what I call the 'eight second attention-span society'.
Television has reduced our capacity for concentration to eight seconds. If
you watch your next movie or TV show, count the seconds between 'cuts'.
Rarely, if ever, does the camera stay motionless for as long as eight
seconds.
If your natural pace is leisurely, do not force yourself to work
unnaturally fast, but try to keep the pace interesting!
Study 'Troubled People' books. You can get a lot of reassuring
lines from the Pop-Psychology books. I am known locally for .my
seemingly-endless supply of inspirational and situational quotes for all
occasions.
It is easier to draw upon a storehouse of previously-learned knowledge that to improvise potentially dangerous answers on the fly.
Beempathic: Put yourselfin the otherperson's shoes. How do they
feel? What are their expectations?
Screen questions'on the fly': Do not be afraid to reject a question
as inappropriate. These can be anything ranging from 'gag' questions
("How high is up?") to personal attacks on the performer ( "I can't believe
22
John Riggs
The question is: 'WillI be healthy". This is one question that can
land you in a whole world of trouble. I say:
"1 see you as a very strongperson, very strong inside, with all the
necessary emotional tools to deal realistically with the negative influencesinyourlife. You may tend to worryandfret aboutthingsyoucannot
change, and wish that you had a schedule keeping you informedoflife's
events. Knowing exactly what you are dealing with is an importantthing
to you. I believe that ifyou take good care ofyourself, keep the proper
positivementalattitudes,andseeyourdoctoraboutanyhealthissuesthat
comeup,youwillwardoffany negativeinfluences,enjoylife to thefullest
and reap the rewards you deserve. OK?"
Its hard to go wrongadvisingsomeone to go to the doctor if theyare
sick! But try to make it sound like an Delphic announcement...
Remember that you do not have to answer the question directly.
In my presentation, I seldom,if ever, visibly open the questionto verifyor
read the question aloud. I pick up a slip, give my answer (alwaysbearing
in mind to get as many affmnatives as possible) and go on to the next
person.
Sinceyouareworking(fromanaudiencepointofview) withPsychic
'vibes', the answer you give can be a bit circuitous. But it
always
be positive.
Question: 'Will I winthelottery?" Answer: You areconcernedwith
money. I sense a highly developed material instinct, and I see that
enjoysurrounding yourselfwith nicethings. Sometimes, youseemto wish
that money bags would drop out ofheaven!
''You may be temptedto gambleto gainthe quick wealthyou dream
about. However, in a Lottery,the odds areabout 32 millionto oneagainst
you, and you may do better investing your money in securities. OK?"
Question: 'Will I get into school this fall?" Answer: "1 see you
entering a new course in you life, taking a new direction this..fall, I
believe. I see you as having a greatdeal ofhiddenpotential thatyou will
develop during this period.
''You areapproachinga crossroads, witha decisionto bemade. You
willsurprise yourselfwitb the thingsyou accomplish. Your heart'sdesire
willbewithinyourreach. I thinkyou willdo well in school, afteran initial
settling in period. OK?"
Always treat your querents with respect. I shouldn'teven have
to say this, but a lot of Mentalists have borrowed some obnoxioushabits
24
John Riggs
all, listen to your aU(Uence! Deliver what they want. You don't want to
have to work for a living forever, do you?
I suggest to anyone interested in specializing in the Q & A act to
watch the 'real' Psychics at work. You can see an abundance ofTelevision
Psychics (sort of the New Age version of TV Evangelists, I suppose!) on
the networks. Observe how they work an audience, and incorporate what
you learn into your own presentations.
If you have the qualifications and ethics to do private readings, a
Psychic Fair is a good place to gain experience with lots ofpeople. If you
can stand the pace, it is a great way to do dozens of readings in a weekend.
On a good weekend, I used to do between forty and sixty fifteen- minute
readings (at $10, net, each. This is excellent training in fielding difficult
questions.
If you don't want to be a player in this game, go to the Psychic fair
and watch other Psychics at work. You can learn a lot!
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26
John Riggs
-,
28
Tarot Psychometry
In this effect, the performer introduces a deck of Tarot and briefly
explainsthe meaningof a few of the cards. The deck is handed over to
audiencemembersforshufiling. Thedeckisretrieved,andplacedina box.
Handingthe boxed deck to a spectator, the performerasks himto remove
a card, cautioning the participantnot to let anyone else see his card. The
box is handed to several different spectators, who each select a card.
Now, each spectator is handeda box ofbusiness - sized envelopes.
Theperformerasksthe spectatorsto takean envelopeandplacetheircard,
along with any personal object, within the envelope. The envelopes are
thensealed,gatheredby an indifferent spectator,mixed,andhandedto the
performer.
Selectingoneofthe envelopes, theperformerholdsit to hishead and
concentrates! He starts delivering a Psychic reading to the (as yet
unknown) spectator. Ripping open the envelope, the object within is
dumpedout into the Psychic'shand, and the performeruses psychometry
to receive more specific sensations about the individual. The reading
becomes more and more specific, and the performer returns the object
back to the spectatorto whom it belongs! Then, removing the Tarot card
from the envelope,the mysterious one tells the spectator's fortune, using
the card as a basis. This procedure is repeated with all ofthe spectators
exceptthelastone. Withoutopeningtheenvelope, theperformerdescribes
the person's character,then tellsthe individual'sfortune- naming the very
card sealed within the envelope!
Method:
You've got to admit - it sounds pretty strong. It is. This routine
follows Uncle John's Second Rule of Mentalism - Show No Mercy!
In most Psychometry routines, the envelopesare secretlymarked.
