Telepathy for Two

This is an experiment in telepathy and automatic writing. Two spectators are used. The first chooses one of the five Zener designs. The second is blindfolded and given a white board and a marker pen. The first spectator is asked to concentrate on their chosen Zener card and the second spectator lets the pen drift lightly across the board to produce unconscious automatic writing.

The design drawn by the second spectator matches the card selected by the first!

You need to prepare a few gimmicks for this one. First obtain 5 A4 sized pieces of white card. Using a marker pen, draw the five Zener symbols on the cards – one design on each card. If you’re right handed, do this with your left hand and vice versa. This makes the design very rough. Now make a few other lines and splodges
across the symbol.

You also need to completely dry out a marker pen so it no longer writes.

In performance, spectator 1 is seated on the left of the stage and spectator 2 on the right, both facing the audience. Spectator 1′s chair should be positioned slightly further forward than spectator 2′s chair, so they can’t look across and see what is being written.

Spectator 2 is blindfolded and asked to relax.

“The blindfold is to shut out external stimulae and help you concentrate.”

Approaching spectator 1, you fan out the five ESP cards face up, ask him to take one and to concentrate on the design.

At this point, note which card he takes.

At the back of your table, have the 5 prepared boards in order (circle, cross, wavy lines, square, star) with the blank side facing the audience. Obviously, they need to be stored out of site. A cardboard folder pinned hanging down the back of the table is ideal.

Take care to keep the blank side facing the audience at all times when you remove it.

Rest the card vertically on Spectator 2′s knees and ask them to hold it with their non-writing hand. Now hand the dried out marker to spectator 2 and position the pen just lightly touching the board.

Explain to the spectator that the pen must rest lightly on the card all the time for automatic writing to take place. Their writing arm must be held up unsupported. Don’t let them rest their arm on their lap.

“Automatic writing is done by the unconscious mind. Don’t think about what to write, don’t deliberately move your arm; just allow it move on its own under unconscious control.”

Ask spectator 1 to concentrate on their card and ‘will’ the design to spectator 2. After a while, check the whiteboard and say

“There are a few lines but nothing distinct. (Spectator 1)
you’re doing really well – I’m getting the image very strongly.

(Spectator 2) is almost there but needs a little help. Let’s get everyone involved.”

Ask spectator 1 to simply show his chosen card to the audience.

“Can everyone see that? Good. Now, nobody must say anything but I want you all to concentrate on that design and ‘will’ it to (Spectator 2). Let’s go …”

After a while, return to spectator 2 and say,

“OK I think you can stop. This is really interesting …”

Take the pen from the spectator and put it in your pocket. Place the white board in their lap, blank side up and remove their blindfold.

Let their eyes adjust and say

“Keep that card in your lap for just a moment please …”

Turn to your audience and say

“Ladies and Gentlemen, thank you. You’ve all achieved something really remarkable tonight. You all concentrated on the ‘star’ design (or whichever was chosen) and have successfully transmitted that thought to another person.”

Ask spectator 2 to stand and turn over the white card to show the design.

“There is the evidence. Ladies and Gentlemen, thank you once again! And a round of applause for our two brilliant volunteers!”

Crafty Stooge Selection

Here’s a great way of ensuring a required stooge is selected from a group, seemingly at random.

Take a bunch of blank business cards and seemingly draw a cross on one of them. In reality, just scratch the card with your fingernail – no cross is drawn. Your stooge already has an identical card with a cross drawn on it. Mix the cards and hand them to a spectator in the same row that your stooge is sitting. They should be sitting perhaps two away from your stooge. Ask him to keep the cards face down, take one and pass the rest to the spectator next to him (in the direction of your stooge).

Each spectator in the row takes a card and passes the rest to the person next to them. Once everyone has a card, ask the spectators to turn over their card to see who has the one with a cross on it.

At this point, your stooge switches his card for the pre-prepared card and so joins you on stage to assist with your next effect.

