Tb,^{^f4Arn*yt.

Since making his entrance in to the world of mentalism, Kennedy

has been one of the new breed of performers who came along and
TAM
shook it all up, with his unique way of thinking and an obsessive
consideration for his audiences. This is his first lecture tour and
the first time he has performed in front of fellow magicians,
(t^D/^írfu
sharing his ideas and opening them up for discussions in person.
.D t-
,
In the lecture Kennedy covers a wide range of material including
metal bending, PK effects, drawing duplications, spectator as
'a 4'í
mindreader plots, mass audience effects and even playing cards. \r
He said that he built it in the light of having something in it that /
everyone can take away. There are some things for the card man,
some for the serious mentalist including methods and
presentations from his real working repertoire.

When embarking on a lecture Kennedy made the promise that he

would only teach material that he has and does use for real,
payrng audiences. Many of the routines in this lecture are still in
his working act. He shares his insights, handlings and subtleties
that he has learnt through performing for real, living human
beings.

The strong point of the lecture is his never before revealed,

'two
updated handling of the spectators draw the same picture'
plot. This is direct from his act, every subtlety and moment with
nothing held back.

You're in for a treat.

N'tu d;Ail qD^,U f4u,/a

 TktubWl That was my internal monologue. So at the time of writing
this the new and unreleased pieces are Not a Second
Chance, Audience Reception and the title item Thoughts
My first lecture ever and I have to say I'm very nervous. Across. I've also included an essay on an area I discuss in
Since I began releasing my thoughts to the community the lecture on how you can sell yourself as a mentalist. I
there has been a very mixed reaction. When I was first Hope you enjoy them.
booked to lecture (it doesn't seem very long ago at all) I
was excited about presenting some of my effects, live in Kennedg
person so that my peers could see how they are for an 2007
audience.
P.S. In response to popular demand I haven't left any
As time wandered on I started to get more neryous. Not blank pages, which I thought were aesthetically quite nice.
nervous about the effects, I know they work very well for I happen to hate trees but I'm in the minority.
paying audiences, but I am a little apprehensive about tht'
personality in which to present my lecture.

On stage for 'normal'people I'm quite extrovert and

comical. In front of a group of magicians, sitting with their
arms crossed, legs crossed, deck of bikes in one hand ancl
a raven up their sleeve, I d.on't know what I'm going to
turn in to. I'm going to find it interesting.

So whether you found me impersonal, utterly charismatic:

or dull as wood I hope that you get something out of the
effects, even if that something is 'id never do it like that'.

I have spent a long time wondering what to include in thc

lecture. I asked a few friends what they thought I shoulcl
put in and have hopefully catered for some favourites as
well as some lesser acknowledged pieces. There are som('
pieces that have appeared elsewhere previously but thert'
is also a generous sprinkling of previously unreleased
material. The decision to include both went something lil<r'
this:

"Some people want to see me perform the material they

have read in my books. So I1l do that. However if I'm jusl
going to do that then the poor people who have my pasl
works wont gain very much from it at all. So I should
include some ideas that I haven't put out yet.'
 W;ik",^ Na6WW
Not a Second Chance
At any time in your show predict what a spectator will do.
This piece was mused up when I was travelling from
Birmingham to Newcastle aboard a train. My mind got to
Psychological Peek wondering about alarm clocks and how reliant many
A peek of a playing card that is psychologically invisible. people are on them, I wondered what would happen if we
didn't have them. You see, my body wakes me up at
Audience Reception 7:3}am every morning. My body seems to have an inbuilt
Turn your audiencein to your protéges
alarm clock. Bven though I know this to be the case every
Ahem...cards in mentalism? single morning, if I have an important meeting I1l still set
'just in case'. So what if there were no alarm
The debate of playing cards in mentalism. my alarm,
clocks? How reliable is our body as sensing the time?
Mental Drop Out
Two way envelopes with no gaffed envelope. So based on that strange mental diversion on a train
journey I came up with this little piece. The audience is
Anything Else Is Ridiculous
A principle to build in to your existing routines
approached by a stunning young man who calls himself
Kennedy. The embodiment of Adonis approaches a young
Cold Bending lady and asks her about her skills of intuition. After a
Bend a coin that you never touched. short conversation and having wooed her in to a frenzy of
eternal love, the great man produces his wallet from his
Mirage inside jacket pocket and asks that the woman hold it. Her
Your volunteers'imaginations run wild as they read each other's minds.
eyes open all the wider. He goes to hand her the leather
Red and Black for Bowden money case and the thought of a past experience comes
Tell the colour of a card by sense of touch. across his face, "Iïe been burned before by the likes of you,
so with all respect in the world I'd like to put this inside of
Sell Magic - Give Mentalism a clear bag. That way we can make sure that you don't
Marketing Metalism take advantage of me" the fellow comments.
Thoughts Across
Two volunteers draw the same single images.
The wallet is sealed in a clear zip-loc bag and handed to
'the young lady, who albeit giddy takes it in to her care.

Once again addressing the young woman, looking warmly

in to her eyes "there is something in that wallet that is
related to a certain point in tonight's show. Right now you
have no idea what it is do you? But using your woman's
intuition you will feel that at some point during the show
'the moment
you will want to stand up and tell me that
feels right'."
 The great mind reader continues to wow and amaze the
Let me take you through the method step by step so you
audience with feats of his mind and at some point in the
can see what I do at each stage and why I have chosen to
show, our young lady stands claiming that the moment
do it in this way.
feels right'.
I hand the woman the wallet after sealing it in a clear bag.
The mentalist stops what he is doing and has the woman
Tlne Zip-loc type look the nicest so I have chosen to use
join him on stage. The bag is opened, along with the wallet.
them. I don't just hand her my wallet in its normal state as
From inside she removes a folded piece of card, the
I don,t want her to have the opportunity to rifle through it,
performer has someone call out the time.
taking my money, membership cards, drivers licence and
even discovering the gaffs contained within. Most places
It is 9:45 people would not dream of going through your wallet. so I
thought. I couldn't have been more wrong. I learnt the
The woman is asked to read out what is printed on the
hard way that it IS necessary to discourage them and a
card.
simple way of doing that is by apparently making it all the
more fair, shoving the wallet in to a plastic bag and
"The young lady will feel the urge to stand up at 9:43" 'that's so you can make sure that no one goes
claiming
near it'. Doesn't make a great deal of sense but they
The audience goes wild with applause.
swallow it.