The envelopes are also where the heat is focused fiom tuspicious
spectatorswho are too callousedand too left - brained to appreciateyour
cold - readingskills. I have often seen spectators examine the envelopes
and cards after a performance of Psychometry. Not only at some of my
29
John Riggs
AND
SOME
PRESENfAflON!
30
ABOUT
31
John Riggs
Zodiac Psychometry
In this variation, a deck of Zodiac cards is handed out, with the
request that five spectators remove the card representing their sign of the
Zodiac, and seal the card, along with a personal object, into envelopes.
They are invited to keep the remainder of the cards as a souvenir.
In a manner similar to the preceding effect, the performer starts the
reading with the unopened envelope, then removes the object, refming the
reading, then identifies the Zodiac sign. Remarking on the qualities of the
particular sign, the performer returns the card, envelope, and object to the
proper spectators!
The last person's sealed envelope is returned to them, with the
remarks that they are a typical Gemini ( for example), always holding out
for last!
Method
Since we cannot force the card on the individual participants, you
would think this would rule out the methodology described in the
preceding effect. In fact, it does rule it out, but we go use a variation.
Each person is handed a
of Zodiac cards. The set contains each
of the twelve Zodiac signs. Each set also contains some secret mark on
the back or edge of each card, identifying which set its from.
I have found the simplest way to do this is to have a small dot
somewhere on the back of each card. You may want to use the upper left
corner for set number one, the upper right corner for set number two, lower
left corner for set number three, lower right cornerfor set number four, and
the middle of the card for set number five.
Using modern desktop publishing technology, you can manufacture
your own sets of cards, personalized with your booking information, and
incorporating into the design. the small anomaly..that identifies each set.
These can even be produced as your business card, with the Zodiac signs
printed on the back. You may want to check out the local New Age
1-,:4
Presentation:
You introduce the deck of Zodiac cards.and briefly lecture on the
attributes associated with each house. If you watch your audience closely,
32
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John Riggs
Pellet Psychometry
Effect:
Before the show, audience members write down questions they
would like answered by the Great One. These slips are screwed up into
little balls, and gathered in a bowl. One by one, the Mentalist holds a ball
at his fmgertips and presses it against his "third eye". He identifies
individuals, and answers their questions! The balls of paper are never
opened throughout the routine.
Method:
Pads ofpaper are freely distributed before the show for the audience
to write their questions. Some ofthe slips are on your favorite impression
device. I use the Fields Device from Magick. I try to get about a dozen
impressions. These are memorized, using yourfavorite mnemonic system.
Another way would be to gather the balls in a bowl, and steal out a
handful. Give the bowl to another spectator, or the program chairman, to
gather up the rest while you go to the powder room to freshen up ( and
memorize your slips).
During the show, point out that there are pads of paper and pencils
on each table, and "...If you haven't already done so..." You ask the
spectators to write down some question that they would like you to answer.
Phrase your request to fit your theme, of course.
The balls of paper are added to the bowl in the chairman's possession, and placed on your table.
One by one, you remove balls ofpaperand go down your mental list,
calling offthe pre-memorizedinformation. This will knockthem dead, and
the skeptics will lose their minds trying to figure out how you are reading
the balled-Up slips! Don't forget to add some sensational answers, to add
that spicy flavor audiences love.
Put the used-up balls back in the bowl as you pack up after the show
- no evidence!
This method gives you the convenience ofa little pre-show question
.
.-screemng.
34
35
. ..
John Riggs
Fringe Beaelits
Effect:
The Mentalist
his audience members to write questions
they would like for him to answer on the back oftheir business cards, fold
them into quarters, and drop them into a paper bag.
The bag is given to a spectator for mixing, to ensure that nobody has
any advantage over anyone else (?).
One by one, the cards are withdrawn from the bag, and with uncanny
accuracy, the mentalist identifies the owner of the card, and answers his
unspoken question!
Method:
As you mix the cards up, you unfold one ofthem and palm it, writing
side out, in the right hand. You visibly withdraw a folded card, and as you
bring it into contact with your 'third eye', you read the question from the
palmed card. This gives you a One-Ahead.
You then unfold the visible card and pocket it, but not before you
glimpse the information for your next reading!
You must avoid cards of an odd color, unless you use the reversible
card stratagem, but Il}ost cards are printed on white stock.
This is a great way to hustle business cards for your contact list.
36
Indexed Stratagem
Cicardi (Dr. Charles Scott)published a very good way to secretly
number indexcards for use in a Psychometry styleroutine. His idea was
to use a bluepencilto darkenthe endofthefirstruledlineonthe first card,
the secondline on the secondcard, etc. It is a good idea, and I'veused it
with much success for years.
My contribution to this idea follows:
You canbuy, at the office supply store(theMentalist's Magicshop),
pads ofindex cards that are perforated at the top for easy removal. This
prop was tailor - made for the Mentalist!
Mark the first five sheets as per Cicardi's direction. Hand the pad
andpencil to a spectator, and ask himto writedownhisAstrological sign,
hisfavorite color, or somepersonofhistorical significance thatheadmires.
Thisinformation can be whatever youdecide tobase yourreadingaround.
He does not write his real name anywhere on the card.
Heisthenaskedtotearthecardout,folditintofourths, andholdonto
it for a moment.
Thenthespectatorpassesthepadto a secondspectator,whofollows
the same procedure. This is repeated with three more spectators.
The cards are gathered by a sixth spectator,'who mixes them in a
bowl, and brings them to you.
The procedure with the padded cards forces the spectator's to take
the cards in 1-2-3 order, without the need for the performer to hand the
cards out in sequence.