Your stooge can think of a pre-arranged number, childhood memory, country, playing card, city, favourite film etc that you are then able to correctly divine without anything ever being written down.

Finger on the Pulse

A spectator joins you on stage. You sit facing the audience and the spectator takes your pulse with one hand. With the other hand, they tap a glass or tumbler with a pencil in time with your pulse.

You breathe deeply, more and more slowly. Steadily your pulse becomes weaker until it stops altogether; the spectator stops tapping the glass. Your breathing stops.

Moments pass. Your pulse remains stopped.

Suddenly you take a massive breath of air and your pulse starts again. Your eyes flicker open and your return, slightly dazed, to normality.

To prepare this effect, take a large handkerchief or scarf and tie a knot in the middle. Then tie the handkerchief firmly around your left arm so the large knot rests in your armpit.

By bringing your upper arm gently in towards your body, the knot presses against the inside of your arm. This pressure stops your pulse. Releasing the pressure allows your pulse to return. It will take some practice to get the knot size and positioning right for you.

To take your pulse when practicing, use the first three fingers of your right hand. Place them along your left wrist just behind the thumb, with right hand thumb on the back of your left wrist. In performance, you should direct the spectator to take your pulse in the same way.

Finger on the Pulse – Alternative Handling

Place a knotted handkerchief under both armpits. The effect can then be performed with two spectators and allows you to stop your left pulse, start it again and stop your right pulse, then stop both together.

That’s the mechanics of this effect; the rest is pure showmanship.

Easy Mentalism – Drunk on Water

A spectator drinks water that you supply. Despite it being purely water, they display signs of drunkenness.

This is a throwaway stunt that can lighten the mood when used appropriately.

Get an empty wine bottle (and cork) and fill it with water. Invite your spectator on stage, hand them a plastic cup and uncork the wine bottle.

“I want to show you how to save a fortune when buying expensive wine.”

Pour some water into their cup.

“This bottle used to contain wine. But I drank it. This is just water. Take a sip to confirm that …”

“Not even expensive mineral water but just tap water, yes?”

Your spectator confirms this.

“OK. Now in a moment I’m going to ask you to take another sip of water. It will still taste like water but your brain will believe it is wine. Take another sip … tastes the same yes?”

“It tastes the same but your brain thinks you’re drinking wine. Take a really big gulp now …”

“This experiment has been performed with large groups of people at a party. Half the group were given alcohol, the other half water. Over the course of an evening, the half drinking water became just as drunk as those drinking alcohol.”

“Let’s try something. We know that alcohol affects co- ordination. Here’s a really simple test of co-ordination.”

Extend both your arms, holding them about 1 metre apart. Now extend each forefinger and bring your arms together so both forefingers touch. Practice doing this until you can do it quite quickly. Demonstrate the move for your spectator.

Ask your volunteer to do the same. They must bring their fingers together quickly. Invariably they will miss.

“No like this …” and perform the move again.

Again they try and fail.

“OK. Take another sip of water. This time your brain knows that its water. The effects of the wine wear off – the water cleanses your system and you return to normal.

“Thank you. You can drive home safely now …”

Easy Mentalism – Sit and Stay

A volunteer is invited to sit on a chair on stage. As you talk to them, they feel heavier and heavier, to the degree that when you ask them to rise and stand they are unable to do so.

As described, your volunteer takes a seat on stage and you perform a ‘hypnotic induction’:

“As you relax in that chair, feel all energy drain from your body. You are unable to move; you have no need to move.”

Stand in front of the volunteer and place your forefinger on their forehead.

“Now, when you feel this your whole body becomes heavier. Your arms and legs become weak. This pressure on your forehead is becoming ever greater. So great that it glues you to the chair. Now try to stand …”

Keep your finger pressed to the volunteer’s forehead. They will be unable to stand.

“Now the pressure is lifted. That heavy weight disappears …”

Remove your finger from their forehead and let your arm relax.

“The strength returns to your body and you’re able to stand. Rise and stand now please ….

“Thank you so much for your co-operation …”

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