Ben Harris - Run Silent Run Deep

216
FOREWORD BY MENTALIST MARC PAUL the sequel to the remarkable SILENT RUNNING “(Silent Running)... is so much more than just an effect. It is a powerful subtlety that is a must have for your mentalism tool box!” — Banachek RUN SILENT RUN DEEP BEN HARRIS’ JAMIE BADMAN RICHARD BUSCH CLAUDE IMPERIALE ISAAC LOUIE JASON MESSINA COLIN MILLER RAN PINK BERNARDO RODRIGUEZ HIRO SAKAI MATTHEW SHEPHERD ROBERT SMITH STEVE SHUFTON CHRISTOPHER TAYLOR FRANCESCO TESEI TOMMY MARIO UNGER & JOSH ZANDMAN

Transcript of Ben Harris - Run Silent Run Deep

Page 1: Ben Harris - Run Silent Run Deep

FOREWORD BY MENTALIST MARC PAUL

the sequel to the remarkable SILENT RUNNING“(Silent Running)... is so much more than just an effect.

It is a powerful subtlety that is a must have for your mentalism tool box!”

— Banachek

RUNSILENT

RUNDEEP

BEN HARRIS’

JAMIE BADMAN RICHARD BUSCH CLAUDE IMPERIALEISAAC LOUIE JASON MESSINA COLIN MILLERRAN PINK BERNARDO RODRIGUEZ HIRO SAKAIMATTHEW SHEPHERD ROBERT SMITH STEVE SHUFTONCHRISTOPHER TAYLOR FRANCESCO TESEI TOMMY

MARIO UNGER & JOSH ZANDMAN

Page 2: Ben Harris - Run Silent Run Deep
Page 3: Ben Harris - Run Silent Run Deep

You are authorized to keep one copy of this manuscript on your computer and to print a single copy for physical reference.

All other rights reserved. The end user (you) agree to abide by international, territorial, state and local copyright laws as regards the manuscript herein. You agree not to allow any part of this publication to be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise, without the prior permission of the author in writing. You agree not to make this manuscript available via any P2P networks.

End User Agreement

Page 4: Ben Harris - Run Silent Run Deep

This is a sequel...The reader should be famiar with the Silent Running procedure

and its applications, as described in the book: Silent Running (Harris, 2010)

Page 5: Ben Harris - Run Silent Run Deep

RUNSILENT

RUNDEEP

BEN HARRIS’

FOREWORD BY MENTALIST MARC PAUL

JAMIE BADMAN RICHARD BUSCH CLAUDE IMPERIALEISAAC LOUIE JASON MESSINA COLIN MILLERRAN PINK BERNARDO RODRIGUEZ HIRO SAKAIMATTHEW SHEPHERD STEVE SHUFTON ROBERT SMITH CHRISTOPHER TAYLOR FRANCESCO TESEI TOMMY

MARIO UNGER & JOSH ZANDMAN

Page 6: Ben Harris - Run Silent Run Deep

Copyright © 2010 Ben Harris

The Author asserts the moral right to be identified as the creator of this work. Copyright of individual

contributions remains with the contributors.

All rights reserved.No part of this publication may be reproduced,

stored in a retrieval system, or transmitted,in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise,

without the prior permission of the author in writing.

ALL MARKETING RIGHTS RESERVED.

Published by Media T Marketing Pty LtdPO Box 86, Northgate, 4013

Queensland, Australiawww.wowbound.com

Edited by Steve Shufton

WOWBOUND.COM

Page 7: Ben Harris - Run Silent Run Deep

Dedicated to

PETER DUFFIEwhose “dodge” and generosity started it all.

Page 8: Ben Harris - Run Silent Run Deep
Page 9: Ben Harris - Run Silent Run Deep

RUNSILENT

RUNDEEP

BEN HARRIS’

ContentsForeword by Marc Paul

Introduction by Ben Harris

Steve Shufton

A Force In The ShadowsA critical examination of the Silent Running Procedure with the intention of providing the nuance and understanding to ensure a convincing execution.

Script StrippedThe bare guts of the script with commentary removed. Learn this!

Hands Off: Silent But DeadlySteve’s treatment of the Brainwave effect allowing the entire routine to be carried out in the spectator’s own hands. The performer NEVER touches the deck.

Speechless: Left UnsaidPicking up where “Speechless” left off, Steve teases out extra nuances and proposes multi-key sets for simultaneous use.

15

19

25

29

31

38

Page 10: Ben Harris - Run Silent Run Deep

Jamie Badman & Colin Miller(The Underground Collective)

Silent PastA charming effect, complete with printable photos to add to your wallet. One of Jamie and Colin’s classics, given the Silent Running treatment.

Silent PresentClever gimmicks allow mind-numbing mental transpositions of cards mentally selected from the CrossRoads Set.

Silent FutureCombining Silent Running with Greg Rostami’s iforce has never been this sweet. You deserve an iPhone, just so you can perform this!

Richard Busch

SIR Richard Busch’s Think-A-CardRichard takes us on a different journey, one with a “nod to the dodge” and a different brand of digital finesse.

Ben Harris

Silent TravelersTwo “thought-of” cards appear in an isolated packet. A full-on routine worthy of stage or formal presentation. Explores the use of an Osborn-inspired count procedure.

Small Packet ConceptsTaking advantage of “small packets” and their inherent particulars—in combination with the CrossRoads Set—to create new effects.

Vanishing ThoughtContinuing to explore “packet concepts” the author details further applications and ideas, this time, with the Elmsley Count at the heart of matters.

The Deck At The Other End (DATOE)The polar opposite of the CrossRoads Deck. Instead of any card in the CrossRoads Set being absent, to the count of 51—with this deck—there’s always a duplicate of the “thought-of” card, and a count of 53!

Easy TranspositionAnother “feature” routine that plays wonderfully on stage, formally, or under casual performing circumstances. Possibly one of the easiest and most convincing transpositions of a “thought-of” card (this side of the CrossRoads).

HeadwayA wonderful property of the Deck At The Other End is revealed and it’s uses pondered. Imagine having a duplicate of ANY “thought-of” card, immediately at hand. Well that’s what this is all about—that kind of POWER.

47

50

52

57

65

72

75

81

83

85

Page 11: Ben Harris - Run Silent Run Deep

ContentsR.E.M.The Headway principle is applied to create a formal and powerful “simulation” of the acclaimed “Berglas effect.” A card is “thought-of” and any number between one and fifty-two is named. You don’t need me to tell you what happens next...

Neuro-PathwayThis is a new tactic for Direct Mind Reading (Silent Running, 2010). It eliminates what some considered an “iffy” bit, and leads you directly to the specifically “thought-of” card for a full-on “neuro-blast” of a finish.

Claude Imperiale

Silent DiceAn expanded CrossRoads Set to match the numeric options offered by two imaginary dice. Play along...

Silent FaroAn impromptu method for setting any borrowed deck for a lovely demonstration of pure thought reading. Using Faro shuffles, of course.

Isaac Louie

Silence of the lambsHaving your entire audience turn their cell phones OFF (as part of a routine) is sheer genius. And, that’s just the beginning! Crazy and effective magic!

Jason Messina

Waking DreamsMonths, days, and events (lucid dreams) collide in this wonderful application of the Silent Running Principle to the “Diary Effect.” So many possibilities revealed here!

Ran Pink

The White RoomJust you and the spectator, sitting in an “all white room.” She is asked to imagine the walls of the room changing color...

ICAINU“Imagined Card at Imagined Number Unspoken”. The title says it all. This turns The White Room into a physical entity, with cards in hand.

86

92

97

100

105

111

117

127

Page 12: Ben Harris - Run Silent Run Deep

Contents

Christopher Taylor

Silent Solstice #1Mentalist and electronics wizard, Christopher Taylor, saw a perfect match of his Solstice Wallet to Silent Running. Here’s the application and related ideas.

Bill Fritz

Silent Solstice #2Quite independently of Christopher Taylor (see above), Bill concocted his own mating of Silent/Solstice. From an entirely different angle, and sweet as can be.

Bernardo Rodriguez

Numb-blurI have no idea what sparked this, but Bernardo decided to number the backs of his cards with a pen, and apply Silent Running. Great result!

Hiro Sakai

Notes on Silent RunningHiro-san notes the language barrier with Japanese audiences and povides a well thought out solution and in depth routine.

Matthew Shepherd

Screaming WalkingMatthew has a certain way of going about things. A certain attitude. Here’s how he and the ideas in Silent Running meshed.

Robert Smith

Silent FloodgatesPulse, Voodoo Finger, Edgework, Impromptu Invisible Deck, The Sharpie Principle, and more await you in this crazy and inspired BSmith section.

133

137

143

147

159

167

Page 13: Ben Harris - Run Silent Run Deep

Contents

Francesco Tesei

Silent Running For StageItaly’s Francesco Tesei takes us behind the scenes with his full blown stage presentation. Lots of wonderful ideas here.

Mario Unger

Thought-of Card To WalletA direct way to ensure your CrossRoads Set always falls into a “cop-able” position. Ideal for “Card To Wallet” workers.

Silent FrixionThe clever use of a FRIXION pen assures you have a magical “out” no matter which CrossRoads “pair” a spectator has chosen.

BONUS

Starman (Ben Harris)Silent Running applied to the solar system, galactic events, and the special star maps of Dr Elmer William Bishop. Complete with “Star Deck” templates so you can print this out on your home/office printer.

APPENDIX

Silent Past Photo Templates

Star Deck Templates

183

185

189

197

201

173

Page 14: Ben Harris - Run Silent Run Deep

FOREWORD

Page 15: Ben Harris - Run Silent Run Deep

FOREWORD

Marc Paul

I've known of Ben Harris for years… I could even say decades! Yes, he's that old! In the last

few years we have become firm friends, even though we have never met and live thousands

of miles apart. Ben has always been incredibly creative and is constantly coming up with

truly off the wall ideas with methods that are original and innovative.

In 2009 he sent me his "Crossroads Deck" I thought it was great. When he released it to the

magic world it created a sensation. In early 2010 he improved the principle using a clever

dodge of Peter Duffie's and brought out "Silent Running" which created even more of a

sensation. It enabled the performer to influence, genuinely, which card a spectator will

think of. The whole process is incredibly clean and works like a charm. It's a great step

forward in prop-less mentalism. But you probably already knew that, which is why you

have bought this collection of effects.

When I first read the Silent Running Procedure, I thought "WOW! Here's a genuinely new

principle." It's very rare for a PRINCIPLE to be created. Effects yes… hundreds of effects are

created each month and flood onto the market, but principles—NO. I thought to myself,

"This is great and is going to have a massive amount of applications." I should have written

that down and sealed it in a prediction chest because that prediction has come true. What

you are about to read is a collection of some of the very best ideas from some of the brightest

minds in magic and mentalism.

Ben's "Silent Running" is an incredibly powerful and wonderfully versatile principle. It has

the feel of real mind influencing and that's because it IS real mind influencing. It is true to

say that some magicians just didn't get it. They didn't understand the value of what they had

and they fell by the wayside. "Silent Running" is a tool that, when it is employed in the right

way and in the right situation, creates incredibly powerful routines. BUT, like any other

sleight, move or subtlety, you have to learn to use it correctly and wisely. In this book you

will find numerous ways of increasing the deceptiveness of the principle.

Ben has started the book off with a critical examination of the Silent Running Procedure by

Steve Shufton. This is invaluable for what follows, make sure you read every word that

Steve says and you will never fail to impress your audience.