Modus Operandi: Okay, what was with the references to

As I hand it to her I say something very important. I do
Greek gods and the like? I have absolutely no idea, but it
NOT say that there is a time written in there and that she
certainly made for some more interesting reading.
is to try and estimate it. It's important that she doesn't
really know what is in there. It should be ambiguous
The essential effect is that a woman who has been holding
enough to lead her and others to believe that something in
the performer's wallet stands up at any time and you have
there is essential to one of your routines ion the show.
predicted that time in written form inside of the wallet
I That without her standing at just the right time things will
I itself.
not happen the way you planned. The line I use is "there is
something ín that uallet that is reloted to a certain point in
I
The method is very simple and in-fact as old as the hills.
tonight's shota. Right nou) you haue no idea uhat it is do
What I want to share with you here is how the routine
gou? But using aour u)oman's intuition gou willfeel that ot
itself is set up in such a way that not only is it impossible,
some point during the shout gou tuill utant to stand up and
which a lot of performers see as the primary aim of their 'the moment
tell me that feels ight'. " This builds on enough
effects, but also intriguing and surprising.
pressure that she will co-operate.

The basic method is that I am using a Sight Unseen Case,

Now the other preparation you will need is a blank piece of
which is now available as one of the features of the Stealth
card. I use blank index card stock cut to the size of a
Assasin Wallet sold by Peter Nardi. This allows for the
business card (it's easier to get hold of that blank business
secret loading of a billet. In addition to that I am
card. stock). You fold the card in to quarters. Now on one of
employing the underused principle of pocket writing.
the outward looking quarters, neatly hand print the words
'The young woman will stand uP at'. ''
With this done, open the billet out flat and place it in your 'The young woman will stand up at...' then she
Íirst part
pocket along with a short pencil that is suitable for pocket will open the card and read out the time.
writing.
At this point I stay still, thank her and ask her to retake
Now when she calls out that 'the moment feels right'I look her seat. I keep this distance from her as it leaves a
at my watch and say...hmm really?'or something just as psychological message in the minds of the audience that I
sarcastic. I look at the watch and then pocket write the was well away from her throughout the procedure.
time I see. I have lots of cover as I ask her to come and join
me on the stage, bringing the wallet with her. Editor's Suggestion: In the secret area of the Stealth
t'as
Assassin have a card on which you have written I
Now everyone is focused on her, I could write a novel in my and second guess
expected, in an effort to throw me off
pants pocket and I'm sure they wouldn't notice.
me, you will stand up within five minutes of me giving
you the wallet - thank you for being so wonderfully
By the time she is on stage, holding the plastic bag,
predictable'. This way if the person does decide to be
containing the wallet I have written the time on the card in
awkward with you, you show that you were right all
my pocket, folded it back in to quarters and now hold it in
along.
finger palm in my right hand.

I ask her to confirm that she has had the wallet with her
this entire time and that at no point has anyone been
anywhere near it. She agrees. You ask her to remove the
wallet form the bag.

'I
Important point. You openly and very vocally say want
YOU to remove the wallet from the bag for the first time
since I placed it there'. Now you take the wallet from her
and flip it open on your hand. I make a joke, as if I'm just
checking that everything is still there. I usually say I'm
sure there was a fifty pound note in here before...only
joking.' During this bit of business I load the Íinger palmed
billet in to the wallet. I reach in with my left hand and
bring it out a little so they can see it. I ask her to 'remove
the card form the wallet. Now to the audience she is doing
it herself, yet in actually fact you have brought it part the
way out for her. She takes it out. As soon as she has it you
ask her to keep tight hold of it and turn to the audience,
find someone wearing a watch and have him announce the
time.

At this point I stand still, well away from the woman and
ask her to read what is 'printed on the card'. She reads the
 doing this you tilt your hand, turning the back of your

P Pcr,l, hand toward the audience, and thus the face of the card of
that pile turns toward you. You see this in your peripheral
The master of all things wondrous asks some poor person sight.
to call stop as he dribbles through a deck of playing cards.
Without any force the card stopped at is imprinted in the Now continue the action of squaring the left hands pile but
mind of the poor soul, while the wonder-maker's head is as soon as you have spotted the bottom card of the right
turned the deck is tabled and now some mind to mind hand's pile you turn your head away to the left more
thought transfer ensues. Of course resulting in the severely.
revelation of the thought of card.
Now you tilt the right hand upwards to show the spectator
We're all familiar with the psychological timing force. While the card on the fact of that deck, still with your head
'smacking'
playing with it and getting it hideously wrong over and turned away. Then let the cards drop with a
over again I stumbled across this. action on top of the left hand's cards.

The method is based on a joke I used to have with Before you turn your head back around to face them, pick
magicians at the local magic club. Then I added some up half the cards from your left hand with your right and
psychological ploys to it and now, rather than a joke it's a dribble them back on to the left hand. This forms a really
bloody good trick! nice memory for the audience to mis-reconstruct after the
fact.
You are facing the audience
holding the deck face down in Now keep your head turned away as you table the deck
right hand biddle grip. Keeping then Íïnally turn back round to face your participant.
your body parallel with the
audience, you address a From here it is all in the presentation.
person a little to your left,
forcing your head to turn off It's as bold as thev come but it flies bv.
centre while leaving your body e (bodyfacing
facing centrally. You are going parallelwith
to dribble the cards from your audience.but head
turnedto participant)
right hand in to your left hand
and request this person to call stop as you do so. You look
at the person as you do this, not your hands. However
your hands and in particular the cards being caught in
your left hand can be seen in your peripheral vision. It is
not a neat dribbling but rather one that creates a messy
stack on your left hand.

The spectator calls stop. You stop exactly when they say.
Now you are going to use the remaining cards in your right
hand to square the now messy pack in your left hand. In
 AfuW
In a turn of fate, the mystery man tells the audience how
"Now we will go for the specific suit. It's either a diamond
or a heart, which is it?"