You can then open the cards, do a reading based on the information
within, and return the card to the correct spectator, via your uncanny
telepathic ability!
Or, by secretlyaddinga sixthfoldedcard( a dummy), youcansneak
one of the audience's cards out and read it as you go for your notebook.
Open the card and read it, refoldit, and secretlyadd it back to the
bowl as you draw out a second card.
Calloutthe information fromthe firstcard (One-Ahead, again)and
openthe card to studythe participants handwriting. Spotting yourmark,
youpointto the correctspectator, saying; "Itsyou,isn'tit?" He will have
to agree.
Putthe openedcard in yourbowl,memorizing the information, and
take out the next slip. Continue until you have read all five persons.
37
John Riggs
Using sneaky means like Psl-Graflco will allow you to return each
card to the spectator after you identify him. We will return to this idea in
the chapter on Psi-Gratico.
As in Tarot Psychometry, you can control which audience members to use in this presentation.
I have experimented with the idea of using a rubber stamp on the
unlined side of an index card, requesting the specific information. The
marked ruled lines are thus on the back of the card.
The advantage? When the cards are folded into quarters, your
marked comers are in full view. You can now determine who the slip
belongs to without opening the card.
I have also been marking the cards in negative - using a white-out
correction pen. You wind up with a white dot on the blue line.
Nothing new here as far as presentational ploys; I just thought the
idea with the pads of perforated index cards was worth passing on!
38
Method:
Paper bags have a trademark stamp on them. I had a set of five
stampsmadewhichhas different serialnumbers onthem. Andaddedthem
to the bag. Thesenumbers had the last digit in sequence from 1 - 5.
UsingLee's No-Brainer idea,youcoulduse the samestamp, but in
five different colors!
,,
39
John Riggs
40
Darkroom Q fI A
An ideathat is worthreconsidering isonethatwasverypopularback
41
John Riggs
42
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John Riggs
TbeSleutb
T. A. Waters, PS'chometrician supreme, says that by using
deductive reasoning, like Sherlock Holmes, you can add some startling
details to your Psychometric readings.
Why not take this idea and run with it? Instead of being a Psychic,
you could build an act around the premise of the Master Sleuth.
Some strong Graphological demonstration (like Psi-Grafico) could
be used to warm the audience up. Then, the personal objects are gathered.
One by one, the Sleuth analyzes details of the objects and deduces
the personality and personal habits of the owner. It would be possible for
the intelligent performer to re-write his cold reading scripts for this
purpose.
Plus, you can always use Water's idea ofdeveloping your powers of
perception and deduction!
Then, after analyzing the personalities, he returns the objects to the
owners with incredible accuracy!
Presentational tidbits suggestthemselves around the themes ofbody
language and observation tests.
A good market would be private eye companies and police departments.
44
PFioe
AD Interview With the Lelt Brain
This interview was recorded a few weeks ago. It is a discussion
between me, the reknowned and beloved 'Southeast's Greatest Charlatan', andmyevil twin,whois a magician, andwhoworksunderthe nom
de illusion Abracadabra Jones.
As you can see, we differ on several philosophical points.
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR
John Riggs
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
we need money to allow us to pursue our chosen life-style (performing), and the best way to make money is to charge for what we love
to do anyway
My audience understands at the outset that what! perform are tricks ...
I do not do tricks. Magic is so left-brained! The constant emphasis
is 'How do you do that? How did I do that? How will I do that?"
All Magicians are fascinated with method. This fascination is
communicated to the audience. All Magic audiences are fascinated
with method. How can you inspire anyone when they are trying to
pierce your innermost secrets?
The methodology of Mentalism is usually minimalistic. We appeal
to the right brain. We dramatize the MAYBE - the hidden potential
of the human mind. Surely you must realize this is more grown -up
than Magic ...
So, where does the Inner Child get to play among all this mind stretching portentousness?
Er, ah... I'll get back to you on that later!
(pressing his advantage): Also, how do you justify the ethical stance
you adopt? For goodness sakes, you even do Psychic readings! I
can't stand it.
All of our lives we are told what we are not good at. By our parents'
and by our teachers, we are told: 'You can't. You won't. You
shouldn't." I say: "You can. You should. And you will." Where is
the harm?
You encourage a false belief.
In what? Yourself? God forbid we should not believe in ourselves!.
You know what I mean. Christian thought...
The parts ofthe Bible I like to read speaks very favorably about what
I do. Jesus preached acceptance. Acceptance of the self and of
others. UnconQjJional acceptance. Anyone who puts strings on
salvation is not practicing the teaching ofJesus. Faith is not a blind
leap into ignorance. It is a leisurely stroll into the light...
Sounds New Age to me.
Sounds very old to me.
False Prophets...
I am not a Prophet. Jimmy Swaggert is a Prophet. Oral Roberts is
a Prophet. I saw Pat Robertson do a Q & A act on the 700 club once.
The only difference is that he did it in the name of God. I do it in the
name of entertainment. Who is encouraging false beliefs, now?
46
AJ: How do you deal with people who accuse you of practicing unholy
acts?
JR: Very gently. Obviously, they have never witnessed true evil. They
musthaveneverseenthepicturesofthe Holocaust. Theymusthave
neverread aboutthe Inquisition. Andtheymustcertainly notwatch
the news! Tothink of a book test as a manifestation ofthe Lord of
Evil is ridiculous. I will have no part of it.