15

Page 16: Ben Harris - Run Silent Run Deep

As you would expect you will be reading some great close-up effects, but you'll also learn

about how to use "Silent Running" in front of an audience of 300 people. There are some

seriously good ideas here. You'll also see some brand new methods evolving which will have

other applications. Be sure to carefully think about Ben's DATOE. This is very clever and

reminded me of the old MeneTekel deck, BUT, with a thought of card. I love it. You'll also

notice the theme of the "Tossed Out Deck" comes up in a couple of the routines. These

approaches are wonderful. Imagine performing "Tossed Out Deck" with NO CARDS!

Anyway, enough of me telling you all the treats that are in store for you; I'm a mind-reader

and I know that you want to start looking at the effects and routines straight away. Well, as

you have been so kind to read this foreword, here is your reward. It's a simple effect with a

straightforward method. I created it when I first read "Silent Running" and have been

performing it since. It kills. (Also you'll have something that the others have missed!)

The performer looks carefully at a spectator and without saying anything, writes

something on a business card, folds it into four and places into his top breast pocket, poking

out so that it is on view to everyone. The performer explains that he wants the spectator to

use her imagination and visualise the numbers from 1 to 10 floating in front of her. He

suggests to her that as she watches one of the numbers will come and settle on her out-

stretched hand. The performer then runs through the suits of playing cards and asks her to

attach one of them to the number. She now has a playing card that only exists as a mental

image in her mind. No one could know what she is thinking, as everything has happened in

her head and is the result of purely mental processes. She is asked to tell everyone the name

of her imaginary card. She says, "The 7 of Hearts." The spectator is asked to remove the

business card from the performer's top pocket. She opens it and reads allowed.... "I believe

you are the type of person who will think of the 7 of Hearts!"

You will need a pocket index; I use one of Looch's. If you understand the Silent Running

Procedure then you will understand that the spectator will be influenced to think of one of

eight playing cards. The 7 of Hearts is the most likely psychological choice and is therefore

the prediction that is written real time and placed on view. The other seven possibilities are

placed into the index and everything then goes into your left trouser pocket. You might

wonder why I write the 7 of Hearts prediction out in real time instead of having it already

written. Well, two reasons really. Firstly, I'm meant to be accessing the spectator so it would

not make sense to remove an already made prediction, and secondly, it plants the

subconscious belief that there is only one prediction in the spectators' minds—after all,

they don't see me write any other predictions. This is a small point, but it can make a lot of

difference to any routine employing an index.

Of course, the method should now be obvious. If the spectator does indeed go for the 7 of

Hearts, you have a super clean miracle and she can remove the billet from your pocket

herself. If not, then you simply get the correct billet from the index and switch it for the one

on display. There are dozens of ways that you could do this. Here's what I do. During the

16

Page 17: Ben Harris - Run Silent Run Deep

"Silent Running Procedure," I have my left hand casually in my left pocket. I might take it

out, gesture and place it back in, so my body language is relaxed and casual. This is designed

to accustom the audience to my hand being in my pocket. The 7 of Hearts prediction has

been placed in the top breast pocket of my jacket for a good reason. If necessary, it is

possible to do a fake take of this billet. Let me explain. The right hand goes up to the left

pocket to remove the billet, the fingers cover the billet for a split second and as they do the

right thumb pushes the billet INTO the pocket. The right hand comes away as if holding the

billet, while in reality it holds nothing.

So putting both elements of the switch together... after the spectator has named her card,

you remove the correct billet from the index, finger palm it in your left hand and remove

your hand holding it, relaxed at the side of your body. The right hand now comes up to the

breast pocket and does the fake take. It moves down as the left hand moves up and

apparently places the billet into the left hand. As the hands part, the billet is seen at the left

hand finger tips and the right hand is empty. You have cleanly switched predictions and

both hands are empty, except for the one prediction.

There, I hope that satisfied you for the next few minutes while you read Ben's Introduction.

Have fun!

Marc Paul

www.marcpaul.com

17

Page 18: Ben Harris - Run Silent Run Deep

INTRODUCTION

Page 19: Ben Harris - Run Silent Run Deep

INTRODUCTION

Ben Harris

Run Silent, Run Deep has been written with two very clear goals in mind:

Firstly, it is intended to make the "basic procedure" CRYSTAL CLEAR, so that a wider

audience of performers will be able to grasp and utilize the procedure, and thus have access

to the exciting material that uses it.

The second intent of the sequel is to bring you some truly STUNNING performance

material. Several of the items included could have easily been sold as separate effects for

the same price you have paid for this entire collection.

This book is just “bursting at the seams” with ideas and routines—contributed by artists

from all corners of the world. Some are hobbyists, some are full-time professionals.

Bottom-line, they have all found practical and effective ways to put the Silent Running

procedure to use—creating wonder and amazement for their audiences.

Contributions, ideas and routines, started to pour in the DAY that Silent Running was

released, and have not ceased since then. The creative process, out there in magic world, has

been intense. The relentlessness of this activity means that a couple of last-minute

contributions are included here, in this Introduction.

But, firstly... some BIG “thank-yous” are in order:

Steve Shufton. What a guy! I don’t think anyone has thought more about the SR procedure

than Steve. He tirelessly explores the nuances, discovering new and tactical approaches

that further develop the value of CrossRoads/Silent Running. His detailed break-down of

the “procedure” is a must-read for both beginners and experienced performers. It is so

important, that the book leads off with Steve’s thorough dissection. And, look at Steve’s

routines! Stunning, and all so well thought out! Steve is also responsible for editing this

book (as he is for all our publications) and his expertise has assured that the many different

writing styles have coalesced into a full body of accessible material.

Thank you Steve.

19

Page 20: Ben Harris - Run Silent Run Deep

20

Marc Paul is someone I’ve always looked up to. Being a “student” of Berglas, Marc’s ideas

and routines all carry that special something—lifting them above average. I thank Marc for

his kind Foreword and routine. I would highly recommend that you grab Marc’s new

Fleetwood Notes, (available from his website), for some truly amazing mentalism.

All our contributors are sincerely thanked. This sequel simply would not exist if it were not

for you guys!

Before we get into the meat, here are a couple of last minute ideas from Tommy (of ACAAN

fame) and Josh Zandman. I trust that these ideas will excite you for the wonderful journey

that is to follow!

Tommy’s SR ACAAN:

Place a cased deck on the table. Instruct the spectator to think of a number between 1 and 49

using the following method—where the number is created one digit at a time:

1. Ask her to first mentally select a number from 1 to 4. (Let’s assume she thinks “2”).

2. Then ask her to select another number from 1 to 9. (Let’s assume she thinks “8”).

3. Ask her to combine the two digits, side-by-side, to create a “random number” between 1

and 49. In this case, it is “28.”

4. Now explain that you ALSO want her to use this number to calculate a random card:

This is done by adding the two digits together (2+8=10). Ask her to do this in her mind.

5. Explain that you limited her first choice of digits to FOUR because there are four suits in

the deck. You now use the Silent Running procedure (in a condensed form) to force her to

associate a suit with her number. Call out the four suits (holding up your fingers as you do):

“Clubs, Hearts, Spades, Diamonds”asking her to remember the suit that falls on the number

matching her FIRST DIGIT. In this instance, as she chose “2,” she will remember HEARTS.

Thus her chosen card is the TEN OF HEARTS.

6. Recap: The chosen number is 28. The mentally constructed card is the Ten of Hearts.

7. The spectator is instructed to remove the deck from its case, and to count the cards—face

down—until she reaches the 28th card in the deck. When she does, she finds her chosen

card, the 10H, staring her in the face.

Page 21: Ben Harris - Run Silent Run Deep

21

Method:

This clever effect is self-working. All you need to do is stack your deck, in this order, from the

top down (X cards are indifferent cards):

10 X Cards, 11=2C, 12=3C, 13=4C, 14=5C, 15=6C, 16=7C, 17=8C, 18=9C, 19=10C, 20=X,

21=3H, 22=4H, 23=5H, 24=6H, 25=7H, 26=8H, 27=9H, 28=10H, 29=JH, 30=X, 31=4S, 32=5S,

33=6S, 34=7S, 35=8S, 36=9S, 37=10S, 38=JS, 39=QS, 40=X, 41=5D, 42=6D,43=7D, 44=8D,

45=9D, 46=10D, 47=JD, 48=QD, 49=KD, 50=X, 51=X, 52=X.

With the deck stacked in this manner, all you have to do is follow the number/suit selection

process to create a very clever ACAAN effect. Thanks, Tommy!

Two Quickies By Nick Belleas and Josh Zandman

Effect 1:

Nick Belleas is a close friend and a brainstorming partner of Josh’s. They are always

thinking of Invisible Deck routines, and when Josh told him the possibilities with Silent

Running, the creativity flew:

1. A deck of cards is on the table in the case. This is a CrossRoads Deck. An envelope with a

another deck of cards (Invisible Deck) is also on the table.

Josh begins:

"This morning I took out one card and one card only from this deck of cards and

reversed it into this deck of cards, which is sealed in this envelope.”

2.Execute the Silent Running procedure in order to have a card “freely thought-of.”

3. Allow the spectator to pick up the cased deck and to count through the cards. One card

will be missing. Allow the moment to register, and then have the spectator look through the

deck in an attempt to locate the “thought-of” card. Of course, it will NOT be present!

4. For the first time, have the “thought-of” card named. Now, rip open the sealed envelope

and thumb through the deck to reveal one reversed card—the “thought-of” card!

Page 22: Ben Harris - Run Silent Run Deep

22

Effect 2:

1. Have a spectator shuffle a deck of cards. Then re-case the cards (to apparently guard

against any tampering.)

2. Execute the Silent Running procedure to have a card “merely thought-of.”

3. Have the spectator take the cards out of the box. State:

"I want you to think of a word that has the same amount of letters as the number of

your thought of card.”

4. Let's say she says, “DOOR.” When she counts down through the cards, the fourth card will

be the 4S—her merely “thought-of”card!

Method:

Simply have the eight force cards (CrossRoads Set), IN ORDER, within the card case. After

the cards are shuffled, the deck is returned to the case and the stack is thus added to the top

of the deck. The cased deck is handed immediately to the spectator to hold.

What's cool is, you will also know her card from just knowing the word, so there are options

to do other things before revealing the spelled card.

Enjoy the magic that is to follow. And, please don’t be shy about passing along any further

ideas that you may have. The CrossRoads principle is only a little over a year old. Silent

Running is only months old. So, we are participating in the GROWTH of these concepts.

And, that is very exciting.

Ben Harris

2010

Page 23: Ben Harris - Run Silent Run Deep

Steve Shufton

A Force In The ShadowsScript Stripped

Hands Off: Silent But DeadlySpeechless: Left Unsaid

Page 24: Ben Harris - Run Silent Run Deep

Steve Shufton

... has a knack for creating stunning, original magic. Many of his effects have found their way into the mainstream of the magic community, including 3D Paradox and Emergency Cash. A world-traveling musician and insightful magician, Steve has made San Francisco his home, where he enjoys living with his beautiful wife Loren, and having fun with his 3 children.

www.shufton.com

Page 25: Ben Harris - Run Silent Run Deep

A FORCE IN THE SHADOWS

Steve Shufton

A spectator chooses a card number between one and ten, and then counts on fingers to find

a suit. How could this be deceptive? Isn't it obvious that there is no free choice? Won't they

see there are only 8 cards in question? Is this effective?