anyone who chooses to engage their intuition can pick up "I think it's a heart"
on the thoughts of another person. In fact sometimes it 'Wow,
doesn't take any intuition at all, merely common sense. "How many others picked up on hearts? you're all
For example a young couple sit in the park, as a young doing very well tonight. Finally we need to get the value of
lady jogs past the boyfriend turns his head. In a split this mystery heart. Let me think, Fran concentrate...okay
second his partner has read his mind and knew exactlg I'm not seeing any other colours so it's not a picture card,
what he was thinking! so it's a number a card. Everyone think of a number
between 1 and 10. Go with your Íirst impression. How
Now he asks everyone to turn their attention to intuition many people thought of 7? Fran, show everyone which
and place their logical mind on 'pause'. "Imegine gour card you were thinking of'
logical, analgtícal, ratíonal mind is a DVD, uhirring insíde of
Aour head. Moue ouer to the remote and press the pause Of course, it is the seven of hearts.
button now, allowing gourself to open up things thot utould
not normallg be possible." This is something I am about to put back in to my 90
minute show. I will be performing a section with cards and
Mr. Mystery asks for the assistance of someone sat near this will be one part of that.
the front, with the request that they join him on stage they
take some encouraging applause as they ascend. The method is very simple but when coupled with the fact
that the audience is able to pick up on the thoughts of our
'en mass'effect or 'Major
Now seated on the stage the volunteer is asked to relax volunteer it makes for a great
and freely select any card from the deck offered to him. He Effect' as Bob Cassidv would call it.
is to note it and secure the image of that card in his mind.
The method relies on a combination of a physical force and
The performer asks the audience to press that 'Pause' a number of psychological forces. In essence we are going
button and simply go with their first impression. 'Using to force tine 7 of hearts on the volunteer (Fran), this card is
our intuition requires that we don't question, don't second specifically chosen because it is made up of psychological
guess that we just go for the first thing that comes in to forces. Psychologically the most commonly thought of
our minds. So let us try and receive the thought of this colour is red, of the red suits hearts is named most often
card that exists in Fran's mind right now. First of all let us and if someone is asked to think of a number between one
go for the colour. Madarn, go with what comes to your and ten they will most likely think of seven.
mind first, is it a red card or a black one?"
The physical force I use for the on stage volunteer is a one
"It's red" she replies. way forcing deck of the seven of diamonds with an
indifferent card on the bottom. This way they are able to
"Excellent. How many other people felt it was red?" freely choose any card when I spread the deck.

Almost everyone's hand in the audience shoots up.

Now the person is looking at the seven of diamonds let me Sometimes all of this will work like a dream. Other times
dissect the psychological factors I use to maximise the the powers of the unknown are set against you and
chances of hitting the 'red'and 'heart'options. nothing works. It happens on very odd occasions (and
usually when I am lecturing to magicians and fellow
Although we all know, thanks to Banachek (see mystery performers actually) and there are ways of coping
Psychological Subtleties), that if faced with the option of with it.
red or black, most people will choose red. However there
are some small things we can do to further increase the Remember that the audience are just mind readers in
odds of hitting. Of course I have ways of coping when training, you are the one with fully developed skills, and
things don't got o plan, that I will cover too. above all you know what card she has! So when the
annoying ass in the front row says "black" you have an
The first subtle thing I do it chose a woman. Women are easy job of saying "I think you are second guessing
50% more likely to chose red than men, so already we're yourself, I'm picking up on red. Put your hands up if you
increasing the odds (like 99% of statistics, I made that one too picked up on the red" and hands will go up ever5rwhere
up, but women really do pick red more often). and you can move right along.

Next I employ an idea I have seen Kenton Knepper Let me briefly talk about the hands of audience members
document in a book called The Secret, but one that I know and why you will always (in my experience) get a majority
goes back to NLP and Bandler. It's in the language we use, of hands going up for your favoured outcome. First of all
we say something like "Go with the first thing that comes there are all the psychological reasons that apply to the
in to your mind..." then we present them with the options, volunteer who made the choice. In addition to that it is a
naming the one we want first. So in our case we'd say red 50:50 choice. Finally and most importantly, they want to
or black? be seen as getting it right. The pressure is on them to pick
up on the correct thought so they will put their hand up
There is a high chance now that they will name red. But I and lie for you, to make themselves look good.
still want to add another little piece of subtlety to coerce
them in the right direction. That is the use of subtle voice 'Mirage' (see elsewhere in
I use this as a follow up to either
intonation. these notes) or to Annemann's Card Calling using Richard
Osterlind's Breakthrough Card System. It allows me to say
When delivering the words "Red or Black" I really something along the lines of "I am not gified, in fact you all
concentrate on delivering the word red ever-so-slightly haue the intuitiue abilities to do this too. Let's try..." during
more assertively than the way I say black. which I place one deck in my pocket and removed the gaff
I require for Audience Perception.
The same is true for the choice of diamonds or hearts,
however this time I switch it round and say hearts second, Editor's Suggestion: As well as the presentational places
allowing a bit more stress on it and thus leave that Kennedy suggests, this would be a great follow up to a
thought lingering in their mind. Tossed-Out-Deck routine.

Finally, for the number seven, I just do as Banachek says,

have them relax and don't give them too much time to
think.
 and it goes on
Imagine you and I are in a card game sir"'"
thing to be doing and
from there. It seems like an obvióus
thus the audience never question it'

Max Maven
A few weeks ago I was luclqy enough to see
7 perform, the óV iu one
world and he stands on
of the
stage
foremost
for half an
mentalists
hour
in the
thrilling
deck of 52 cards!
the

entire audience with little more than a

The argument rages on whether or not we should be using they are called the masters of out craft' I
There is a reason
ptaying-cards in mentalism. I have discussed this at great to
my friend Alain Bellon and am still on the don't know a mentalist who hasn't used cards
i".titrrïith Maven, osterlind-, Banachek and
demonstrate his abilities,
boàer when it comes to whether they should or should how
even Derren Brown have all demonstrated
not be used in demonstrations of mentalism and bizarre' be utilised as a medium for credible
pasteboards can
mentalism Performances'
Initialty I was against it, point blank and without exception'
Since ih".r I have discovered that it is all down to context,
set up, presentation and what the effect is'

Do not mistake me for one who thinks that it's okay to

create a presentation around any old magic effect and so
long as ii has reference to a mental process then it's okay
to class it as mentalism. In fact I couldn't disagree with
that more. I don't see how the three unequal ropes could
possibly be presented as a convincing demonstration of
mentalism. The idea is ludicrous to me'

However when it comes to playing cards, they are everyday

objects that have and hold real interest for people. People
understand a real life context for these objects so they are
not foreign. Add to that an explanation of why aou are
using thém, one that makes perfect sense and I think you
are iá no danger of popping in to the arena of mental
magic and loosely cónstructed magic with a mental theme.

The rationale for my use of playing cards in my

presentations is very simple and if follows my theory of
;anything else is ridiculous'(see later in these notes). I
simply state what they are thinking'
,,If you had these abilities, the power to know what anyone
is ihint<ing, what would you do with it? Chat up women,
play the lottery and cheat in casinos. so yes I am banned
iro* all of the casinos in Newcastle, here I1l show you why.
 f>q, 0o,í
t'4u,AÁL conclusion. The person I was talking about was myself
performing one night with a hangover.
Okay, so what's new here? Surely all I am offering here is a
Envelopes are my life. I spend a lot of time trying to two way envelope? Nope. The envelope is not gaffed.
discover the next best thing using an envelop€, whether it
be using them to switch items, peek something or as in the Like I said to begin, I seem to have a rather unhealthy
case of this little piece, to house multiple 'outs'. fascination with envelopes and what I can make them do.