I treat them gently. They have a character disorder that I think of
as the 'Religious dysfunction'. They have accepted that to be
spiritual meansthat youhaveto stop thinking. Theyare frightened,
and have soughtrefuge in ignorance. It is not my place to fix the
damage thattheirfamily or theirupbringing didto them. Nor would
theyacceptmyhelpeven if I offered! I try to put new ideas in front
ofpeopleto consider. You mustalsorememberthatsuchpeoplelike
to seem superior to others. They quite often sit throughmy entire
show, with their back to me, or glare at me, or write me hate mail
during the Q & A. Hostility is not spirituality. I ignoretheirhostility,
andtreatthemwith the samecourtesyI treat themoresanemembers
of my audience.
AJ: I don't think it is very charitable to call them insane...
JR: I don't think its very charitable to try to ruin a show, one that the
company paid goodmoneyfor, for everyone else. What else could
you call it, whensomeone tries to force everyone else to accommodate theirpet superstitions? Its notjust me they'reattacking. Its the
remainder ofthe audience, those who take the show in the spiritits
intended, who sufferthe brunt ofthese individual's lack ofconsideration. Iftheywantno part inwhat I am doing,why don'ttheyjust
leave, and quit trying to ruin it for everyone else? They crave
attention, and this is how they get it. Its anotherform ofheckling,
but not a very nice one.
Al: Do you run into such people often?
JR: Not as often as you mightthink. What they refuse to consider is
that maybeI worshipGod in my own way, and that is between me
and God. Perhaps my performances are a manifestation of my
spirituality. I do notmakea spectacleofit. Ifsomeone asksme, and
they do, why I am so happy and full of life, I will tell them. My
spirituality sustains me. I am grateful for my life - the good and the
bad. Although I believethat nothingin life is bad, in the long run.
47
John Riggs
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
JR:
AJ:
'Nuffsaid.
Is it the role of the entertainer to be a therapist?
It is the res.ponsibility of the entertainer. If I do a Mentalism show,
that includes audience readings, I am confronted with severalpeople
after each show, requesting private readings.
I notice you always carry an appointment book with you at each
show.
That's right. I pencil them in on the spot!
Monetary motive again?
I would be lying if I was to say that I didn't make money doing
readings. But I am qualified to help people. I have a background
in counseling. I am one of nature's 'ears'. Even if I was not an
entertainer, I would still be a counselor. I like people, I am fascinated
by how hard most of us work at being unhappy and frustrated, and
I try to point out the - well, the silliness of being your own worst
enemy. 'An ye harm no others, do as thou wilt'.
I've heard you say that all psychotherapy is entertainment.
Yes, I've come to believe that most people seek psychotherapy
because they have too much time and not enough encouragement.
Or challenge, which amounts to the same thing.
I still think you should use a disclaimer.
,
There is no market for a fake mind reader. I want to work. I enjoy
what I do. People reward me by booking my show. I offer a moneyback guarantee if they are not happy. I sleep well at night, knowing
that I have made a positive difference in the lives of many. For one
hour I try to show the audience what we can potentially become- if
we only believed in ourselves. I believe in happiness and peace of
mind. I believe in doing what you love. Happy people do not start
wars. I do not think I have ever caused a skeptic to change his
religion.
I sleep well at night, knowing I have made people happier.
As do I. On that note, let's shake and be friends, OK?
All right, but I'm still a little uncomfortable about this Psychic thing...
When we are doing the Psychic bit, just sit back and let me drive.
In return, when you are doing the Multiplying Rabbits, I won't tell
you that you are wasting your time. Agreed?
Agreed.
51 nb
J,;v
Wbillieker's Favorite Metbocl
"...Flattery can be a sin, a deadly weapon, and a medicine depending
upon how it is usedand when. The Mentalist should study the uses
offlattery and particularly so when it comes to readings... "
ERect:
The performer passes out cards to each member of the audience,
with the request that they fill the cards out according to the instructions
49
John Riggs
printed on the card. The instructions call for the individual's name, and also
asks for one other item:
This is to be a question, one ofa personal nature, and one into which
the audience would like you to try to provide some insights. To demonstrate, the performer takes a blank slip and shows how to fill it out and fold
it. The cards are folded into quarter, in order to keep them 'from springing
open prematurely" (?).Once the questions are recorded, the slips are
gathered in a glass bowl, and placed on the table in full sight.
The performer removes a folded slip from the bowl, and holds it
above his head. At no time does he look at the slip.
Slowly at first, then gaining speed, he telepathically divines the
querent's name! Then, he answers the question, in terms that leave no
doubt in the audience's mind that he is 'in tune' with the questioner. The
spent slip is taken into the other hand, and a second slip withdrawn.
This procedure is followed with numerous slips, some of the
on target, and some are skipped
answers are specific, some are not
altogether. But several dozen questions are directly answered, names of
loved ones are given, and the slips neatly stacked in the performer's hand.
Placing the stack of spent slips on the table (or in a glass), the
performer grabs a handful ofslips and answers several questions, one after
another! These slips are tossed to the floor as they are spent. The
impression is that the Psychic is receiving answers almost faster than he
can verbalize them.
This machine-gun presentation segues into the performeranswering
some anonymous 'hot' questions, and then ends with the Amazing One
announcing his predictions for the coming year!
At the end of the performance, the slips are placed in a glass for the
querents to sort through and keep as a souvenir, if they wish. There is no
evidence of chicanery of any kind
Method(s)
(1) The slip that you use to demonstrate the 'filling and folding'
1:\1 & A
THE
CARD
MndBenders!
A Unique Mental. Oddysey
MndBenders!
AIJnique Mental (xktysey
. . 'th joo.. Ri .
995.
.