When Max Maven wrote his wonderful treatise, Verbal Control, he made this comment at

the onset regarding the skill of Equivoque (The Magicians Choice):

"Equivoque is one of the most valuable tools to the mentalist, if it is used properly.

If it is handled poorly, it is embarrassingly transparent to the audience.”

How profound! Someone adept at this skill will complete the process invisibly to the

spectator, and produce inexplicable miracles. It is my contention that the same holds true

for the Silent Running process. If it is used properly, it is an extremely valuable tool! If done

poorly, embarrassment awaits.

It is my intention to provide some pointers for using SR deceptively. I will not be saying

much that is new, because Ben Harris already highlighted the most important

psychological aspects of this force in the original manuscript. I merely want to drive the

point home for those that may still have wobbly legs, using the gentle art of elaboration.

You will find a representative of the script I use as my general strategy, under the effect:

Hands Off: Silent But Deadly. This script is only as good as your timing and delivery, and

especially to your adherence to this strategy.

Here are the main features of the strategy for a truly effective outcome:

(A) Don't tell them where you are going.

(B) Make each step seem like a separate entity.

(C) Have them admit along the way that they have exclusive knowledge.

Doing things in this way is sure to work—it has not failed me yet.

When beginning the process, do not immediately introduce a deck of cards, or even suggest

cards in any way. This will put the spectator at ease, and not put them in the frame of mind

25

Page 26: Ben Harris - Run Silent Run Deep

to outfox you. The procedure should not be presented as having anything to do with cards

or a card effect—yet. You may want to start by saying to the spectator something like this:

"I'd like to try a little experiment with you—but I need someone with strong

visualization abilities. Are you able to visualize things well?”

They are likely to say, "yes." I've never had anyone say "no," but I suppose it could happen. If

so, get a better spectator! Continue,

"Can we try a little test to see how well you are able to visualize? I promise it will be

simple and I won't embarrass you or hurt you in any way. Good?”

They will agree.

So far, you have only introduced an exercise in visualization, and your spectator is

assuming that is all this is. They have no reason to think otherwise. Therefore, they are

likely to be very malleable.

You also have not suggested that this is a trick at all. They are likely to take your instructions

and do the best they can. Now, the next command I give to the spectator seems almost off the

cuff, and completely unscripted:

"How about this—let's have you try to visualize a number. Think of a number

between… between… between, let's say, between one and ten. Yes, between one and

ten—any number. Have you got it?”

The spectator will say yes.

Notice, I used the word "between" no less than four times. I also hesitate a bit after almost

each use to really drive the point home. I even emphasize the word quite a bit. It seems to

the spectator that I am practically making up the test on the spot, it isn't a trick, and they

have no reason to be naughty, or to not follow my instructions to the letter. No one has ever

chosen one or ten… yet! If that happens, it is ok, because I am prepared with a strong

out—no problem. It hasn't happened yet!

"Have you got a number? Good! Don’t tell me what it is! Focus on it—try to visualize it

in precise detail—are you able to do that? Excellent—very good. Is it possible that

anyone else could know, with certainty, what number you are only thinking of?”

They must answer, "no." That's the truth!

"Let's try something else."

26

Page 27: Ben Harris - Run Silent Run Deep

I have apparently completed a successful exercise with the spectator, and now we are

moving on to something else. The thing everyone is aware of at this point is that the

spectator is thinking of a number, and no one else could possibly know what that number is.

Therefore, if you were only to divine that number at this point, you would already have a

miracle on your hands!

Now, for the first time, we introduce cards, when we say:

"You know, a deck of cards has 52 cards in it, right? And those cards are divided up

into 4 suits— clubs, hearts, spades and diamonds—you know that. This time we are

going to try to visualize one of those four suits. Here's how we'll do it. I'm going to

raise my fingers like this one at a time, but I won't be counting. Instead, I'll call out

the names of the suits like this… diamonds, clubs, hearts, etc… and when I get to the

finger that corresponds to that number you are thinking of, remember that

suit—ok? Here we go…"

Perform the finger maneuver and continue,

"Have you got one? You are now thinking of a suit from a deck of cards. Could anyone

else know, with absolute certainty, which suit you are only thinking of?”

They must say, "no." Continue,

"Great. Concentrate on that suit. Form an image in your mind. Project it onto your

mental screen and visualize it in every detail. Good—can you see it? Good."

You have taken a bit of time for them to visualize the suit. This does two things. For one, it

makes it, for the moment at least, all about visualizing a suit—as if that is all that matters. It

also creates some time misdirection—causing the number selection to float off into the past

just a wee bit. Finally, it's time to make a card out of it:

"I want you to take that suit you are thinking of, and combine it with that number

from before… do you remember the number? Combine the suit with that number so

that you are now visualizing a complete playing card in your mind—have you got

that? You are now thinking of one of the 52 playing cards—is that right?”

They must say, "yes.”

"Is there any way anyone else could know, with absolute certainty, which playing

card is in your mind?”

27

Page 28: Ben Harris - Run Silent Run Deep

Once again, they must say, "no." Go on,

"Very good. There is now a playing card in your mind—a card that no one could

possibly know but you. Don't tell me what it is—that information is for you alone…"

By using the words, "from before," you disassociate the number process from the suit

process a bit more. By using the words, "52 playing cards," you have subtly increased the

apparent scope of the selection. By having them admit out loud, several times, that no one

else could possibly know what it is, you have allowed everyone to relax and accept the fact,

that the playing card is unknown and unknowable— they can stop worrying about it now.

Now, and only now, you are ready to start your effect.

You can introduce other props, etc., or begin your embarkation on your direct mind-

reading procedure. Performed in this way, it will be a true mystery, and you are certain to

astonish—especially if you dive into an effect like the Card Stab, the Dissolving Card,

Speechless, Hands Off: Silent But Deadly, or any other of the beautiful effects this technique

will allow.

This procedure takes practice! You will also find yourself modifying it in real time to

accommodate for the "type" of spectator and the inevitable unforeseen. Good luck!

28

Page 29: Ben Harris - Run Silent Run Deep

SCRIPT STRIPPED

Steve Shufton

As an addendum to the previous chapter, this is a basic script without all the wiseachring. It

still needs to be altered—by you! You have your own manner and tempo, and an effect that

might require further alteration. There will be many spectator responses along the way

which you must allow for, and which will also dictate other changes you may need to make

on the fly. If you commit the essential aspects to memory and practice, you will be able to

give a very relaxed performance and easily manipulate the circumstance in your favor.

“I'd like to try a little experiment with you—but I need someone with strong

visualization abilities. Are you able to visualize things well?”

"Can we try a little test to see how well you are able to visualize? I promise it will be

simple and I won't embarrass you or hurt you in any way. Good?”

"How about this—let's have you try to visualize a number. Think of a number

between… between… between, let's say, between one and ten. Yes, between one and

ten—any number. Have you got it?”

"Have you got a number? Good! Don't tell me what it is! Focus on it—try to visualize it

in precise detail—are you able to do that? Excellent—very good. Is it possible that

anyone else could know, with certainty, what number you are only thinking of?”

"Let's try something else.”

"You know, a deck of cards has 52 cards in it, right? And those cards are divided up

into 4 suits— clubs, hearts, spades and diamonds—you know that. This time we are

going to try to visualize one of those four suits. Here's how we'll do it. I'm going to

raise my fingers like this one at a time, but I won't be counting. Instead, I'll call out

the names of the suits like this… diamonds, clubs, hearts, etc… and when I get to the

finger that corresponds to that number you are thinking of, remember that

suit—ok? Here we go…"

29

Page 30: Ben Harris - Run Silent Run Deep

"Have you got one? You are now thinking of a suit from a deck of cards. Could anyone

else know, with absolute certainty, which suit you are only thinking of?”

"Great. Concentrate on that suit. Form an image in your mind. Project it onto your

mental screen and visualize it in every detail. Good—can you see it? Good.”

“I want you to take that suit you are thinking of, and combine it with that number

from before… do you remember the number? Combine the suit with that number so

that you are now visualizing a complete playing card in your mind—have you got

that? You are now thinking of one of the 52 playing cards—is that right?”

"Is there any way anyone else could know, with absolute certainty, which playing

card is in your mind?”

"Very good. There is now a playing card in your mind—a card that no one could

possibly know but you. Don't tell me what it is—that information is for you alone…"

30

Page 31: Ben Harris - Run Silent Run Deep

HANDS OFF: SILENT BUT DEADLY

Steve Shufton

What if you could:

Hand a spectator a blue (for example) deck of cards…

Have her form an image of a card in her own mind—a card she readily admits no one could

possibly know… She hasn't told a soul…

Have her open the deck, find her card and lay it face up on the table…

Have her turn the deck face down and go through the entire are all blue, of

course…

When she turns her own card over, its back is RED

You NEVER touched the deck!

Welcome to Hands Off: Silent but Deadly!

Features:

In the spectator's hands!

Rapid reset!

No sleights: you NEVER touch the deck!

Here's how:

This effect uses a combination of Ben Harris' Silent Running selection technique, and a

specially prepared deck of cards, to accomplish a miracle that is completely Hands

place in the spectator's own hands. I

ou will be taught all you need to know to accomplish this effect. I will provide

you with a detailed description of the cleverly designed deck you can easily make, and a no-

deck—they

Off—taking will again detail the Silent Running

procedure—y

31

Page 32: Ben Harris - Run Silent Run Deep

fail script, which will allow you to create this miracle as a matter of sheer simplicity!

The deck uses a special rough/smooth arrangement on only eight pairs of cards. The reason

for this is because the Silent Running procedure, forces the spectator to think of one of

eight possible selections, yet leaves the impression that the choice was free and random.

We will go through the elements of the effect and modus operandi, and then put it all

together into one sweet presentation.

The Selection Script:

Without discussing the deck arrangement quite yet, let's reiterate the Silent Running

technique.

Silent Running will force the spectator to unwittingly THINK of one of an assortment of

eight cards as follows:

2 of clubs

3 of hearts

4 of spades

5 of diamonds

6 of clubs

7 of hearts

8 of spades

9 of diamonds

This set of cards will be referred to as, "The CrossRoads Set," or "the CR set."

Note that the cards run 2 through 9, in "ChaSeD" order, or clubs, hearts, spades and

diamonds repeated. This set, originally presented in Ben Harris' CrossRoads manuscript,

has many features and allows for a multitude of effects. The serious student should study

both CrossRoads and Silent Running to get an idea of the enormity of effects and subtleties

these particular cards can provide. I will describe only the aspects you will need to

understand to perform Hands Off: Silent But Deadly.

How do we get the spectator to think of one of these cards? Subtly, of course! Follow the

words and actions in the following script, and you will have reached your goal. First of all,

remember, at the onset of your presentation, the spectator(s) has absolutely no idea what

you are going to do. This is important to understand! They will not realize until later in the

procedure that what you are doing has anything to do with cards. This means that they will

be at ease, cooperative, and not looking to mess you up!

32

Page 33: Ben Harris - Run Silent Run Deep

To your spectator, say the following:

"You seem like a person with a good imagination but let's make sure and put it to

the ? Don't won't get hurt and you won't be embarrassed. Fair

enough?"

The spectator will say, "Yes."

Say,

"Great. Let's do it this don't you… Let's use a number. What I would like you

to do is think of a number… (Pause here for at least 3 full seconds and slightly

exaggerate the next word) BETWEEN… (pause again for 3 seconds more) one and ten.