A small hunched man emerges from the wings, walks I think the strength of this method is that the cheque...or
down stage and looks nervously at the audience. After whatever falls out of the envelope. There is never any
clearing his throat his gravely voice emerges through his messy fumbling around to find the correct out and it's all
chapped lips, "Ladies and gentlemen Iïe never been so down to something that is so simple that I don't know why
bloody nervous in my life. In one of these envelopes is a I haven't been doing it for years.
picture postcard of my wife, that's not the thing I'm
nervous about. However in the other is my cheque for this A two way out with no fumbling. The secret is in the size of
evening. I don't know about you but four pounds fifty of the outs. In this presentation, the postcard of the kife' (I
anyone's money is better in my pocket..." his voice trails build it up as a picture of the wife and it's actually a
off as he moves to the left, extends his arm that seams all postcard of a pig) is the exact size to fit snugly inside of the
so heavy, he points to a young lady. envelope. The cheque is the size of a normal cheque. So
now if I want to remove the picture I can easily reach in
"Two enuelopes, a red one and a green one. You can keep and grab it as it is the biggest thing in there, there is no
uhateuer we find inside. Which would you like mg dear?' way something as small as a cheque could get in the way.

"GreeÍt" the softly spoken woman replies. However if I want to remove the cheque, simply grip the
envelope by the sides, holding on to the photograph
"Bollox! Do you want to change your mind?" through the envelope, tip it up and the cheque will fall out.

She shakes her head. The advantage of the cheque falling out is that it gives the
illusion that there can not possibly be anything else in
He opens the flap of the green envelope and removes the that envelope. This is an indirect suggestion that leads the
postcard and hands it to the young lady. His attention audience to jump to the conclusion of emptiness
turns to the red envelope still in his hand. He opens the themselves, making it all the more powerful.
fl.p, turn it upside down and out flutters his cheque.
Placed in his pocket he continues with his presentation. of course this could be applied with anything. All you need
'outs', the possibilities smaller in
to do is make one of the
Before I go in and divulge what is going on here, or more all dimensions than the other.
importantly what's new about it. If I were to ask you the
age of the performer I just relayed to you, I would imagine
you may have thought of him as an older gent. Bven
though I never expressly said he was old, re-read it again
and see if you can tell why your mind jumped to such a
 If you must, for example, to get someone to write down a

AfuEL,th two digit number this may seem like a weakness, the fact
that they have to write it down. It is only a weakness if you
present it as a weakness. If there is no other option but to
write it down then that is what will naturally happen.

The principle is simply that. You present the situation in

Throughout the history of magic, mentalism and all of the such a way that if they were to do anything other than the
mystery arts we are constantly hearing people talk about thing you need them to do, it would simply be ridiculous.
the rationale. "What is your reason for having someone For whatever reason.
write something down?" "Why do they take a card and not
just think of one?" Quandaries such as this abound. Let me illustrate this point with my rationale that I use to
have someone write down a 2 digit number, here is my
In Octob er 2006 I was performing at a company exact script:
conference event and some words came out of my mouth
that excited me so much I almost dropped my calm and "Sir, your name is Karl. Okay Karl I want you to think of a
controlled character and jumped about like a madman. 2 digit number, change your mind a few times and then
The words that I said were what I consider to be the settle on one. I am going to ask you to recall that number
perfect rationale for having anyone select a card, write later on however these people might think that I am going
'real' to use my skills to manipulate you in to thinking of a
something down or otherwise do something that a
(ugh) mind reader wouldn't. number of MY choice. I want to make sure that I can not
manipulate you in such a way and so in order to prevent
First of all let me deal with the notion of if you were a real that I1l give you a card, and a pen. Go ahead and write
mind reader you wouldn't...(do whatever)' really? I want to your number down so that we can prove later that I didn't
know how you know this, because to day I have yet to make you change..." and so it continues.
meet this so called 'real'mind reader. So if the audience
have nothing to compare you against then that means we Do you see how the thinking has changed? I recall
can tell them what the reality is. It's not like bringing in a watching Bob Cassidy's Mental Miracles and a line he
gaffed bowling ball, people know what a bowling ball looks used and I then continued to use was "Write it on there so
like and so have a point of reference with which to that you cant change your mind and make me look stupid".
compare whatever you are presenting. When we present a It's a great and comical line. However it puts the focus on
mind reader the chances are that this is their first the fact that YOU need them to write it down for YOU. In
encounter with such a person, therefore there are my approach they are writing it down for themselves. I find
absolutely no boundaries, they don't know what one looks this a lot more powerful and since October I have had
like and in fact as far as they are concerned, YOU are what absolutely no resistance to people writing things down.
'mind
one looks like. Whatever it is YOU do is what a
reader'does. You are setting the rules so you can be very So the principle in the most basic form is to make the one
free about what you do. thing you want them to do, seem like the only logical
option to safeguard against things that the person
Now, in terms of rationalising anything I do I have an obviously doesn't want. Make the other person the focus of
approach that works very well, you may already be doing it, as oppose to yourself, make sure the rationale is about
this but I get extremely excited just thinking about it. them and not about vou.
 auw
It is said that the downfall of mentalism is that it is none
For me it was important to eliminate the moment of heat
that is on the coin when you first borrow it. There is an
awful lot of attention on the coin at the moment you
borrow it so for me, making a switch or doing anything
equally as suspicious was not the best thing to be doing.
visual. A friend and I are still trying to create the perfect There had to be another solution.
still picture that properly depicts what it is I do. I got to thinking about what would happen is the switch
happened after everyone assumed that the coin had
It's not possible to visualise mind reading or psychological already bent. That is what is going on here. In thoughts so
influence as it is a process, not an outcome. However one far I wrote up a very similar method that involved several
area of mentalism that does allow for visual representation switches, making the coin bend more and more. I do like
is that of mind over matter, or psychokenisis. There are a that approach but I don't usually perform it that way as I
few famed exponents of PK, the most famous of which is of find doing all those switches is multiplying your odds of
course Uri Geller who is able to affect inanimate objects getting caught out. So when I perform coin bending I
with his mind. Alain Nu, Banachek, Richard Osterlind and usually just do it with one.switch.
even Morgan Strebler have shared their abilities with the
world. To begin you must have a slightly bent coin in your right
trouser or jacket pocket. I like to start with my hands
This is my approach to bending solid metal with the power clearly empty, so any restrictions on movement such as
of the mind. holding out a palmed coin would feel uneasy to me.