. '.< >/.i '. .:<..
....
..
'-."'
"
. . H .
.-.--
N ame .
..
.<..
2i;j; _ l._
_ .i . .
Outside
Inside
..
!
The card is filled out, and then folded into fourths,
The signature is on the outside,
I do it this \JJCIY in case I VvOnt to incorporate an
analysis of their signature so that I can scrutinize
a difficult-ta-read question!
I
John Riggs
want to bring the house down with your first or second response!
(5). Whenever you use a 'gag' question, memorize the name and
question that is really on the slip. This gives you some identifiable material
for the Dynamite Mentalism at the end of the presentation.
When you want to pass on a silly or hostile (or otherwise inappropriate question, simply grunt and say: "Nothing!" or: 'Won't even touch
that one!" and toss the slip aside.
(6). When it is time to wind things down, place your stack of cards
in a glass, reversing the fold ofthe entire stack, bringing everything back
to normal for any post-show investigating.
(7). Using Anderson's Dynamite Mentalism principle (discussed
in Chapter Three), and your previously-memorized information, grab a
handful of slips and toss out the information as fast as you can! As you do
this, allow the slips in your cupped hands drop out to the floor.
The first time you perform this, and see the looks on their faces, you
will wonder how you ever lived without it! The impression that I try to
convey is that the only reason I quit was from experiencing sheer
exhaustion. If you sprain your karma, you have to wear a Psychic truss!
If you would like to extend this phase ofthe routine, you just reverse
a few cards as you go, providing you additional material.
Comments:
None of these ideas are strictly my own, except possibly the ideas
of culling out the 'hot' questions and ofmemorizing the real info during the
presentation of 'gag' questions. And of reversing the entire stack as one
card.
All the above techniques are old, time-tested methods. After years
of looking for a new method for Q & A, one that would make all
previously-existing methods obsolete, I came full circle and realized the
answers I sought were in my own backyard.
I put this handling together from the various bits and pieces as I
performed the Q & A act for real audiences over a period of three years.
Discussion of the Q & A act with such contemporary Maestros as Lee
Earle, Charles Scott (and numerous other, lesser lights), helped me hone
the presentation.
I must also credit such people as Bascom Jones, Burling Hull,
Orville Meyer, and Gene Neillson; individuals whom I have never met,
but whose thinking and ideas I gratefully absorbed.
52
What happensis that the people who filled out the slips before the
show toss their slipsin with the cards. The slips and the cards look alike,
but the paper stock is different.
53
John Riggs
This allows me to avoid the pre-show slips, and do the one ahead
with the cards. I can tell the slips apart from the cards, because of the
difference in stock, but from a short distance, they look the same.
When I toss in a 'gag' question, I can add the real info, on the card,
to my list of memorized information.
Now, for the mind-melt: After I have read several slips (usually, at
least a dozen), I remove a crystal ball and roll it between my hands. I
continue calling out names and answering questions, usually tossing in
three 'sensational questions', as I peer into the ball.
In case the audience members compare notes later, the mixture of
pre-show questions with real-time questions will throw off any skeptics
who once read a Bill Tarr book. I know this is running where no one
persueth, but it isn't really that much extra work.
I then segue into the future predictions.
And so on. Remember, use your powers only for good!
54
Jeoen
Dr. Charles Seou's Psi-Gralleo
It was withgreatjoy that I received Dr. Scott's kind permission to
Eflect:
Psi-Grafico is a demonstration of Graphology combined with
Clairvoyance or Telepathy.
Five spectators are given index cards, with the request that they
writedown, forexample, theirfavorite color,theirastrological sign,and
their favorite fantasy. The participants are cautioned not to write their
name, or any identifying characteristic, on the card.
These slips are then folded and gathered in a basket. One by one,
the Mentalist plucks a folded slip from the basket, and, holding it to his
head,he describes the fantasy ofthe (as yet unknown) spectator. He may
sometimes correctly guess the colorandthe signofthe spectator, as well.
Opening the slip, he proceeds to refine the reading with a brisk
handwriting analysis.
To help with this task, the performer uses a small notebook,
containing a pad of 'tick sheets', describing various Graphological traits.
55
John Riggs
EE
Withdrawn
Judgement
Expressive
Impulsive
ED Forgiving
Lasting Emotions
BL Optimistic
Pessimistic
Erratic
TP Contemplative
Analytical
Exploratory
Intuitive
T Stubborn
Shallow
Controlled
Procrastinator
Goals
Practical
Pride
WillPower
Persistance
Talkative
0
Secretive
Deceitful
D
Independent
Sensitive
Dignity
I
Irritable
Innattention
UL
LL
BS
E'S
MS
TT
Loyal
Caustic
Individualism
Jealous
Philosophical
Egotist
Clannish
Physical
Imaginative
Confused
Acquisitive
Resentful
Humor
Tenacious
Determined
Generous
Cautious
Self-Concious
Agressive
Concentration
Diplomacy
Ostentatious
Self-Reliant
Direct
Cultured
Artistic
Musical
Psychic
Literary
Color Sense
COMMENTS:
You can fit these traits with your favorite cold-reading lines, or study the art of
Graphology and actually analyze the writing.
Dr. Scott wrote several Bonus Inserts for Bascom's Magick on Handwriting
Analysis, including several that were meant to be used for Psi-Grafico,
56
!/OIUC-
=*
A
Leo (July 23-Aug 22)
.