Yes… BETWEEN… one and ten. Have you got that? Between one and ten. Have you

done that?"

Now, these pauses and ellipses are VERY important. The word, "between," has been said

three to five times. The pauses and repetition drive home the point that the number should

NOT be a one or a ten. Don't worse comes to worse, you will have an "out" all

prepared. It hasn't happened to me yet. Granted, this type of ritual takes practice and over

time you will develop the knack. The spectator will say, "Yes."

Say,

"Is there any way anyone in the world could know with absolute certainty what

number you are only thinking of?”

The spectator will say "No.”

Continue,

“Good! You are the only one that knows your secret number. Now, as you know, a deck

of cards contains 52 different cards.”

This is the FIRST time you have made any mention of they don't yet know why.

Continue,

"And in a deck of cards there are 4 suits, right? Diamonds, Clubs, etc. Right? I'm going

to hold my fingers up one at a time, but instead of counting, I will call out the names

of the suits."

test—OK worry—you

way—why

cards—and

worry—if

33

Page 34: Ben Harris - Run Silent Run Deep

Illustrate this by raising your right fist in front of your face, palm side toward you, and first

holding up your thumb, followed by your index finger, etc, as you do when you are counting.

Do this while saying, "Diamonds, clubs, hearts" as an illustration, but only go up to hearts,

which will be your middle finger.

Say,

"When I come to the finger that corresponds to the number you are thinking of,

remember THAT ? Here we go…"

They will affirm that they understand you. Otherwise, explain it again.

Say,

"Don't give me any indication at all what your suit yourself. I

don't want to know."

Starting by holding up the thumb of your right hand, and say "Diamonds." Then hold up

your index finger (keeping your thumb also like when you are counting) and say

"Clubs." Hold up your middle finger (along with your thumb and index) and say "Hearts".

Then your ring finger and say, "Spades." Then add your pinky and say "Diamonds".

Now raise your left fist, also palm toward you, and continue by extending your left pinky

upwards and saying, "Clubs." Notice that, although you started with Diamonds, you are

calling out the suits in ChaSeD order. Continue on with your left-hand ring finger (hearts),

middle finger (spades), index finger (diamonds) and finally your left thumb (clubs). Do this

finger procedure at a good one beat per second.

Say,

"Have you got a suit? Are you thinking of a suit?”

They will say, , do it again.

Say,

"So, now you are thinking of a suit. Is there any way anyone else could know with

absolute certainty which suit you are only thinking of?”

They will say, "No."

suit—OK

is—keep it a secret—to

up—just

pace —approximately

"Yes"—otherwise

34

Page 35: Ben Harris - Run Silent Run Deep

Say,

"Good! Form a strong image of the suit in your you got it? Picture it. Try

to get a detailed image. Got it? So now you have in your mind a suit that only you are

aware of, and a number that only you know, correct?”

Of course, they will say, "Yes."

Say,

"Great! I want you to take the suit you are thinking of and combine it with that

number from before, so that you are now forming a playing card in your mind. OK?

Have you got that?”

They will say, "Yes.”

Continue,

"So now you are thinking of a playing card that only you could know, wouldn't you

agree?”

They will again say, "Yes.”

Say,

"There are 52 cards in a deck, and you are now thinking of one of those cards. No one

else could possibly know which card it information exists only in your mind.

Focus on it!"

You have now completed the Silent Running force procedure—congratulations! Practice

this until it becomes second nature. This process, and the careful use of wording therein,

will give your spectators the distinct impression that they have selected a card that only

they could know. The fact is, however, that after this procedure, you know with certainty

that they have selected one of our "special" eight cards. For a more detailed explanation of

this strategy, see, A Force in the Shadows.

The Deck:

Each of the eight cards of the CR set is paired with another card directly below it

in a face-up deck (or, obviously, directly above it in a face-down deck). These cards should be

prepared and treated with a roughing fluid, but only in a stripe, one and a quarter

inches , across the width of the cards. The CR set is treated on the BACK in this way, and

mind—have

from before

is—this

card—the

central

wide

35

Page 36: Ben Harris - Run Silent Run Deep

the card it is paired with is treated on the FRONT in the same way. This arrangement

provides a special quality. When the deck is face up, a spectator can easily deal off a single

card. This is true, because when dealing, the right hand tends to receive and differentiate a

card from a far or near part of the card that is not roughed. On the other hand,

when the deck is turned face down, the thumb will be pushing against the "roughed" stripe,

so that the two cards of the pair will be pushed over instead of one, hiding all the different-

color backs. This works so well that the spectator can do it themselves and it will defy

detection!

The Spectator:

Choose a spectator that is willing to go along with your suggestions, and has no hidden

agenda to trip you up! Do not at anytime explain what the effect is going to be. Just do

follow the script. It is possible (although it has not yet happened to me) that a

spectator will choose an ace or a would turn out to be the Ace of Diamonds, or the

10 of Clubs. You can prepare a special out for these if you are so inclined. No one knows what

the effect is going to be, so this will not defeat you at all. As I said, this has NEVER happened

to that doesn't mean it couldn't. It's best to be prepared!

The Presentation:

First, choose a good spectator to assist you.

Next, perform the Silent Running script, exactly as described above.

As soon as you are done with the SR procedure, hand the spectator the boxed deck, and

proceed with your script as follows:

Say,

"Please remove the cards from the . Be

careful because if the cards get dropped, it won't be as entertaining! Good job. Now,

hold the deck face up, and thumb through until you find your card. It's OK if I see

doesn't all are about to find out what it is. Tell me when you've

found it, OK? Good."

Give them whatever time they need to find their won't take long. Then continue

"Please cut the deck at your card so that it is now on the face of the deck.

deal your card face up on the table so we can all see what it is. Excellent! Oh! You

chose the (fill in the name of the card). That is a very interesting choice!"

end—the

it—and

ten—that

me—but

box—I don't want to touch them

it—it matter— we

card—it :

Good—and

36

Page 37: Ben Harris - Run Silent Run Deep

Continue,

"Now square up the deck nice and turn the deck face down. Now do

me a favor, and quickly thumb through the entire deck. Very good. All done? Good.

Now put the deck back in the box. Wonderful. Did you notice that every single card in

the deck, without exception, has a blue back (or red as the case may be)?

ingle card was doubt. Are you ready for this? Now turn your card over."

I assure you, they will be stunned to discover that they mentally selected the only card in the

deck with an odd-colored back! Watch their brain cells start to drip out of their ears!

You have just performed Hands Off: Silent But Deadly!

Reset:

To reset, simply return the card to the face of the deck, and cut the deck to the jokers, so that

the jokers are on top of the deck (not on the face). You are now ready to go again!

Note:

Because of the special "roughing" arrangement, the selected card should be easily thumbed

off the deck as a single when they put it on the table. That, in fact, is why this scheme of

partial roughing was developed. But do be aware, different people will handle the deck in

different ways than you might expect, and the possibility remains that instead of their

single selection, they will unknowingly put 2 cards down instead.

What to do? Nothing! I usually on, I think you've got two cards!" Then I will

separate them myself, and put the odd card back on the deck they are holding. I do it cleanly

and neatly, to make sure they realize that there is no "funny business" going on. No harm

done!

Extra Idea:

Two decks are presented, one of each color. After the spectator has gone through the deck of

, you can get a "kicker" effect with the second deck from which you "traded"

cards. I'll let you mull that over. You could, for example, spread the second deck between

your hands, and locate a single odd color back. A pencil dot may help you

accomplish this.

Think on these things, and have fun!

neat—good—and

Yes—every

s blue—no

say—"hold

their choice

face-down,

37

Page 38: Ben Harris - Run Silent Run Deep

SPEECHLESS: LEFT UNSAID

Steve Shufton

This section should be treated as an addendum to Speechless, which was described in detail

in the book, Silent Running. It is not my intention to explain the Speechless effect again

here.

When I described the Speechless effect in Silent Running, I provided a bare-bones approach

for a real miracle. It was "bare-bones" in the sense of two aspects. First, I found it

unnecessary to review the Silent Running procedure, as you were already holding it in your

hands!

In this sequel I have described the general patter strategy I use for the SR procedure (See:

Hands Off: Silent But Deadly). I have also contributed a philosophical treatise (A Force in

the Shadows), which will hopefully drive home the subtleties employed to help make your

force completely invisible and deceptive.

Recalling Speechless, a deck of cards was used, specially and subtly set up, so that you could

determine the chosen card without a word being spoken, and additionally have a

prediction on the table the spectator revealed the name of her card.

This was Speechless, in the key of "C".

Let's go a bit deeper into this idea of having your CrossRoads Set, (CR set), in a specific "key."

This jargon and general concept was conceived by Ben Harris from the field of music, where

as you know, you can play a song in varying keys. The same holds true with the CrossRoads

principle. The eight target cards are always set up in CHaSeD order, starting with the 2 of

clubs, and continuing through to the 9 of diamonds (2C, 3H, 4S, 5D… 9D). You could,

however, use a set, still in CHSD order, but start with a 2 of hearts instead of clubs. You would

continue through the set in CHSD sequence, (2H, 3S, 4D, 5C… 9C), and now have an 8 card set

with completely different suits than the first set. The "finger selection" aspect of the SR

procedure would obviously need to change to accommodate the different suits. Likewise,

the set could start with the 2 of spades, or the 2 of diamonds. Thus, we have the CR set in 4

different keys.

before

38

Page 39: Ben Harris - Run Silent Run Deep

How can this multiple key aspect come into use? Let's discuss one way of exercising it, using

Speechless as our basis.

If you recall, the Speechless deck is set up to be read from left to right as the spectator

thumbs through the is, from the face of the deck to the back. The first card the

spectator will come to is the 2 of clubs, and the cards continue to be dispersed through the

deck ending near the back with the 9 of diamonds. What if we wanted to perform Speechless

using spectators, and thus, selections simultaneously? Not only that, but guarantee

that they will select different cards? That is to say, even if they got the same , they

would still have a different , thus different cards.

The way is to have the second card selected in another key! During the finger selection

process, you would simply start with the next suit (instead of the first finger being diamonds

for the key of "C", you would start by calling out clubs for the first finger, thereby giving us

the CR now in the key of "H" hearts .

Great! We have now forced two cards out of CR sets in two respective keys. Our two

spectators definitely have different if they selected the same value! In other

words, if spectator one selected "6", it will be the 6 of clubs. If the second spectator

also selected "6", it will be the 6 of hearts. Obviously, you can use up to 4 spectators as we have

4 CR keys available to us. All 4 are guaranteed to get different cards in this way.

Now, before we get into the method of silently detecting their cards, let's make a small point

regarding the use of multiple spectators being involved in the selection process. You should

carry on with the normal SR procedure, but perform the process on all

involved spectators, as a group, first. Then, perform the process on each of the

spectators individually. As your finger designations will be different for each spectator, this

method will actually add an additional layer of shadow on the whole process. Any audience

member trying to keep track will notice that the designations truly seem random (because

they change), which will only strengthen the effect!