Our exponent of the supernatural addresses a young man Have your volunteer remove a coin from his pocket, here
sitting to the left of the audience and requests that he you must subtly guide him to chose a coin of matching
remove a coin from his pocket. The young man is told that va-lue to the pre-bent one in your own pocket. I always use
he is to keep the coin and out super-man never wants to a lop coin here in the UK as it allows for the least about of
touch it (and he really never does), he is to hold it tight in discrepaocy, a 2p or any other copper coin can appear
his hand and to concentrate on it. shiny or dull and we don't want them assuming a switch
when the dull coin then loaned you suddenly becomes
"Yott canfeel it getting u)errn alreadg yes? Like its heating bright and shiny...or visa versa.
up inside of gour hond, getting hotter and hotter, feel the
coin ight ogainst gour hand utarming up. As it gets u)aíTner The way I get them to take the particular coin out is I
Aou can begin to see it in your minds ege glowing bríghter, simply ask. I say something like, "Sir, do gou haue anA
shinier. Ás it gets bighter it gets u)armer a.nd the warmer it change on aou, like a 10p would be great becquse it's a nice
gets the brighter it gets as it gets taarmer and taormer Aou big shiny one that eueryone uill be able to see" that
can begin to feel it changing it begins to feel strange in gour explanation seems to work quite well for me.
hand, gou feel it? SloulA open Aour hand. Look at the coin,
strange isn't it?" I keep a good physical distance from him as I tell him to
take it out and place it in his left hand. "Now close your
The performer picks up the coin and passes it round for fist around it tight". At this point, with the coin clearly
examination whereupon fellow witnesses will conÍirm the secured in the hand of my participant I make my first
coin is bent. Írpproach to him. It seems like a small detail but it is this
kind of detail that is recalled bv the audience later.
Now comes the lengthy presentation of convincing volunteer has just been through and the fact that it is
everyone that the coin is changing and bending in the strange will force them to agree.
hand and that he is able to feel it happening.
As you are making the suggestions and the hand is tightly
The lines I use are full of subtle suggestion and are based closed, everyone's attention is on the volunteer so you
on real physical reaction to the situation, let's examine have ample time to dig your hand in your pocket and
them: finger palm the bent coin you placed in their earlier.

"Yotr can feel it getting u)arm alreadg ges? Like its heatíng Now the spectator is sitting with his palm open looking
up inside of gour hond, getting hotter and hotter, feel the down at a coin that you have just labelled as 'strange,, the
coin ight against gour hand utarming ttp..." audience assumes that it is bent. Of course it is not the
case...yet.You now pick up the coin and hand it out for
Of course the coin really is getting warmer and warmer, inspection. It is at this point there is absolutely no heat on
the guy is gripping it tight and he is under the pressure of the coin, as the bending has already taken place, so you
the entire audience. The way you deliver the lines leads switch it as you hand it to the first person. I use a hand to
the audience to the assumption that it is actually getting hand Bobo switch but any switch will do.
'hotter'in there than it in fact is. Nonetheless the
a lot
volunteer will agree as he canfeel it warming up. So the switch happens after the coin has apparently
already bent.
"...Ás it gets warrner Aou can begin to see it in your mínds
ege glowing bighter, shinier. As it gets brighter it gets
Luarrner and the u)arrner it gets the brighter it gets as it gets
warrner and warmer Aou can begin to feel it changing it
begins to feel stronge in your hand, gou feel ít?..."

This is a standard hypnotic suggestion that you are asking

the person to imagine something is happening, they
confirm that they are indeed imagining it but the audience
make the assumption once again that it is happening for
real.

"Slowly open Aour hand. Look of the coin, strange isn't ít?"

At this point I am looking down at the coin and have

implied by the language I used that it has bent. When I
look down at it I truly believe in my mind that I am looking
at a bent coin. I look with amazemertt.

The words "s/range isrt't it" appear to the audience as if I'm

saying "look at the coin, it's bent doesn't it looks strange"
when in fact I am commenting on the process our
 I dust the sand off the deck of dog-eared cards and have

f-ttay them inspected for gaffs or, god help us...Indians! Upon
having been inspected I have Brooker sit up close to me,
<: losebut not t oo close.
I performed this piece for quite a while and then it got left I thrust the fanned deck toward an on-looking lady asking
behind as I went in search of my 'true performing style'. t hat she remove a card of her choosing and keep it close to
However, recently it has resurfaced and is about to be hcr dress to keep idle eyes from wandering.
reinstated in to my show. In fact I will be using this as a
lead-in to Audience Reception'in the playing card section Now I turn back to Brooker and tell him "In e moment mg
of my 90 minute show. .f'riend Aou are going to look through this deck and knou the
ladg's card. Euen though she stíll holds it and it is
I think the effect is very strong and the method is a really impossible for gou to see it in the deck, as the cards uhiz
obscure application of a wildly underused gaff, two other past Aour eAes the card she is holding uill appear to Uou,
great reasons to do it methinks. right in front of your eAes. Of course it uíll neuer be there,
.just like we u)ere back tn the Sahara, it tuill be a figment of
The air was heavy in northern England as people smoked ryour strange imagination. Please Brooker, for the sake of
double the Bensons to accommodate for the l.t of July tLrc experiment don't try to fight it. It uílt be there you just
'smoking in public ban'. The bar we were sitting in was like
huue to trust gourself."
one from a classic western. You'd expect some good-for-
nothin' crook to sidle in through the doors of the saloon at Brooker sits back in his chair, relaxed as a man of his size
any moment. cirn be. I flick through the deck and his eyes glaze over.