II
Charitable
Ambitious
Independent
Pioneering
Assertive
Impulsive
Practical
Modest
Organized
Planner
Libra (Sept 23-0ct 22)
Beauty
Friendly
Accommodating
Perfectionism
Passionate
Emotional
Romantic
Traditional
Sensitive
Stubborn
Adaptable
Diplomatic
Aquarius (Jan 20-Feb 18)
Idealistic
Unpredictable
Intuitive
Spiritual
Self -Reliant
Impulsive
Generous
Capricorn (Dec 22-Jan 19)
Dignified
Concentration
Reserved
Careful
Compassionate
Charitable
Submissive
Easy-Going
For a more detailed reading For information about a fun Horoscope Party Call:
57
John Riggs
Method:
The secret of Psi-Grafico lies in the easily-gimmicked notebook
that contains your pad of Graphology Checklists.
On the left side of the notepad is a pocket of transparent material.
Dr. Scott originally recommended an Avery product called Add-APocket. I do not believe these are still on the market, and they were
unavailable in my part of the country anyway, so I developed another way
to add the necessary pocket.
First, you must remove any accessories that are on the left inner side
of the notebook. I use an Exacto knife to do this. If the notebook contains
a small loop to hold a writing implement, I suggest you leave it. It will come
in handy.
Then with three strips ofdouble-sided Scotch tape, you add a piece
of clear acetate that is about three inches tall, and which runs across the
width ofthe inside front cover. The illustration on the next page shows this
preparation.
This will form a small pocket, that you will use to hold each
participant's card as you fill out their Psi-Graphic Analysis. It also lets
you switch the cards when you do the one-ahead!
If you are lucky, as well as diligent in your search, you can fmd
notebooks already provided with a suitable pocket.
You will also need to prepare a pad of the Psi-Graphic Analysis
sheets. A version of Dr. Scott's design appears on the previous page.
These can be taken to a printer, copied, and padded together. The
58
.....t...---
:
.......
.. ;:
.-::::r::::=:::=:::=::=:::=:::::::::::::.i:
. ....+
.::t====:==:==::=.
.
_
_--- _. ;.
.....+ . - _ _
__._._. ;;.,
.::::j::::=:::=:::=:::=:::=:::=:::=.
.....+ --_ _ _. L:..
........
.......
_ ___ _.._-_
_
_- --__ _. :
__
::::t-::::::::::::::::::::::::::: .
.....+ _ ---_ _ _ _ _ ..t..-..__--_..-
Double-sided
Scotch tape
Remove1his
pad, & replace
vJ1h Graphology
sheets
pad is inserted into the notebook, where the original notepad is usually
placed.
Theindexcards are secretlymarked, as describedinChapterFour.
The first blue line ofthe first card is slightly thickenednear one end. The
secondlineofthe second card is thickened. Thethirdlineofthe thirdcard
is thickened, and the fourth line ofthe fourth card is thickened. The fifth
card is unprepared.
See Indexed Stratagem, alsoin Chapter Four, to seehowI assure
that the proper spectator gets the proper card without you obviously
handing this card to this spectator, that card to that one, etc.
Thefive spectators,each identified witha secretly-marked card, are
asked to write someform ofinformation on their cards. This can be their
Astrological sign, their birthdate, some celebrity that they would like to
meet, etc. Your imagination is the only limiting factor here. Remember
to remain consistentwith your premise!
Theparticipants are furthercautionednot towritetheirnamesonthe
cards, nor to place any identifying information. The cards are foldedinto
fourths, or eighths, if you are using large cards, and gatheredin a basket
by the performer. This gives the performertimeto secretlyadd a dummy
card, and to also steal one of the spectator's cards!
The dummy card is dog-eared so you can easily recognize it.
The basket offive slips is given to an indifferent spectator to mix,
astheperformerretrieveshisgimmickednotebookfrom hisbriefcase. The
stolencard is opened, read, and inserted in the secret pocket. The closed
notebookis removed and held in the performer's left hand.
Now,the performerremovesany slip (not the dummy!) and holds it
against his 'third eye'. He telepathically receives the information written
on the card!
Unfoldingthecard,he proceeds torefinethereadingbycommenting
on the personality traits observed in the handwriting of the (as yet
unknown) participant. The card is placed in the pocket, behind the
originally-stolen slip.
Observing the secret mark, the performer ascertains whichparticipant he is dealingwith, checks off a few traits with his pen, and returns
the original slip and checklist to the correct spectator!
It is possibleto give a pretty good reading, sinceit is child'splay to
observethe participantas you are 'studying' his handwriting. I try to make
the reading so accurate that the audience is tellingme who it is!
59
John Riggs
I also put a few marks on the index card, apparently as part of the
analysis, but also conveniently obscuring the secret mark on the card!
The above procedure will place the second person's slip in the
pocket. You memorize the information, and draw out a third slip. Calling
offthe information obtained from the second slip creates the effectthat you
are reading the mind of the (as yet unknown) third spectator.
The one-ahead principle is so well-concealed here, that even
magicians conversant with the principle have no idea how you are getting
the information.
The procedure is repeated with the remaining spectators, always
being sure to save the dummy slip for last!
At any time, when your 'one-ahead' is inserted behind the current
card, you can point out a few traits to someone in the front row. Clean,
clean, clean!
To the audience, you have read the minds of five people, described
theirpersonality with uncanny accuracy, and returned the cards back to the
correct individuals. Quite impressive!
Experience will teach you the best way to reveal your stolen
information. Each performer will have to work out a way that suits him.