Let's discuss the manner of detection when using multiple spectators in the context of

Speechless. We know how to set up the deck in the key of was covered in Silent

Running in detail. But what if we use a second spectator, and force a card out of the CR set in

the key of "H"? Study the illustration of the deck :

Notice that using a deck set up in this way, you can read the selection in the same way—but

this time you will determine the card's value from right to left, instead of left to right. Notice

that the 2 of hearts is the second card from the right. We are now looking at the CR set in the

key of "H". The next card in the set, the 3 of spades, is positioned from the right hand side of

the deck, just as the 3 of hearts (the second card of the CR set in the key of "C") is positioned

from the left. The two sets more or less mirror each other throughout the deck. Simply

stated, when the back of the deck is facing you, the CR set in the key of "C" is read from left to

deck—that

two two

value

suit

set—but [ ])

cards—even

number

value selection

suit selection

"C"—that

(see following page)

39

Page 40: Ben Harris - Run Silent Run Deep

right, and the CR set in the key of "H" is read similarly, but from right to left! This means that

you can determine both cards using the same deck!

Have the first spectator remove their card from the deck (and note the position according to

CR in the key of "C", from left to right). This will tell you their card. Then, have the second

spectator remove their this time determine the card using CR in the key of "H",

and note the position, from right to left. As per original instructions, you want to do this in

such a way as to make it seem as if you hadn't seen the cards being removed, and put in the

respective pockets of the spectators. Those familiar with Speechless will understand how to

handle this.

Want to get one or two spectators involved? Since there are 4 keys, you can use up to 4

spectators, and be assured they will each get a different card. I hope you are already aware

of how to force a card in a different in the key of "S" or the key of "D". It really

is a matter of assigning the correct suits to the fingers for that part of the SR selection

all there is to it. But, what of the deck? Well, if you closely examine the

illustration again, you will see that the cards are set up in such a way, so that a cut directly in

the middle of the deck will set you up for the next two CR keys! Note that now, after

completing this cut, the 2 of diamonds will be on the right (when the backs are facing you)

and the 2 of spades will be on the left. In other words, you are now set up for the next two

spectators, by simply making a complete cut, right in the middle of the deck. Obviously, this

cut could be accommodated by a crimp or a breather, etc. I'll leave that up to you! You could

do it openly, or secretly employing a pass, et al.

The point is can either have up to 4 spectators assist you in one large effect, or, you

could rotate the 4 keys, making it easy to make sure you will get different results every time

you perform least for the next 4 performances. Pretty cool, eh? All this with

the same deck.

Now, when you do the effect for one person, you will tend to have them cut to their selection

before pocketing makes reset a snap. Simply return the selection to the face, and

cut back to the starting position. With multiple spectator's, however, you will want them to

remove their selections from the deck without cutting maintaining the

"readable" order of the cards. So, reset will take an additional 5 seconds or so. However, you

are likely to use this strategy in a larger show (as opposed to table hopping, where one

spectator will be enough), so the additional few seconds of reset time should not be an issue.

I must tell you that I am not in any way suggesting that you should perform Speechless on

four spectators simultaneously! Two, not. Four might be overkill, and be too

redundant during the suit selection process. You have to be pretty good with presentation

and turning a phrase to pull that off. That is why this is merely an addendum to an already

excellent trick. I simply wanted to demonstrate a practical use of different "keys", and get

your mind pumping.

card—but

more

key—perhaps

process—that's

this—you

Speechless—at

it—that

it—thereby

yes—why

40

Page 41: Ben Harris - Run Silent Run Deep

41

photo of deck order for CrossRoads Keys

Page 42: Ben Harris - Run Silent Run Deep

Spend some time thinking about this and playing with the deck.

Different presentational angles will be hatched in your brilliant brain. The minor

alterations in patter when using multiple spectators should become evident. After practice,

you will have something that is "you." You might even want to embed the whole affair into a

larger segment of a bigger demonstration—who knows?

Let your creativity flow, and practice with the keys, etc., until you are

perfectly comfortable with the handling.

I'll leave you with this: an effect that you may already be familiar solution of

which has been offered by various magicians and by various means. But, using Silent

Running, Speechless and Crossroads, you should be able to determine the solution for

yourself… shouldn't you?

Here is the effect:

The spectator is thinking of a single playing card and no one else is privy to the card only

being thought a word has been spoken. Two decks are put on the red deck

and a blue deck. The spectator takes one of the decks, and while the magician's back is

turned, the spectator removes the card she is .

The magician points out the other deck, and claims that he removed a card from it earlier.

He removes a single card from his pocket and puts it face down on the table. The spectator is

instructed to find her card in the other deck. She searches and counts, and

finds a deck with only 51 cards, and her card is missing! She brings forth her card, and of

course it matches the one on the table!

I am not suggesting you perform this routine as is or at all! It might be too long and

complicated to get the same strength you can achieve in easier ways, for example, by just

using Speechless. But, hopefully, contemplating the solution will help you to discover some

of the versatility of this system and allow you to see that you can truly be creative with these

tools, and accomplish amazing results!

Here is one more idea that could be a feature part of an act. Note how I buried this way at the

bottom.

Here is the (final!) effect:

Spectator A thinks of a card, and without saying a word and while the magician's back is

turned, he removes the card from a deck and pockets it.

deck—switching

with—the

of—not table—a

only thinking of

cannot—she

42

Page 43: Ben Harris - Run Silent Run Deep

Spectator B is handed another pack of cards. "B" is told to name any number between 1 and

52. "B" opens the deck (without it ever being touched by the performer) and deals down to

that number, and deals the card that is there off to the side. It is demonstrated that any

other choice would have yielded different cards are different.

Spectator B's card matches spectator A's card! Silent not possible! Unless,

of course, you combine Speechless with CRACAAN (See CrossRoads, page 27).

Need I say more? This will melt minds.

I hope you have as much fun as I have had with Speechless and Silent Running.

Good luck!

results—the

ACAAN—simply

43

Page 44: Ben Harris - Run Silent Run Deep
Page 45: Ben Harris - Run Silent Run Deep

Jamie Badman& Colin Miller

(The Underground Collective)

Silent PastSilent PresentSilent Future

Page 46: Ben Harris - Run Silent Run Deep

‘The Underground Collective’are Jamie Badman & Colin Miller - two magicians who have met up in London for over a decade to work

on devious magical ideasand concepts!

From their fertile minds have sprung effects such as 'Heirloom,'

'Hollywood or Bust,'‘The Underground Change' and the

soon-to-be-released mentalism blockbuster 'Legacy.’

www.underground-collective.com

Page 47: Ben Harris - Run Silent Run Deep

SILENT PAST

Jamie Badman and Colin Miller(The Underground Collective)

Jamie and Colin have kindly contributed three separate routines for use with Silent

Running—each of which is quite different, as you'll see. The first uses a set of custom

photographs (each of which contains a Silent Running card) and a routine introducing

some subtleties to the Silent Running procedure. The second effect utilizes a couple of

clever gaffs that provide a nice twist and the third routine combines an old gambling device

with modern technology to deliver a routine that is their absolute favorite way to present

Silent Running.

The setup for this first routine, Silent Killer, is to have the eight CrossRoads cards

(represented on eight photographs), each placed in a separate compartment in your wallet.

Every photograph is in a position that you can recall—so if someone names one of the

Silent Running cards, you can immediately retrieve the appropriate photograph. Your

wallet, otherwise, appears normal.

Note: The required photographs are re-produced in the Appendix. Print these sheets, using

glossy photo paper, and then trim along the guidelines to create a working set of

photographs.

The routine from this point on is almost completely verbal, so we'll provide you with a

sample 'script' for the routine, which should give you all you need:

"I always seem to have been around playing cards. Now it's with magic but when I was a

kid it was through gambling. No, I didn't gamble myself—but my Uncle did—he played

all the time; in fact I have very few memories of him away from the card table. He was a

great player though; complete poker face, never let anyone peek his cards—not even

me—though I tried my hardest!

"I remember once, he was looking after me—but he had his buddies round for a game.

He'd been dealt his cards and a lot of money was played on this particular hand. Some

guy made a big bet and my uncle took a tiny peek at his cards. I caught a rare glimpse…

not enough to make out the card initially but enough to see it wasn't a court card—and

47

Page 48: Ben Harris - Run Silent Run Deep

it definitely wasn't an ace; I saw a single digit in that card, not a letter. I'll tell you

something more though…when I peeked that card I remembered it wasn't just any

card—it was my Uncle's lucky card! He swore by that card; I knew then that all the

money was going into the center!

"Imagine you're there. You're me all those years ago and you catch a peek of the index

of the playing card. You know it's not an ace or a court card; it's a single digit playing

card. Imagine the digit on the index of that card. Do you have it in your mind? Don't

tell me— just don't forget that number.

"Tell you what, let's go a little further. You saw the number but not the suit—but we'll

let fate play a part in this; I'll call out some suits at random and will hold some fingers

up as I do so. You remember the suit I call out on your number. Can you do this? Are

you ready? Ok…”

Now execute the Silent Running procedure to match a suit to the chosen number. You will

raise your fingers and call the suits to this order:

(1) Spades

(2) Clubs

(3) Hearts

(4) Spades

(5) Diamonds

(6) Clubs

(7) Hearts

(8) Spades

(9) Diamonds

(10) Hearts

Note: the FIRST and TENTH cards are NOT following the customary sequence. This breaks

things up and makes the calling of suits seem more random. Also note that the cards are

announced in a broken rhythm—try a slight pause at the spaces indicated in the above list.

This helps to disguise the pattern even further—and gives the spectator the impression

you're thinking of the suits randomly on the fly.

"So, now let's see if we can reconstruct the card I saw that day… put the digit you

remembered together with the suit to form a playing card… have you done that? What

do you have? Really? No way! That's it! My Uncle's lucky card! He won all the money

48

Page 49: Ben Harris - Run Silent Run Deep

that night with the card… look—he even had a photograph taken shortly afterwards

and gave it to me to remember him by —look…"

You slowly reach in to your wallet and remove one photograph—and on it is a picture of a

man—holding the named card!

49

Page 50: Ben Harris - Run Silent Run Deep

SILENT PRESENT

Jamie Badman and Colin Miller

(The Underground Collective)

This routine uses two very subtle gaffs—two double faced cards, consisting of the following:

Gimmick 1: Side one—Joker, side two—2C/6C

Gimmick 2: Side one—Joker, side two—4S/8S

In both cases, the flip side of the Joker consists of a “vertically split pair” of BLACK

Crossroads Cards. These are all four black cards from the set.

During our development of this routine, we simply cut a 2C, 6C, 4S and 8S in half and glued

them to the backs of Jokers. This works perfectly well, though the gaffs are slightly thick.

Try the routine using home-made gaffs first; then if you feel having custom gaffs made up,

you can do so later!

The gaffs are placed into a deck, split-faces should be upwards in the face-down deck. The

club gaff should be placed second from top of the deck and the spade gaff just over half-way.

Make sure the lower values of the split cards face left. In the top half of the deck, have the 2C

photo of vertically split cards

50

Page 51: Ben Harris - Run Silent Run Deep

and 6C. Place the 4S and the 8S in the lower half.

Finally, remove the four red CrossRoads cards (3H, 5D, 7H, 9D) from the deck, and place

them in your wallet—in known locations.

Now, perform The Silent Running procedure to force TWO cards (as per Bob Cassidy’s idea

in the original manuscript). This will result in one spectator thinking of a RED card, and the

other, a BLACK card.

Snap your fingers over the deck, then turn to the RED spectator and say:

"Your selection has vanished."

Cut off half the deck and spread them face up on the table. Ask the spectator to look for her

card. She will not see it. Ask the spectator who chose the BLACK card if they have seen their

card. If they say 'yes,' then they have thought of a club, else, they have thought of a spade.

(Cool, eh?)