"Brooker, get yourself a seat over here, this man's from out "You saLU a card in gour mind, the one that is obuiouslg
of town and he can snap some crazy things" rrrissfng from the deck, uhat card is it?"
His reply comes "The seuen of diamonds" The lovely lady
Brooker hung his hat on the back of the vacant chair, sat rlisplays her card showing Brooker to be the new messiah!
back in his own and placed his flask on the table.
C)kay, Cowboys and Indians and Saloons aside, what the
I sipped the last dreg of my ale and had the bartender bejeesus is going on here?
bring me another as I began my story:
'lhe
effect is very direct, one person freely removes any
"AnA of gou hoodlums euer been out in the dessert so long card from a veriÍïed deck, another spectator tells them
that your body craued utater, you thought gou Luere going to what they're thinking. All based around the idea of a
die alone all for the uant of water? As gou place one heaug mirage in the desert, where your eyes sees things that are
foot doutn in front of the other gou begin to see something in not really there.
the distonce, it's a lake, a streom or riuer. You use that last
'l'hat
spur of energg to get gou there and realise it u)as oll in Aour is not the only reason that this is called 'Mirage', the
imagination, your poor sand soiled eAes plagíng tricks on olher is because that is the name of the gaff used. Cheeky
Aou. Theg call that a mirage cowbog, ond heck you are I lhink. The Mirage deck is a fantastic combination of long
qbout to haue one just like it." rrnrl short cards (Svengali) and rough and smooth cards.
So .you are able to spread through the deck showing all
<liÍ'li'rent cards, and riffle them in one direction with the
same effect. However riffling in another direction will
display all the same card.
kl/,r^/gbdrhl,*
I begin by handing out the deck, which may seem bold
however the way it is managed means that the risk of the
gaff being discovered is minimal. I hand the deck out for
inspection, but then almost immediately I ask the person
9,"4r,fu^
I lrave really enjoyed the past three years of the South
to come join me on stage, or to sit closer to me or
Slrit'lds International Magic Week Convention here in the
otherwise reposition them to change their focus from the
t,K. I've met some amazingpeople such as Banachek,
cards on to something else. This also gives the illusion that
Iticl-rard Osterlind and even Max Maven. One guy stands
they have inspected the cards for a great deal longer.
orrt from the others, a guy called John Bowden. John is
orrt' of the nicest people I have ever met, a proud Irishman
Now I turn to someone still in the audience, in the case of
rrrr<la charming performer.
the description it was a young lady and have her touch the
back of any card at all. Now whichever card she touches
Irr .John's own words "Kennedy when I first saw you I
the back of will automatically be one of the force
llrotrght you were a pretentious git, with your hair and
cards...due to the rough and smooth of the Mirage deck.
vorrr suits. They I spent some time with you and I realised
She notes the card and keeps it close to her chest to safe
v()u were a really nice guy.THEN, you fooled me lastyear
guard its identity.
rvith that red and black thing and now I bloody hate you!"

I now turn my attention to the guy on stage and say 'f'lrroughout

the convention of 2OO7, John proceeded to
something to the note of " "In a moment mA friend Aou are
clrrrllenge me to perform this 'red and black trick'under all
going to look through this deck and knou the lady's cord.
l<irr<lsof conditions. Of course like a true student of
Euen though she still holds it and it is impossible for you to
llt'rglas I had to mix things up a little bit for him by
see it in the deck, as the cards whíz past Aour eAes the card
t'rrrploying an array of methods. This is one I came up with
she is holding utill appear to aou, ight in front of your eAes.
or r lhe spot one night .
Of course it will net)er be there, iust like ute u)ere back in the
Sahoro, it uill be a fi.gment of gour stronge imagination. 'l'lrt'
effect is simply that the performer borrows a deck of
Please,, for the sake of the experiment don't try to fight it. ft
crrr-rls,has them mixed thoroughly and then upon being
uíll be there gou just haue to trust yourself."
lr:rncled them back, take a card at a time and is able to
rlivine the colour of the card, be it red or black, with
Of course, now when you riffle the cards in front of his
rrr<'r't'dibleaccuracy.
face like you would a Svengali deck, he will see the whole
deck as only the one card, the selected card. Please, please 'l'lrc
rnethod I am going to share with you, for John's sake
understand that this is NOT an instant stooging effect. The
r:; tlr<' one I have used least but nonetheless has gone a
guy has absolutely no idea how all of the cards in the deck
lorrg way to confusing people.
have transformed in to the card that the girl is holding. In
fact, how could this be so when it's not even in the deck? 'l'lrt'clcck
is handed back to you in its truly shuffled
,'orrrlition. As I talk and gesture I am holding the deck in
Finally have him reveal the card he saw and the lady verify
rrrv lcft hand, gesturing with my right and causing all
the truth by displaying the card she holds.
kinds of misdirection as I tell my story of the magic
convention that is 100% true...ask John.
U/f-tagw.--
Q*,
As I talk I use the thumb of my left hand to slightly spread
the bottom Íive cards of the deck. Then as I misdirect by
asking a question to someone at the back of the room, I
glimpse and remember the colour sequence of the five 'l'lr:rt's
l-1fu
cards. the rule. Quite a few people have asked me how I
lict rny gigs. In particular mentalists seem to struggle
From here it is a very simple case of getting a break above :;r'llirrg their shows, close up, cabaret and stage when they
the bottom Íive cards and double cutting them to the top of ; r r lv<'r t iseas m ind r eader , or wor se st ill a'm ent alist '. I t 's
the back. Then as I reach the end of that stack, as I am rrrrprlrtant to understand what your booker's perception is.
presenting the ability to tell the colour of a card I have ll. r 'r 'in t he UK t hey have no clue what a'm ent alist 'is, or if
time to glance down and see the next five, cut them to the tlrr'.y do they associate it with Alan Partridge and the
top and the process continues. corr<lition of being 'mental' or crazy. Not what we want
rvlrcn selling our shows, at least I know I don't.

'l'lrt'way
I have found to work things is that the customer
tlr.sn't actually know best. which I realise goes against
rvlurt we are all brought up to think, but in this case they
rvrrrrt mentalism they just don't realise that, thot's what it
r s t lt t . y want .

I rrstrirlly sell myself as a magician and then once I speak

t. tlrc client (or potential client as they are at this point) I
tcll llrem about exactlg what it is I do and how they can
look forward to me giving them an experience unlike any
otlrt'r by reading the minds of their guests and bending
:;olitl metal right in front of their eyes etc etc.

'l',
rnost 'normal'people magic is a huge category, so I tell
t lr<'rn that it is magic but it is of a different kind. Where
v()rrr usual magician uses his hands and clever trickery to
lir.l you, I use my mind to do incredible things. Its magic
ol' t lrt: mind instead of the hands.

s, irr brief, you sell them your service as a magician at the

lrr sl point of contact and then when they are in touch with
1'ou, then you can go in to details about what you do and
Irow its unique and exciting and 'mental'.
 tlour intuitíon to drana - not Aour conscious mind, so I am
tyting to distract gour conscious mind bg asking gou to
T@Ar,r*yt t'ount backutards, out loud from 999. White gou do thq|
1ilcase allout the pen to moue freely around the paper."
(Op ïaza..tz-;n;aa2. 0) " lkfih of gou maV begin, nott)."
The man in the white dress-jacket leant over the table and
peered over his spectacles, "They're readg for gou nou)." As lirom the other side of the room where I stood I could see
I was escorted in to the adjacent room I noticed the smell tlrirt Ian began drawing immediately to the rhythm of 999,
of Tabasco, I hate Tabasco. ()()fJ,997. As the sound of numbers being called out
lrr'<'amethe soundtrack to this I could see Lucy's pen
The room was brightly lit with florescent strip lighting, in lrcginning to move slowly horizontally across the page,
the middle of the otherwise vacant space sat two people. tlrt'n vertically, then some curves and diagonal lines. The
Not only were they strange to me but there were strangers rrtrrrosphere was tense; it was as if the numbers she was
to each other. lounting were the seconds that were remaining in my life.