Here are a few ideas:
Sons of Psi-Graiico
The Graphology ticksheetmight intimidate a few performers. If you
have access to desktop publishing technology, here are some ideas:
lie
An Astrological checklist:
lie
number?)
lie
lie
lie
field)
60
Presentational Tidbits
IfyouusetheIndexed Stratagem to'salt'yourfive spectators, there
John Riggs
Now, I open tl\e slip and say: "Suppose your name is John Riggs,
and your Zodiac sign is Gemini. I would know that you are flirty, multisided, and a walking mass of contradictions." I place the unfolded
I have inserted the card and shown the inside of the folder to the
audience. Allthat the audience can see is my card (with informationfilled
out in large,black marker) and the checklist, because the spectator's card
is hidden behind my card!
Charles Scott uses this ploy throughout the routine; I just adapted
itto giveme myone-aheadwithoutthe need of hiding behindmy briefcase.
Sometimes, there are people behind me, and I get a little paranoid about
behind-the-scenes action.
I can easily hide the action with the folder behind my body. Their
are very few angle restrictions on the rest of the actions necessary to the
routine, as a few trials will show.
I have also managed to introduce the props and the checklist to the
audience, and detailed the procedure, so that nothing seems unfamiliar
during the routine.
I tear out the first checklist, and hand it, with my card, to a spectator
in the front row.
"Now that I have bared MY soul;" I chortle. "Its YOUR turn!"
And I proceed to do my damnedest to knock 'em dead!
/ . . .
.-.
..!
I
r:
. -.
o-
63
John Riggs
8{g/w
The Ultimate Psychometry
"...To stand accused of real wizardry is an affront I will not tolerate;
however, I will say that I am the best Humbug Wizard who ever
, d... "
1lve
The Wizard of Oz
I had mixed feelings about releasing this item. It is a powerful
demonstration of the Psychometric ability. But I'm afraid that many will
think it is a pipe-dream.
I'm going to describe the effect, exactly as it is performed, and see
if you can come up with a trick that can come close to it in sheer amazement
factor
Effect:.
Five people are selected from the audience. They are brought to the
stage and seated. The five participants are requested to remove from their
pocket or their handbag a small object, something that they have owned
for a week or longer. Alternately, they could use an article ofjewelry. The
object should be small enough to hold in their tightly-clenched fist.
The audience members are asked to focus their thoughts toward
their object and to 'charge' it with their personal energy.
A bag is handed to an indifferent spectator, who gathers the objects,
and gentlymixes them up. Alternately, the performer can hold a bag behind
his back and gather the objects.. The performer dons a blindfold.
The objects are deposited on a black velvet mat, and, in timehonored manner, the performer selects the objects on by one, and delivers'
a psychic
returned to the correct participants.
Now, I promise you, while it sounds to good to betrue, but it is 100%
reliable. Ultimate Psychometry uses:
No stooges.
""
No gimmicks
No electronics
No tricks
No kidding!
However, before you attempt Ultimate Psychometry for the first
64
The CompleatFortune-Teller
John Riggs
Performance
"Ladies and gentleman, there is a beliefthat we each generate, to
a greater or lesser degree, an energy field, or Aura. To one trainedin '
perceiving the human energyfield, the Aura appears asflickering lights,
ofdifferent hues, dancing about the person.
'We are going to conduct an experiment in reading the human
energy field. I guarantee that you are about to see something which you
have never experienced before!
"I would like you, and you, and you, and you, and you to help me
please". (Here is the first place where you 'stack the deck' in your favor.
Point out two men and three women).
'Would you reach into your pocket or handbag, and remove some
small object? This should be something you have ownedfor a little while
66
John Riggs
jewelry pad. This is an elegant touch that looks very classy. Ball up the
paper bag and throwit away,for post-showdissection byany skeptics who
are left living at the end of your show. Pick one object up and proceed. It
would be good to start with an identified object, but not essential).
(Start describingthe object, as best you can while blindfolded, and
hold it up so that the five participants can see it. It is vital that the owner
of the object knows you have their artifact!!!)
(You then start delivering the reading, turning to the seated spectators and talking directly to...who? No one can tell who you are talking to,
because you are blindfolded.)
(The person whose object you are holding will naturally assume
that you are talking to them! Yourreadings should be delivered directly
to the person; i.e.: ''You are a person who feel things deeply" ...etc... This
will encourage the spectator, who thinks you are talking to him anyway,
to acknowledge or otherwise react to the readings.)
(My readings are often humorous, and the person usually starts
giggling. No one knows exactly where you are looking, because YOU
AREBLINDFOLDED! IF YOUWERE NOT,YOU WOULD HAVETO
MAKE EYE CONTACf!)
(So, you deliverthe reading and watch for the appropriate reaction.
Since you cannot see, and you appear to be talking directly to the person,
this is a cinch.)
.
(When you are on firmer ground, you refme your reading. To the
audience, you have just identified a person after briefly touching their
jewelry! Fabulous....)
(Optionalfishing techniquenumberone: Ifyoucannotascertainwho
the objectbelongs to, ask them a direct question! Say: " Do youfind this
happens often?" Or: "Doyoufindthatyou havefeelings andhunches, that
invariably come true?")
(Or:
you starting to get that eerie Twilight Zonefeeling?").
(Other direct questions: "This ring has a nice feel to it. What kind
ofstone is this?" "There is more than one person attached to this. Did
someone give it to you?")
(Optionalfishingtechniquenumber two: Startbabbling. Watchwho
isfurrowingthebrowtryingtomake sense out ofwhat you are saying. "I'm
seeing the color blue. A lady in a blue dress-its very old, like maybe a
hundredyearsago. She is ina blue dress, and dancing. I hearmusicfrom
a music box. She is alone, and smiling. I believe she is anticipating
68
TheEad
Very few people readingthis will ever try this routine. Thosewho
do will haveananytime, anywhere killerthat will elevateyouto gum status
among the true believers. Magicians in the audience will scratch their
heads and wonder....
