LET'S TAKE a look at a totally new forcing
deck--based on the principles of the Bagshawe
forcing pack--that I use with great success
in my stage act. The deck is described here
for the first time.
For about seven years, I have used as a forcing
device a jumbo deck that is printed with symbols
instead of card faces. It contains two groups
of eight symbols, for a total of sixteen cards.
One set from this symbol deck consists the eight
symbols shown on the next page.
You will need two sets of these eight symbols.
The order of the symbols in each set is unimportant,
but the two sets of symbols should be arranged
in the same sequence, and one set placed over
the other to distance the duplicates in the
packet. While there are in reality only eight
different symbols, in performance you
always speak of them as sixteen symbols.
This deck is used as follows: After you casually
display the jumbo symbol cards, you have a spectator
mix them, remove one and note the symbol on
it. He is then instructed to place the card
face down on the table, while he keeps the rest
of the deck in his possession. Your back is
turned throughout this procedure, so that you
can see absolutely nothing. Despite all this,
you can successfully name the selected card!
Here is the pumping system that let's you do
that:
STATEMENT ONE: "You're thinking of a geometrical
shape." If the answer is yes, you know
the symbol must be one of those in Group
One.
STATEMENT TWO: "The symbol has corners."
If the answer is no, the chosen symbol
is the circle. If the answer is yes,
you continue...
STATEMENT THREE: "More than three." If the
answer is no, the chosen symbol is
the triangle. If yes, you say...
STATEMENT FOUR: "Yes, I see four..." Watch
the subject. If you see him begin to say yes,
finish your statement first with: "...It is
a square, isn't it!" However, if you
see the subject hesitate or begin to say no,
you again elaborate before he can answer:
"...five, six, seven, eight. Eight corners.
That would be an octagon, wouldn't
it?"
Now let's return to Statement One.
STATEMENT ONE: "You're thinking of a geometrical
shape..." If you see the subject hesitate
or begin to say no, the symbol must
be in Group Two. You continue before
he can contradict you: "NO, the lines just
flew apart on me!" You then go to...
STATEMENT TWO: "I see several lines, though..."
If you see a negative response looming, you
finish the statement with: "...curving together
to form a sort of curlicue, like an S shape."
But should the spectator agree that there
are several lines, you go to...
STATEMENT THREE: "There are two..." If this
receives a yes, the symbol is the broken
V. If the subject starts to say no,
you finish your statement with: "... three
of them," as if you are counting the lines
in your mind.
STATEMENT FOUR: "They seem to be straight..."
If this gets a yes, the symbol is the
three horizontal lines. If you see
the subject ready to disagree, you immediately
conclude with: "... sort of parallel--if three
wavy lines can be said to be parallel."
Notice how the structure and delivery of these
statements avoid or minimize all negative responses,
and seem to flow toward a virtually unerring
divination. The psychology on which this style
of pumping has been modeled is that suggested
by T.A. Waters(1). The logic behind the system
makes it easy to learn, but the pumping statements
must be convincingly delivered. How you phrase
your statements is all important. You must try
to impart a very slight undercurrent of undecidedness
in your voice, as if you are straining to tune
into the thoughts of the spectator.
I never use these cards as a stand-alone effect,
but rather as an element in a one-ahead routine.
To make the divination "play bigger" you can
have the spectator draw his mentally chosen
symbol as large as he can on a giant sketch
pad or piece of cardboard. You keep your back
turned while this is done. Then, after having
delivered your pumping statements, thereby determining
the spectator's symbol, you draw it on another
large pad or card. To conclude the test, expose
both drawings to the audience, revealing your
psychic "artistry".
It is worth noting that the Bagshawe and Symbolico
decks have one decided advantage over the ridged
force packs detailed in Chapter One: With a
pack containing three different ridged and marked
cards, it is necessary for you to stand near
the spectator to read the marks on the backs
after he has finished cutting the cards. But
forcing packs based on the Bagshawe concept
permit you to maintain a considerable distance
from your assistant throughout the test.
In magic's literature there are dozens of effects
that can benefit from the addition or substitution
of the Bagshawe Deck or the Symbolico pack.
You will be amazed at the impact these ingenious
yet simple tools can bring to your work--providing
you have a proper understanding of their presentation.
(1)Trionic, pp. 8-11; or Mind, Myth
& Magick, pp. 76-80.
|
