Truth Spells And Mind Control Spells Together 2 Spells One Head Voodoo

Although the presentation for this version of "Terasabos" is the almost exactly the same as the original, this version is basically foolproof. There are several minor additions during the presentation, which we shall discuss in just a few moments. But we shall begin with the gimmick that will guarantee success for each and every performance.

The gimmick is a marked tablecloth. Simply put, the addition of a tablecloth that has a precise pattern or design will provide the tools for knowing exactly where the target object resides. To explain further, you will be able to position the inverted cups at exact points on the table so that when one is lifted and replaced, you will be able to see that it no longer is sitting on its original marks.

If necessary, you can also create additional markings with either a pen, or even with thread that is sewn into the pattern to create a "hot-spot". The key is to place the cup so that the markings are positioned in two locations, such as 12 o'clock and 3 o'clock. This will enable you to identify movement in either an up and down direction, or side to side.

In addition, the cups should not be in a perfectly straight line when you set them up, although they should be close. It should appear that that they were lined up with no intentional placement, except of course to be put in a row. This will keep the patron from trying to realign them perfectly when they replace the cup that they have chosen.

The only scripting change is that you should instruct them as they are about to pick up the cup to place their object beneath it:

" You have mentally selected a single chalice, so now please, lift it up and quickly examine it. Satisfy yourself that it would be impossible to see if anything were inside. Now place your object on the table where the chalice once sat, and then cover your possession with the chalice and step away from the table."

By directing their attention for just a brief moment to the cup, they lose focus on the exact location where it originally was positioned. This will guarantee that they will not replace the cup in the exact position. It will either be off to one side, too far up, or down, or most likely, it will be off a little in both directions. This will enable you to identify which cup was lifted and replaced.

There are several other things to keep in mind. First, you should have them mentally select a cup before having them lift one. As explained in the original version, the more time that the person has to think about it, the more likely that they will change their mind and your verbal controls are less effective. But more importantly, in this case, you do not want them lifting more than one cup, otherwise two will be out of position when you reenter the room.

However, if more than one has been moved, you have one of two choices:

1. You can start with either one and most likely the object will be there or in the other out of position cup. Then you are right back to either finding the object, or eliminating the other four.

2. Or, you can proceed along with the standard presentation and work harder on your audience management skills before attempting your next presentation.

If more than one cup is moved, it is apparent that they were not following your instructions, and that can lead to failure. (Unless of course they were accidentally bumped.) This is also a warning sign that your verbal controls may not be strong enough to consistently work the original version and they should be fine tuned.

I would like to say that the reason for placing this version so many pages away from the original was to prevent too many people from automatically jumping to a gimmicked method. I wanted to give a little time for the non-gimmicked version to settle before I presented other options.

Speaking of additional options, there are a large number of ways to accomplish the actual "effect" of this routine. At least when it come to gimmicks, that is. One of the most obvious would be to mark each cup so that the markings could all point to the 6 o'clock position. That way, you could see which cup was moved. Once again, there are a number of gimmicked way to accomplish the same effect, but the original intent of Terasabos was to be completely impromptu, and to be able to use all borrowed objects.

With that said, I must conclude by telling you that for those that are intrigued with this specific effect, there is one other variation that I have included later in the book. And I must say that I feel that it is by far the most interesting version of all.

the classic pass false cut

Every so offen, you need fo control a. card

Whether using a standard pack of cards, a Tarot deck, an ESP deck, or any other type of pasteboard, it is necessary to know several sleights. I have found this to be my all-time favorite. Yet, there are a number of people that will pass this item over for two reasons:

1. It involves cards

2. They are afraid of a classic pass

Well, let me just say that they will be missing out on something that is easy to do, deceptive, and valuable. This is exactly what I have always felt good card sleights should look like. It is a move that does not look like a move. In simple terms, it is a false cut that can be executed while the spectators are burning your hands, yet when done correctly, it looks completely natural. And it is done in the hands, so there is no need for a table. What more could you ask for?

I first saw this in "The Complete Works Of Derek Dingle", written by Richard Kaufman. I ran across it a few years later on Volume One of the video series by James Swain entitled, "Miracles With Cards". The basic concept is to execute a classic pass, but to continue the motion and bring the upper half of the pack all the way around to settle in its original position on top of the deck. I will describe my handling in detail and then discuss the changes that I have added.

Begin with the deck (being held on its side, not parallel to the ground) near the fingertips of the left hand. (FIG 1)

Bring the right hand over and grip the pack from the two ends. (FIG 2)

With your right fingers and thumb, break the cards near the middle of the pack, and keeping the lower edge together, form a "V". (FIG 3) Then with the left thumb, begin to push the upper half of the deck down through the right hand, gripping it from below in the left hand. (FIG 4) At the same time, the right hand takes control of the lower half of the pack. The right hand then swoops up, and around to your right, stopping at the 6 o'clock position, while the left hand swoops from underneath and comes up to your left, completing its journey at the 12 o'clock position. (FIG 5 - FIG 8)

(Photo Sequence Continued On Next Page)

As you "complete" the cut, have the cards a bit off center (Refer back to FIG 8) and then slowly square them from above. (FIG 9) At this point, if I have just "buried the selection in the center of the deck", I actually deliver the line (as I am squaring the cards), "We will lose the card about halfway down in the pack."

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