Square up the spread cards and place them face down to one side—then spread the

remaining half face up across the table. Ask the spectator who chose the RED card to

continue to look for her card. Again she will not see it. If the spectator who chose the BLACK

card did not see her card in the first half, ask her to look over this second half. She will, of

course, spot her card this second time around.

Square the cards and turn them face-down. If the spectator thinking of a BLACK card is

thinking of a CLUB, place the SECOND half of the deck on top of the first. If otherwise, place

the first half on top of the second. Square the deck.

Now ask the red-selection spectator to name her card. She does so, and you then reach into

your wallet and produce the named card!

Ask the black-selection spectator to name her card. All you then need to do is spread the

deck, either to the right—if they name the 2 or the 4, or, else to the left—revealing their

thought of card.

51

Page 52: Ben Harris - Run Silent Run Deep

SILENT FUTURE

Jamie Badman and Colin Miller(The Underground Collective)

This routine requires “breather” crimps to be placed in each of the Silent Running cards.

The “breather” needs to be applied to the FACE DOWN cards). Additionally you will need to

possess an iPhone—but let's face it, that's not so much a requirement of this trick than a

pre-requisite for self-respect and clean living! On the iPhone, you will need to have

installed Greg Rostami's brilliant App, iForce. (This bargain priced application is one of the

best and most versatile magic apps out there. Its true beauty is that it does not pretend to be

anything other than a regular doodling app—one that you would expect to find on such a

hi-tech device. It is available from the App Store.)

Before you go any further—and assuming you now have all the pieces you need to perform

this routine—take some time out to learn how to use iForce properly. It's an absolutely

superb application and it has been thought out brilliantly.

You should go to the settings and set “reflippable” to “off” first. This is the safest mode and

guarantees that, once you've performed the routine, there's no way the spectator can do

anything untoward.

Now you need to set up a custom “preset” for this routine. It's obvious: You need to enter “2

Clubs” in position “1”, “3 Hearts” in position “2”, “4 Spades” in position “3” etc. Basically, it's

the Crossroads configuration. Note that the lowest four cards are in the SLOW positions and

the rest are in the FAST positions. Also note that the suits are grouped together when the

setup is complete: The Clubs are both in the top position, the Hearts are on the right, the

Spades on the bottom and the Diamonds on the left. This makes the way you turn the

iPhone very easy to remember!

Set the app on the preset, ready for performance.

So now, on with the show:

52

Page 53: Ben Harris - Run Silent Run Deep

Introduce the iPhone application as a 'doodle' app. Open it up, show how it works and then

explain how you're going to write on it a prediction. Write anything onscreen, out of the

spectator's prying eyes, and then place it face down on the table, as per the instructions for

iForce.

Have a spectator give the deck a shuffle. Watch how the spectator shuffles the deck—if they

riffle-shuffle, then at the end of the shuffle, have them cut the deck. If they overhand-

shuffle the deck, do not have them cut the deck. Let us explain why here: We should do so

because we've never seen this idea in print before and it could be very valuable to know this.

Traditionally, “breather” crimps are associated with cutting the deck. However, with

multiple breathers in the deck, overhand-shuffling the deck is really a kind of repeated cut

sequence and the chances therefore of ending with a breather on the bottom of the deck is

extremely high—try it out, it's surprising!

Once the spectator has shuffled the deck, have them turn the deck face up. If you have a

Crossroads card showing on the face, simply turn the phone face up to reveal your

prediction. If no hit, then we'll go for another chance. What we do NOT want to do is descend

into a desperate shuffling/cutting sequence, so we need to optimize our chances.

Choose a second spectator. Ask that spectator to cut the deck into two equal sized packets. If

you get a hit on this cut, have the cut completed and reveal your prediction. If no hit, have

BOTH spectators pick up the piles and have them both shuffle their halves. This time, for

consistency, if either of them riffle shuffle, have them BOTH cut their packets. Have them

both turn their packets face up and if you have no hit, just emphasize how the deck is now

completely shuffled—and move on to a nice “Shuffled Deck in Use” routine.

You will almost certainly have a hit. With a deck that has eight breathers in, it's much

harder to miss than it is to hit—particularly if the deck is in good condition. If you have one

hit, just have the spectators replace the packets on top of one another, so that the “hit” stays

on the face—then reveal the prediction. If both cards hit, then have the spectators decide on

one of the cards. Reveal to finish.

This all sounds very hit and miss but we urge you to try it. You can simply “jazz” until one of

the eight possible cards is “hit.” This routine plays so strongly—it really does seem

impossible!

Bonus: Silent Combination:

Here's a fourth routine.

We'll give you just the concept, since it's a bonus, after all! So, what you do is to have two

decks: one red backed and the other blue backed. In the red backed deck, place the gaffs

53

Page 54: Ben Harris - Run Silent Run Deep

from Silent Present, split-faces upwards. Put the Club card in the center of the deck and the

Spade card second from the top of the deck. The blue back deck has the 2C, 6C, 4S, 8S (each

treated with a “breather” crimp).

The routine is simple—have the blue deck shuffled, have the deck turned face up, cut if

necessary, etc. This is basically the same ploys as described in Silent Future. If they ended up

with a Club, spread the red deck to show their selection has turned face up in the other deck,

else, cut just above center and spread to show their spade selection.

We hope you enjoy all three of our routines and we would be honored, should any of these

become part of any magician's repertoire.

54

Page 55: Ben Harris - Run Silent Run Deep

Richard Busch

SIR Richard Busch’s Think-A-Card

Page 56: Ben Harris - Run Silent Run Deep

Richard Busch... is an internationally known, multi-award winning writer and creator of mentalism and psychic entertainment. His first hardcover, Peek Performances, is generally regarded as 'the book' that reignited the peek craze back in 2001. For the first time, the many types of possible peeks that are found in various types of effects and their applications were categorized, along with rich examples of each. Among the many billets in its sequel, Peek Encores, is what many feel may be the cleanest approach ever offered, Busch's Billet.

In real life, Busch is a Doctor of Clinical Hypnotherapy and specializes in work with human beings who sincerely wish to do and feel better.

Richard Busch says: "Whether people see miracles on stage, at the table, or experience and benefit from them in their lives, a miracle is a miracle. I am always happy to do whatever I can to enable them to occur.”

www.richardbusch.com

Page 57: Ben Harris - Run Silent Run Deep

SIR RICHARD BUSCH’S THINK-A-CARD

Richard Busch

In an effect called DIGITS from my (2002), I first used the idea of

framing and then blurring a Participant's secret mental processes to advantage by initially

holding up one (index) finger, then two (index and middle) fingers to invite truly random

selections of single and two digit numbers.

The drama featured what I've termed in past releases "the illusion of choice". In this

instance, we will continue to suggest the illusions of choice and compounding randomness

that when combined, will irresistibly seem to be unknowable to the Performer. In fact,

without any pumping or multiple outcomes, we will bypass a limited range force, directly

force one of 52 playing cards with 100% certainty, and have much flexibility in doing so.

Interested?

By the way, in the above title stands for uggest rresistible andomness and is not a

self-granted title. I mean, did you really think I would seriously suggest anything that silly?

Here now are some suggested talking points, how this might play ...

"Do you believe in miracles? Well, let's begin with a very small miracle, a tiny, teensy

weensy one and leave the major ones to the politicians, G-d help us. Let's do a very

simple exercise in pure imagination. For your amusement, we'll load it up with lots

of secret choices only you will know. OK, are you ready to begin?"

1. [Holding up one finger]

"Please think of any single digit number. Do you have one firmly in mind? Great!

That's a span of 1 to 9, a secret single digit."

2. "Now, let's expand the possibilities, double it. Got it? Super!"

3. [Repeatedly hold up one and then two fingers, over and over.]

"You are now thinking of either a single or double digit number. I really don't know

which.

NUMBER ... PLEASE ?

SIR S I R

57

Page 58: Ben Harris - Run Silent Run Deep

But you do, and don't you tell me either!"

4. [Hold up two fingers]

"Add 10. Now for sure, you must be thinking of a secret two digit number because I

just pushed you up into two digit territory. Which one, I have absolutely no idea."

5. "Now let's further randomize it, so I can go back to not being at all sure of virtually

anything. Cut your number in half ... and subtract your original number.

"Now that's what I call randomness! So many choices and yet, there is still one very

minor thing I do know for sure. You are thinking of either a one or two digit number,

and don't you tell me which or which one. I am otherwise in a state of not knowing.

6. "If you are thinking of a number from 1 to 13, and don't tell me if you are or aren't,

fantastic. Remember it, because that is your final random number. If you are

thinking of a number larger than 13, that's fine too. Just cut it in half as many times

as you need to until you are left with a random number from 1 to 13. Why? Because

right now, we are going to use your secret number to construct the random name of a

playing card. And it's so easy! Your secret number the FIRST name of your secret

card. 1= Ace, 2 = 2, 3 = 3, 10 = 10, 11 = Jack, 12 = Queen, 13 = King. Got it? You now

know the first name of your secret, random card.

"Did you know that all cards have three names? Yes! And truth be told, I already

know the MIDDLE name of your card. I really do. It's "of". Every one of the 52 playing

cards that you or anyone in the whole wide world could possibly mentally select has

the middle name of "of". They all do. They're born with it. Funny how that works, and

absolutely true.

"For a random selection of the LAST name, we'll use my four fingers."

[Hold your left-hand straight up, fingers slightly spread. Curl the thumb in and down, out of

the way. The four fingers are straight up. Just for now, think of them in your mind to be

numbered as follows: 1-Index, 2- Middle, 3- Ring, 4- Pinky.]

7. "I'll ask you now to assign your secret random card to a secret random finger. I'll

simply point to each of my four fingers and you are to remember the finger's number

that randomly comes up. QUESTION: Shall we make my Index finger 1 and go right,

or make my Pinky 1 and go left? It's your choice!"

is

58

Page 59: Ben Harris - Run Silent Run Deep

If is called:

Saying "1, 2, 3, 4," tap Index, Middle, Ring, Pinky. Saying "5, 6, 7, 8," continue with Index,

Middle, Ring, Pinky. Continue on through K. You will get:

A 2 3 4

5 6 7 8

9 10 J Q

K

If is called:

Saying "1, 2, 3, 4 " tap Pinky, Ring, Middle, Index. To continue, a tap on

the Index. Continue this same repeat tap on the ends throughout, and you will get:

4 3 2 A

5 6 7 8

Q J 10 9

K

8. "Now that you know your secret random card's secret random finger, it's time for you

to randomly pick your card's suit. I'll simply point to each of my four fingers and you

will remember the finger's suit that randomly comes up. One last QUESTION: Shall

we begin with my Index finger and go right, or begin with my Pinky and go left? Once

again, it's absolutely your choice!"

left to right

right to left

, repeat

59

Page 60: Ben Harris - Run Silent Run Deep

If is called:

Saying "Diamonds, Clubs, Hearts, Spades," tap Index, Middle, Ring, Pinky.

If is called:

Saying "Clubs, Hearts, Spades, Diamonds," tap Pinky, Ring, Middle, Index.

This is the well-known CHaSed sequence, or, if you are Jewish, CHaSiD. The double force of a

pre-determined card is complete.