I approached the lady and found out her name was Lucy. I "t )h'rty could both of gou stop drawing please" I announced
felt that she was a receptive, intuitive kind of person. I told nr {r pseudo calm voice.
her this and she smiled up at me nervously. "Lucg, in o
few moments I am going to be asking you to use Aour I lirst írpproached lan. Asked him is he was happy and
inhtition to píck up on a specific though| an image that the tlr:rrrkcd him for his co-operation. I displayed the picture
gentlemon behind gou utill be sending. It's important thot lrr lrircl drawn, it was one of a castle.
you relox. So thqt u)e can preuent against any erternal
influences, so as not to contaminate the expeiment I am l'lrc walk to the other side where Lucy sat seemed like a
going to cut off gour sense of sight by osking Aou to taear r r ur r ': r t hon.I asked her t o r em ove her blindf old. As I opened
this face mesk." llrr' prrcl the scientists slammed down their clipboards as
tlrrrt' was no way to argue that she too had drawn a sever
"I e"m noLUgoing to hand Aou o pad of paper ín gour lefi r cscr r r blance t o a cast le.
hand" I showed the two laboratory assistants the pad of
plain paper, "e"nd in gour ight hand a mqrker pen" and So wlrirt is new here, surely I published this over 3 years
'l'he
demonstrated that the pen was full of blue ink, thick ;r1',o? method is entirely different although it does take
enough to be seen clearly. : i( ) nr ( '( : ues f r om t he or iginal.

'l'lrorrghts
I moved to address the young man, he must have been 22 Across has some incredible advantages over the
years old and his name was Ian. I handed him a pad of or iliirrirl piece, the first and to many the most important
paper. "Io"n, I'd like gou to send an image to Lucg utho is orrr' lx'ing that the pair can talk after the show without any
sitting behind Aou. Please concentrate on a specific image r l; r r r gcr of discover ing how it was achieved. The m et hod
that gou can imagine uiuidlg in Aour mind but do not drqut rfrrrsrt'l relg on dual reality, although I do use some in
anything just Aet". ,,rrlcr to amplify one area of it.

"Lucg I utould like gou to place the nib of the pen on the l. r 't r r r c lr r ke you t hr ough som e of t he im por t ant point s of
paper, somewhere around the centre, I utant you to be using t l r r : ;p i c c t ' :
 l)age. I uncap the marker and draw a quick squiggle on the
Í'ront page saying something like "you can see that okay
There is no pre-show
Í'rom the back can't you?" of course I am not really so
The sender and receiver are made absolutely clear, there is
('oncerned about people being able to see it at the back, so
no mix-up.
rrruch as I want everyone to register the fact that the pen
One volunteer is blindfolded BEFORE she is handed her
rt'ally does write but without outwardly saying so. This
pad.
<lone I tear off the sheet on which I scribbled and hand it
The blindfold is genuine and may be kept afterwards (this
l o t he young lady.
makes for some nice business.)
The blindfolded spectator is not cued in any way at all and
the pens work.

So let us look at how we are doing this. This is an

interesting combination of methods that I really enjoy. By
using multiple methods we are less likely to be confronted
with the solution by a super clever, super observant
audience member.

To prepare the routine you will need two identical pads of

paper. These may be any pad of paper that has the
incredible characteristic of having identical front and back
covers. In the UK at the moment I am buying A4 pads of
spiral bound paper with green cardboard covers from
Wilkinson.

Open the pad to the back page. Take the marker pen you
will be using during the show and on the back page of the
pad draw a very rough drawing of a castle. I often draw it
with my eyes closed as it helps with the authenticity of it.
This will be referred too as the 'Receiver's Pad'.

On the other pad, the 'Sender's Pad', open it to the front.

Turn the pad landscape with the spirals to top. Now
measure one inch front he top of the first sheet and cut
everything below that away. So now the top sheet is only
one inch tall but still runs the entire length of the spirals.
On to this small one inch space print the words "You are
the sender, please send the image of a CASTLE".

In performance I have the two pads one on top of the other

sitting on my table, the 'Receivers Pad'on top. I blindfold
the young lady (actually I let her do it herself) and open
the Receiver pad to the front, which of course is a blank
 This also acts as a suspense builder for the audience, they
Then I turn my attention to the gentleman, Ian. Ian does
are dying to see what on earth he drew. So I turn it round
not get blindfolded of course but is handed a pen and his
to show the audience, and ask Ian to keep hold of it.
pad which too is opened to the front. As I hand it to him I
am telling him that I want him to "concentrate on a specific
I now move round to Lucy. Here is where the only 'move'
image but it is ímperotiue that Lucg doesn't haue ang clue
happens, if you can call it a move at all. You are going to
uhat he is drawing" as I say this I tap the note on his pad
turn the pad around so that in a moment when it is
with my index finger in order to make sure his attention is
t>pened we will be looking at the back page and thus the
brought to it.
image of a castle you scribbled before the show. The
rnethod of doing this is bold but completely justified.
This makes perfect sense to him as I do want a specific
image to be sent and he assumes that I have written it on
You are going to ask poor Lucy to take off her blindfold.
his pad to prevent Lucy knowing what it is I want him to
Iror this action she is going to need two hands (especially if
draw. It is dual reality but in a diluted sense.
she has longer hair) so, being the true gentleman that you
;rre you will alleviate the imposition of the pad. I'm
At this point we want both people to draw, but its really
standing up stage of her and take hold of it with my right
important that Lucy doesn't remember or really take any
lrand. As I take it off her briefly my wrist turns, she takes
notice of the shapes and directions in which she draws. In
oÍ'f the blindfold and I hand it back to her. This moment is
order to distract her from that I have taken a leaf from
irrvisible, the audience will never remember you taking the
David Berglas by having her count down from 999 to L. I
pird off her for a moment. So now you ask her to flip open
openly tell everyone that this is to distract her conscious
t lrc pad and show the audience what she has drawn. The
mind and that is true. but the reason is different.
illr r sion is com plet e.