Its real!
69
John Riggs
state of amazement!
It has, however, taken me years of experience to feel completely
assuredthat I canhandleeveryeventuality. Let metellyou a battle story.
Thisstory, in a moreexaggerated form, will appear in mymemoirs: Tales
From the Front Line.
Once, in one of the small neighboring towns, I performed my act,
MindBenders! at an eventfor a calendercompany. Theeventwas a postChristmas appreciation dinner for the employees and management.
Theaudience consistedofindividuals fromalllevels ofthecompany
- from the floorworkersto uppermanagement. Therewas a lot oftension
in the audience due to this unaccustomed mixing of castes, and a lot of
imbibing of salubrious libation.
So I'mdoing Pychometry with five spectators,and I havethe folks
on stagewithme, doingthe readings and returning themto theirseats, one
by one, utterly amazed. The crowd was with me, and hanging onto my
every word.
I noticedthat a youngladyhas saunteredup witha ringin her hand.
I marvelled at her audacity, to inviteherselfto my stage area, but the best
was yet to come!
When I had dismissed the fifth spectator, and the routine was
supposedly over,shethrusther ring at me and said: ."What canyou tell me
about this ring?"
No bigdeal- I've done one or two cold readings in my time. Sizing
the girlup, I see thatshehas had it rough- probablya historyofalcoholism
in the family, dysfunctional relationships, druginvolvement, the works. I
try to keepitpositive, as befitting anentertainmentvenue, butshe will have
none of it.
"Tell me about the time I was raped in Prison! Tell me about
Michaelf"
She was losing it on my stage! I apologized to her. "I'm not
accustomedto discussingsubjects ofa highlypersonalnatureinfront of
a largecrowd, duringmy show. Ifyou would like to see me aftertheshow,
I will be glad to discuss this with you. "
"Bulls**t! Its all a bunch ofbulls**t!"
Desperatetimesrequiredesperate measures. I hadto gether offthe
stage, and I had tried to be nice. I turned off my microphone, and said
quietly (but loud enoughfor people in the front two rows to hear):
"1 willbe glad, AFTER THESHOW, to discussthe timeyou werein
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John Riggs
prison, and the issues surrounding your relationship with your father-"
"YOULEAVEMY FATHER OUT OF THIS!" She had reached new
heights of shrillness.
Her language disintegrated into a tirade ofprofanity and abuse about
psychics in general, me in particular, and everyone present. Herdate came
up and WRESTLED her from the stage area, and back to her seat, where
her impassioned soliloquy continued unabated for several minutes.
In the meantime, your humble servant looked out on an audience
who sat in utter silence, totally motionless, and with a uniform look of
pleading on their faces. Do something! At his moment I knew that most
of my friends, who were Magicians, would have started crying.
Recognizing a turning point when I see one, I did the only thing.
possible under the circumstances - I proceeded to tell a joke. It was a
humorous story involving a local politician of dubious morality, that I
customarily used to break the tension later on during my show. It is a fairly
long story, which gives everyone time to shift their interest to the
denouement.
It worked. When I delivered the punchline, the house broke up. I
continued with the show, while the poor guy dragged his date out of the
door. It turned out that this had been his first date with her. The manager
assured me that she wasn't 'one of us'.
I wondered ifthe couple ever had a second date, and, if so, ifthe guy
had managed to keep her out of jail on an assault charge.
When I was being blindfolded with tape for my Sightless Vision
routine, I pointed out that the cloth tape was the second stickiest thing
known to man, "...The only thing stickier being that situation I was in
fifteen minutes ago ..." This broke them up again, and everything was all
right after that.
In retrospect, I realized that nothing could ever occur during a show
that could rival this experience. In fact, I sort of wish that poor disturbed
girl could come to my shows more often, to spice things up! It would be
a lot like the daytime TV talk shows....
I believe in doing whatever it takes to deliver the product. When I
was foolish enough to perform the Blindfold Street drive, I always had
about five of my stockiest friends ( all named 'Vinnie', oddly enough)
placed strategically in the crowd to deal with troublemakers. I am amazed,
and a little touched, at performers who assume that the audience is always
friendly and receptive.
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A quickreading ofthehistoryofHoudini,andofthebulletcatch,will
giveyouplentyofstories ofspectatorswho thought nothing ofputtingthe
performer's life at risk, in order to 'show him up'. "Assume the best", my
Grampaw advised me, "But be prepared to deal with the worst".
CharlesScotttoldme a storyworthpassingonto future generations.
It seemsthat Master Mentalist, Curmudgeon, and all-around bold rascal,
David Hoy,(whom historyremembers as Dr. Faust) was performing his
Blindfold act in a theaterin a town where, it seemed,that sort ofstuffwas
illegal. A sheriffcamein, and while the goodDoctor was still blindfolded,
presented him with a summons!
David read the summons out loud, still blindfolded. I assume the
localnewspapers and press were alerted to this anomalous occurrence. I
wonder how muchyou have to pay a Sheriffs Deputy to delivera bogus
warrant?
Stories like this only go to prove that the performer who has
mastered the Testicular approach will get the blue chips.
And what fun he will have!
Remind me to tell you somedayabout the timeone of my corporate
clients booked me as a Palmist in a shopping mall in a store in a small,
conservative city on National Prayer Day!
Be excellentto yourselves. And for your audiences.
Your Pal,
John Riggs
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John Riggs
John Riggs
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