If you actually did the example as I wrote it above, I would have forced you to be thinking of

the 5 of Diamonds. The math force is very old and credited in DIGITS, the most basic effect

from my It's a good little book, still available for very little money, and

has some powerhouse routines inside its covers. I think of the center of this method as the M

A T H Force. M is 'multiply by 2 ' A is 'add ' T is 'ten ' and H is 'half ' I do not ever say 'multiple by

2 ' much preferring 'double it ' The specific words I use in this routine fit because in context,

they describe an interesting adventure in imagery and not an overt math puzzle. Whatever

number is added will force a result half itself. Thus, 10 (which is easy for the Participant to

mentally figure out), forces a 5. 'An even dozen ' 12, would force a 6. An 8, a 4. You get the idea.

t's all very old, but very good presented flowingly in a non-procedural manner. And even

then, it must seem to be only about images and random choices, not ever the numbers in

and of themselves.

My inclusion of the one and two fingers part of it works like a charm and quite naturally

leads us to the suit selection (using any suit order you like). It's a once removed relative

wearing a big top hat being graciously tipped to Peter Duffie and his

. My one-handed handling for possibilities features multiple

Participant choices and an overall feeling of freedom.

The all important built-in convincers will find favor with those of you who like this sort of

random approach. You will note and I'm sure appreciate that my subtleties make a target

of 5, 6, 7, 8, K What a prime example of the

illusion of choice! The fact that the previously mentioned 1's are obviously going in

different directions, leading to different fingers, and therefore different suits, is the red

herring that sets up this psychological convincer!

left to right

right to left

Backstage and Behind the Scenes with Sir Busch:

NUMBER ... PLEASE ?

, , , .

, .

,

I if

,

Duffie Dodge (see page

42 of Silent Running) all 13

, ,

, exactly the same finger in either direction!

60

Page 61: Ben Harris - Run Silent Run Deep

I hope you will enjoy pulling off this compelling exercise in visualization without any

props, limited range forces, pumping, or multiple outcomes. I do, and hope you will too!

But what is, "it?" A premonition? A thought projection? Mind reading? A face-down card

coincidence? What I believe it should not be is a math puzzle or card-less card trick where

the name of a card is aimlessly blurted out.

Some may ask, o what? Who really cares? Does it matter? Why? Is it mystifying or even

interesting beyond puzzle-land? Perhaps a brief, personalized character reading of the

color, suit, and number might be of greater interest within the context of a presentation

that this time, must choose. I ask this of you because these possible effects are all

different! And the final revelation could be the topper of something that might actually

matter and "wow" the Participant(s) in a memorable effect of your design. As always, the

real magic will inevitably be the meaning you create!

Lastly, just to further wet your whistle, I can honestly tell you that I badly fooled a couple of

seasoned professionals (no names, please) with this effect, right over the phone. Because of

the way I suggest and lead generally, and in this SIR Illusion of Choice presentation in

particular, my style and schpiel cancelled the solution I'm positive they've known for

decades. In other words, by redirecting their attention, they didn't recognize what they

surely must know. When this happens, it's extra sweet miracle time.

And now, it's your turn to be "SIR " So ell t ight!

“S

you ,

,

! , s i r

61

Page 62: Ben Harris - Run Silent Run Deep
Page 63: Ben Harris - Run Silent Run Deep

Ben Harris

Silent TravelersSmall Packet Concepts

Vanishing ThoughtThe Deck At The Other End

Easy TranspositionHeadway

R.E.M.Neuro-Pathway

Page 64: Ben Harris - Run Silent Run Deep

Ben Harris...works out of sunny Queensland, Australia and is enjoying creatve success with his show “Hellucinations”— exploring the work of the late and mysterious, Dr. Elmer William Bishop.

Page 65: Ben Harris - Run Silent Run Deep

SILENT TRAVELERS

Ben Harris

I want to address packet-tactics, or how to apply packet concepts to Silent Running. Firstly,

a fully-blown routine from my stage show, HELLucination, and then some more general

concepts and mental teases. The purpose of the following, is to bring to your attention to

how the elements of the CrossRoads Set may be influenced by, or seek co-operation from,

the packet manipulation techniques. The sort of things I’m referring to, are Elmsley

Counts, add-ons, switch-outs, etc. Taking small packet techniques, can we develop routines

or ideas that append to the CrossRoads/Silent Running palette?

This first routine combines a cunningly divided CrossRoads Set, with a display method

(inspired by Osborn’s Unlimited Count) to create a hands-off transposition of two “thought-

of” cards.

Effect:

Two spectators are invited to assist, and are seated on either side of a small table. The

performer stands behind the table, facing the audience. On the table is a wine glass with an

elastic band in it.

Both spectators are asked to think of a number “between 1 and 10”—with this caveat: the

spectator to the performer’s right is asked to think of an “even” number, and the spectator

to the left, an “odd” number. This is, the performer explains, to ensure that both do not

settle on the same value. Both now match suits to their freely thought-of numbers,

combining them to create “playing cards” in their minds. They both confirm that no one

can know the cards they are secretly thinking of.

The performer now removes a deck of cards from his pocket and counts the cards, one at a

time, face up onto the table, until he reaches 52. During the count, the two spectators are

asked to mentally confirm that their cards are present in the 52-card deck. The purpose of

the count is to demonstrate that the pack is just a regular deck of 52 (thus no “extra” cards),

and to also establish the existence of PHYSICAL CARDS—matching the “thought-of”

cards—within the deck.

65

Page 66: Ben Harris - Run Silent Run Deep

Counting off a packet of eight or nine cards, the performer claims these as “his own.” He

displays the faces of the cards to both spectators, who both DENY that their card is present

in the packet. The packet of cards is now “quarantined” by snapping an elastic band around

it. Now secured, it is rested, in plain view, across the mouth of the wine glass.

The spectator to the performer’s right is asked to pick up the deck and to thumb through the

cards face DOWN. He is asked to “imagine” that he has “extraordinary powers, enabling the

ability to read the cards through their backs!” He is asked to “imagine” that he has located

his thought-of card via this mysterious power and is requested to “play along”—placing the

“imaginary card” upon the table.

The spectator is now requested to remove the “real card” from the deck he holds. He is asked

to place this on the table, beside the “imaginary card,” for comparison. Of course, he will

not find his “thought-of” card in the deck, and you have the first mysterious moment.

“Sometimes reality IS stranger than fiction,” the entertainer quips! He then pantomimes

picking up the “imaginary card” and tossing it towards the “quarantined packet.”

The second spectator is now handed the deck. He is asked to simply imagine handing you

his “thought-of card.” The performer holds out his palm up hand to receive it. Glimpsing its

imaginary face, the performer now REVEALS the card by divining its color/suit and then

value. After receiving his applause, he again pantomimes throwing this second “thought-

of” card towards the “quarantined packet.” The spectator, in the meantime, searches

through the deck and FAILS to find his thought of card!

To finish, attention is drawn to the isolated—“quarantined packet”—sitting atop the wine

glass. The two assisting spectators are requested to pick up the packet, pop off the rubber

band, and to remove their “thought-of cards.” This they do, as both cards have mysteriously

appeared within the untouched packet.

Preparation:

Remove the following cards from the deck:

A traditional CrossRoads Set, in the key of “C” (2C, 3H, 4S, 5D, 6C, 7H, 8S, 9D).

The first four cards in a CrossRoads Set, in the key of “H” (2H, 3S, 4D, 5C).

Place the BLACK cards from your traditional CrossRoads Set face down atop the deck. On

top of these, drop the four cards from the set in “C,” again, face down. Finally, drop the

remaining four RED Crossroads cards on top of all. Case the deck. You’ll also need a rubber

band, and for a formal presentation, a wine glass.

66

Page 67: Ben Harris - Run Silent Run Deep

Method:

1. Induce both spectators to “think of a card” using the Silent Running procedure and Bob

Cassidy’s two spectator, odd card/even card ploy. (See Silent Running, Page 47). This will

result in one spectator thinking of an EVEN card, and the other thinking of an ODD card.

Both will be completely convinced that they “created” these cards in their heads, and that

NO ONE could possibly know the cards, but themselves.

2. Introduce the pack of playing cards, and either: thumb through the cards having both

spectators confirm that their cards are within in the deck. Or: formally count the cards, one

at a time, face up, to the table—displaying a full deck of 52 AND having both spectators

confirm the presence of their “thought-of” cards.

The latter is preferable for “formal” presentations.

3. The deck is given a false cut, retaining its order. You now appear to flip over eight cards

and remove them, tabling the balance of the deck. In reality you will remove TWELVE cards.

Do this by firstly thumbing eight cards over into your right hand, without reversing their

order. The cards should form a fan between your hands. Flip the eight cards over, face up

onto the deck and then re-spread them into the right hand, partially shielding their faces.

Grab a pinky break below the FOURTH FACE DOWN card (twelfth card from top of deck if

you factor in the face up cards). Close the spread and lift all TWELVE CARDS from above in

the right hand.

The left hand tables the deck.

To all appearances, you simply thumbed off EIGHT OR NINE cards with an utterance,

“these will do just fine, so long as...”

4. “...so long as... your thought-of cards are NOT present!”

You now display the packet of cards to the spectator who chose the EVEN card in his head.

He’ll only see EIGHT cards, none of which are his. He will be left with an UNSAID

impression that he was shown NINE cards. (This is an important psychological subtlety

because the final target packet or “quarantined packet” will consist of NINE cards).

The display (based around the Osborn concept) is performed like this:

Turn to face the spectator who chose the EVEN card (thus shielding the faces of the cards

from everyone else) and spread off the top FOUR cards into the right hand, Take them fully

into the right hand, Photo 1.

67

Page 68: Ben Harris - Run Silent Run Deep

68

1

2

3

Page 69: Ben Harris - Run Silent Run Deep

Notice how there is the subliminal suggestion of FIVE CARDS at this point. (These four cards

are the “H” Set). Ask the spectator if he sees his “thought-of” card. When he answers “No,”

flip the four card fan (in the right hand) face down. Place it beneath the cards in the left

hand, Photo 2. Then square up.

Now, spread over the remaining four cards, again taking them into a fan in the right hand.

These will be the four ODD CARDS from the CrossRoads Set. Photo 3. (The backs showing in

the left hand will be assumed to be the rear end of the packet you flipped over a moment

ago). Again, ask the spectator if he sees his card. When he says “No,” flip the right hand

packet face down, as before, and place it beneath the packet in the left hand. Grab a pinky

break ABOVE the packet as you square up.

It appears as if you have shown the first spectator every card in the packet. Do not call

attention to the number of cards. The display is designed to “sell” the number as NINE, even

though you are displaying eight (and actually holding twelve).

5. Turn to face the second spectator, and as everyone looks his way, pretend to flip the packet

of cards face up in your hands, but only flip the cards ABOVE the break.

6. Thumb the first four cards of the packet into the right hand. This will be the set of four

cards from the “H” Set. Ask the spectator if he sees his “thought-of” card. As he is answering,

upjog the third card from the top of this spread. Photo 4. Once he’s answered “No,” flip the

four cards face down, end for end (bringing the jogged card to the inner end) and place it

beneath the left hand packet. Secure a pinky break ABOVE the jogged card (third card from

bottom). Immediately spread across the next four face up cards and ask the question: “Is

your card here?” Upon receiving a negative reply (he is looking at the four EVEN cards from

the Crossroads Set), flip the four card packet, face down, leaving it ON TOP of the packet.

This leaves you holding a twelve card packet, all cards face down, and a pinky break ABOVE

the third card from the BOTTOM.

7. Pick up the rubber band and apparently encircle the entire packet with it. In reality, work

the band between the packets at the pinky break point, so as to leave the three cards below

the break free. Photo 5. The fake encircling of the deck looks perfectly natural and is easily

carried out.