So now the situation is that Ian has been told to draw a ( )ne more nice thing is that you can tear off her drawing
Castle by means of the note at the top of his pad, while
rrrrclleave it with her as a souvenir and because of the
Lucy is aimlessly drawing on the pad while she counts
construction of lan's pad you can tear off the page he drew
backwards from 999, paying no attention to what she is
orr and give it to him too, leaving your secret instructions
drawing.
orr lhe pad for your next show.

When Ian seems to have finished sketching I leave a few

Extra-extra...sometimes I decide not to have them draw
more moments. a maximum of one minute before I ask
tlrc same image, but rather do something else. On the top
Lucy to stop.
ol'l lrt' 'sender's'pad write 'Please Draw a Cat", and on the
'preserve :;r'r'r'r'tside of the 'receiver's' pad, among some scribbles I
I walk to Lucy first where upon I close her pad to
loosr'l.y write the word 'Cat'. Now you have a situation
the test'and then I walk over to lan.
rr'lrcr-t'the receiver has written the word Cat and the
',r'nrlcr-has drawn it, it can look really nice. The reason I
At this point in the routine I like to add some personable r r : , r '( ': r t is because it is a 3 let t er wor d, so it looks a lot
byplay, this brings the atmosphere up from the droning rilrr(' r't'rrlthan if the spectator apparently writes 'Castle'
sound that occupied the air a few moments ago. I will say l rr t c X Í t t n p l e .
things such as "Are you happy with your work?" and "You
will be expecting a gold star for your efforts wont you?"
and anything else I think appropriate.
Just an afterthought, if you can not find spectators called
Ian and Lucy you uill have to use another effect. It's a
limitation that I think is worth bearing in mind for when
the situation is right.
Wu/,fu
I'rl lil<r'to thank Alain Bellon and Sam Haine for their
t,nSlrrr-rt support and abilities to see my ideas from unique
l)('rspr'<'tivesand Derren Brown must be thanked for
', lr or vir r gus all how t o do it pr oper ly.

l'rl lil<t' to thank David Meade for correcting my incredible

u:i(' oÍ'typos and grammatical stupidity. So if there is
;rr rvl lring among these pages that doesn't make sense then
r ont r r <'thim and t ell him he's a f ool.

l,'rrr:rll.y,CommutrX. You know who you are and why.

ll vorr have any thoughts, developments or anything you d

lrkc lo talk about regarding this lecture or any ideas or
Irow lo make good batter for fish then please do drop me a
I rr rc irl info(rlmindofkennedy.co.uk.
 BONUSROUTINE
PerfectDesign
O Kennedy
2007Att RightsReserved

The effect:
The performer approachesa youngtady in the front row and has her
confirm that
they have never met before. Shejoins him on stageand is enamouredwith a
btack
ctip board, the performertakes a matchingone oir nis tabte.

The pair stand back to back.

"l want you to make a choícein a few moment's time, I want you to choosean
image in your mind that you ore goingto sendta me. Pleasec-hangeyour mind a
few times I want this to be as fair as possibte.Okaynow settle oi oÁnspecific
imageand draw it."

The performerpantomimesreceivingimpressions
of the imageand beginsto draw
somethinghimself.

Whenthe boardsare turned around,the audiencecan see the imagesmatch.

ModusOperandi:I reattyenjoy performingthis tittle piece as it is pretty ctoseto

what a real drawingdupticationshoutdtook tike. ïhere is no writing thingsdown on
cardsbefore drawingthem, no pre-showand no need for the performerto take the
ctipboardoff the volunteerin order to makehis drawing.lnsteadyou may stand
backto backand do it in pretty much real time.
'compromise'for the methodand
Of coursewe have to make a smattaitowanceor
I am sureyou witl agreethat it is somethingspeciat.We are goingto be usingmy
favoured techniqueof Dual R.eality(the audienceis seeingone effect when the
volunteeron stageis participatingin what she betievesto be somethingrather
different)as wetl as anotherunderusedtechniquethat is detaitedjn Corinda.

Let me first tatk aboutthe duat reality.The audiencebetievesthat our participant

is meretythinkingof a randomimageand drawingon the pad. This is not actuatty
the caseat att. ln reatitythe votunteeris beingpresentedwith a list of different
choicesof what she coutd draw.

The imagesI suggestare:

House
Square
Plus
Ctoud
Tree
The reasonI have suggestedthese particutarimagesis down to the method for how
you know which one of these she hasCrawnbehindyour back. Onceyou understand
it you witt be abte to makeyour own [ist, add to it and adjust it to fit your needs.

We are goingto be usingthe vasttyunderusedmethod of SoundReading.The

secondstep of the 13 Stepsto Mentalismis devotedto Corinda'sthoughtson this
subject yet I don't know anyonewho is actuattyusingthis incredibtypowerfuttoot.

Take a marker pen and someroughtextured paper, basical.ty the cheaperthe paper
the better (recycledpaper is ideat, howevertextured artist's paper is amazingfor
this too) and draw each of the aboveimages.You witl,hear the difference.The
circte, for examptewitt soundlike one continuoustine and then stop. The ptuswitt
be two long straightsoundswith a gap betweenthem. ïhe ctoudwitt be a
continuous'wavy' sound.The triangteis three separatestraight lines, so three
separatesounds.

Now you may haveobservedthat the tist atsoinctudesa Tree and a square.
Howevera tree could be confusedwith the ctoud and the squarecoutd just as
easitybe confusedwith the imageof the house.Thesetwo items are there simpty
to make the tist look tongerto the on stageparticioant, howeveryou are goingto
verbattyetiminatethem as possibitities.

After you have handedthe participanttheir ctipboard,they are lookingat the tist
of choicesand you are saying"lwent you to make a choicein a few moment's time,
Í want yort to ehoosean image ín your mínd that yau are goingto sendto me.
Pleasechangeyour mind a few times Iwant this to be as fair as possible.You
could go for a simple image {-íkea squere, or you could choosesomething mare
complícated |ike a tree. Oh please don't go far eíther of those becausepeople wilt
just thínk you're playingalong and we want this to be as ímpressiveas possíb{e."

That last tine realty makessenseto the personon stage,and tetts them to stay
away from TWOcf the options. Now atl you need to do is have her confirm that she
hasan imagein mind and have her draw it. Whiteshe drawsyou witt find it easyto
hear the line Datternsand decipherwhich she hasgonefor becauseyou are
standing back to back!

Kindestthoughtsto you my friends,

Kennedy
MysteryEntertainer