8. Now, toss the packet onto the top of the tabled deck, Photo 6, as you say:

“These cards are now quarantined, I shall not touch them again...”

The three cards below the banded packet will have coalesced with the top of the deck,

leaving you squeaky clean. The banded packet now consists of NINE cards, those being an

entire CrossRoads Set and one card from the now expunged “H” Set. This single “foreign”

card faces the packet allowing it to be shown all round. If this precaution is not taken, then

69

Page 70: Ben Harris - Run Silent Run Deep

70

4

5

6

Page 71: Ben Harris - Run Silent Run Deep

one runs the risk of prematurely exposing a “thought-of” card on the face of the packet.

You may decide that you don’t like unloading the unwanted cards so boldly, however, I

would argue strongly for it. Why run when you are not being chased? The belief that a

spectator would suspect you of “unloading” cards is just not something that should be

entertained. Why would anyone think this? But, as alternatives, you could simply “lap”

them, use a Gambler’s Cop, or maybe the “breast pocket dodge.”

While much attention has been paid to explaining the detail in the above display processes,

the actual physical handling is to the point, achieving exactly what is needed, with the

minimum of fuss. The whole thing, from spreading off the original cards —to finalizing the

display, and banding the packet—is delivered, like this...

“I’ll use this small packet of cards, assuming, your cards are not present. Do you see

your card here, or here. No? We’re doing well...”

“What about you? Do you see your card here? No? Ok, I declare this packet of cards

quarantined, and will not touch it again...”

The physical handling is now complete, and the rest is, as they say, “presentation.” Once you

have made the two “thought-of” cards vanish (as per the “effect”), ask the spectators to

examine the “quarantined packet” for a little surprise!

Notes:

For the photographs, I’ve left the cards in CrossRoads order. You may want to mix them up a

little for actual performance.

71

Page 72: Ben Harris - Run Silent Run Deep

SMALL PACKET CONCEPTS

Ben Harris

A couple of ideas that further explore (albeit, fleetingly) the integration of the CrossRoads

Set with small packet configurations:

Consider that a spectator has, via the Silent Running procedure, created the image of a

playing card in his head. No one can know the card he is thinking of and he acknowledges

that fact.

You hand him a deck and ask that he remove four cards, ONE of which is to be his “thought-

of” card. The idea is that he is to camouflage the identity of his “thought-of” card by

surrounding it with decoy cards.

“You may decide, if you wish, to disguise your card with it’s three mates. I often end

up with a four of a kind. But you decide...”

He hands you four face down cards.

Where do we go from here? This is the most basic, stripped-down packet configuration we

could possibly have. What mysteries can we extract?

Hushed Lies:

The first thing you CAN do, when handed the packet of four cards, is glimpse the faces and

mentally identify the chosen card. There is no need to hurry this. It really cannot matter if

you see the faces. How could you know which card is which? Very simply—due to the Silent

Running procedure, it is the ONE card in the packet that belongs to the CrossRoads Set.

(Believe me: It is very unlikely that you will encounter two CrossRoads cards in your packet

of four. If you do, you can discern the correct one with a question regarding color or

odds/evens. Alternately, you can skip straight to Vanishing Thought where you don’t need to

know which card is which!)

Displaying the fanned packet to your audience, it is explained that the assisting spectator

and the audience will be looking at the four cards with entirely different expectations. For

example, to the audience, all the four cards are equal—none carry any greater emotional

72

Page 73: Ben Harris - Run Silent Run Deep

value than any other. However, on the other hand, the assisting spectator has a very special

secret. ONE of the cards is his personally “thought-of” card—and he’s trying to HIDE it from

you with three decoys. Can he keep a straight face? Can he maintain the charade? Will he tip

his hand, so to speak? Thus is the premise for this little effect.

The packet of four cards is mixed face down, by the spectator, so that even he does not know

which of the four cards is his. The performer offers a test, a physical one, involving the

counting of the cards. He stresses that the actions...

“...while...beguilingly simple, will reveal your “thought-of” card for all to see.”

The spectator is requested to stop mixing his cards, and to then deal the top card to the

table, and the next card to the BOTTOM of the packet, and so on. This “deal and duck”

process will leave three cards on the table and one in his hand. When he turns this card over,

it is his “though-of” card. The result seems so impossible, because of two things:

Firstly, how the heck could anyone know which of the four cards he was thinking of? And,

secondly, he seemingly had complete control of the packet of cards, even shuffling them.

Method:

The method is very simple, but gets the job done. The deception is in the layers:

1. Upon taking the packet of four cards from the spectator, fan and display them to the

audience. Pay no particular attention to the faces. However, do note the “thought-of” card

(it’s the only CrossRoads Card in the packet) and put in a nail nick at one SHORT edge.

2. Hand the packet back to the spectator and have him mix them. Explain the premise of the

effect as he does so. When you see the nail nicked card atop the packet, have him stop

mixing the cards. The fact that you are currently explaining what is to happen, gives you the

verbal control to dictate the situation in this manner.

3. Have him deal the cards onto the table, using the traditional “deal and duck” protocol

(starting with a “duck”): The first card goes onto the bottom of the packet, the second card

goes onto the table, the third card goes onto the bottom of the packet, etc. So long as you

have started with the nail nicked card on top of the packet, he will be left with this same

card, (the “thought-of” card), at the climax of the effect.

4. Have this final card turned over to reveal the hit!

73

Page 74: Ben Harris - Run Silent Run Deep

A Sometimes Follow-up:

This is a bit “touch and go”—not something that you’d always perform. It’s a quick follow-

up to the above effect...

“you see, it didn’t really matter how you dealt the cards, the result was destined...”

Demonstrating the point, the performer asks the spectator to drop his card back, face down,

onto the packet. The performer picks up the four cards and reverses their order, and places

the packet back on the table. The spectator is invited to turn over the NEW top card. He does

so, and again, it’s his “thought-of” card.

Method:

This simply puts the Elmsley Count to one of its more subtle uses: ie, retaining the top card

on top. Just give the packet a business-like Elmsley Count, apparently reversing their order

of the packet. Do not perform a “display” count. This is strictly business. It must look exactly

like you reversed the order of the four cards, nothing more.

At the right moment, this plays very well. At the wrong moment, it’s a “huh, that was clever”

moment. Judge carefully.

Notes:

The use of the general “one CR Card in a packet of four” principle ties in nicely with

pendulum work. You can implant the thought that the pendulum will “circle” when held

over decoy cards, but will “swing” when held over the secret card. If you implant these

thoughts with conviction, and excitement, the spectator’s ideo-motor response will take

care of the rest.

74

Page 75: Ben Harris - Run Silent Run Deep

Vanishing Thought

Ben Harris

The previous effect put a “duck and deal” count and an Elmsley Count together in the form

of a “Lie Detector” concept of sorts. We’ll now take a different route and put the Elsmley

Count to a more traditional use. Instead of magically influencing the spectator to reveal his

“thought-of” card—HIMSELF (as in the previous effect), this time it will vanish and re-

appear in a pocket.

Assuming the spectator has created a playing card in his head, as per Silent Running, he is

asked to remove four cards from a deck (one being his “thought-of” card), as already

explained. He then mixes the cards and hands the squared packet to you.

You flip the packet face up and ask the spectator to watch closely. With a snap of the fingers,

the magic is done. You now count through the cards, and his “thought-of” card has

VANISHED!

The spectator yelps...

“Where the f#@% did it go?”

You reply...

“It’s right here, in my pocket...”

The words are accompanied by physically removing the card (with an empty hand) from

your pocket (or wallet)!

Method:

There are two ways to approach this. You can, just go with the flow, or you may grasp the bull

by the horns and control this to the nth degree. The former is fun, but the latter means

you’re less likely to be caught out “abusing” the Elmsley Count.

When the spectator removes the four cards from the deck, have him mix them and then

ensure that the face card is NOT his card. You don’t want to see it. Be clear about that.

75

Page 76: Ben Harris - Run Silent Run Deep

When you take the packet, turn it face up, being sure to keep the cards square. The

spectator’s “thought-of” card is either the bottom card, second from the bottom, or third

from the bottom of the face-up packet. An Elmsley Count will then affect matters like this:

(A) If it’s second from the bottom, ONE Elmsley Count will make it vanish.

(B) If it’s third from the bottom (immediately under the face card) then it will require TWO

Elmsley Counts to make it vanish.

(C) If it is on the bottom of the packet, THREE counts will be required.

You can, as suggested, just “wing it” by saying, “watch your card,” and then executing the

first count. If you get a strong reaction, like “What the...” then you know you’ve been

successful. If there’s NO reaction, you comment, “Did you see your thought-of card?” When

they say “Yes!” snap your fingers to apply the magic and repeat the count. You’ll know if

you’ve been successful this time. If not, ONE more count does it.

Of course, the only problem with blindly running through the above process, is that you are

drawing attention to the COUNT way too many times. An Elmsley Count displays one card

TWICE during its performance. If the count is repeated, with full attention drawn to it, this

does become a concern. So, ideally, you want to CONTROL the process so you can casually

breeze through ONE or TWO counts without undue attention being drawn to the cards. You

save the full attention for the primary count.

To take care of these details, proceed like this:

1. Take the packet from the spectator, asking him to confirm that his card is in the packet.

Once he does this, say “watch” and then snap your fingers. Execute an Elmsley Count in

such a way that your assisting spectator is the only one seeing the faces. A not so difficult

prospect, considering HE is the only one who knows what card is important. As the count is

executed, note the cards that appear on the count of “two and three.” One of them will be

the chosen card, a member of the CrossRoads Set. Card number TWO is the next in line to

vanish.

2. Assuming the card did not vanish during the FIRST count, and you have “sighted” the

selected card as card number TWO in the initial counting process, then you simply say,

“Watch it, this time...” and perform another Elmsley Count, again JUST for the spectator

(ok, a little spill-over is allowed). His reaction will sell the vanish to the rest of the crowd.

3. Assuming, on the other hand, that the “sighted” selection appeared at number THREE

during the FIRST count, then simply turn the packet face down and say, “Let’s just give them

a lttle mix...”

76

Page 77: Ben Harris - Run Silent Run Deep

Do this by quickly transferring FIVE cards from the top of the packet—to the bottom—one

card at a time. Do it casually. Ths sets the card in position for the vanish with one further

Elmsley Count.

4. Turn the packet face up, snap your fingers and perform the count for the spectator. His

card will have vanished, and his reactions will sell it to the audience.

You now reproduce the card from your pocket. Firstly, it’s nice to add:

“Seriously it’s GONE, not just in disguise, but GONE!”

You display just THREE cards at your fingertips, hiding the chosen card (which is ALWAYS

the top card after the “Elmsley”), as follows:

1. Hold the four card packet, faces to the audience in the right hand. The right thumb pushes

the top THREE cards to the left, as if ONE card. Photo 1 (performer’s view).

2. The left fingers approach, take the pushed off packet, execute a two card push off (of the

top two cards, pushing them to the right). Photo 2 (performer’s view).

3. The single card in the right hand is brought to the rear of the packet. Photo 3 (performer’s

view).

4. The SQUARED pair of cards below the left thumb is now taken in front of the right hand’s

card (the right fingers pinning it in place). Photo 4 (performer’s view).

5. The right hand, having taken the pair, MOMENTARILY moves to the right with all three

cards. Photo 5 (performer’s view).

6. The right hand now moves back to the left, returning its cards. Photo 6 (performer’s view).

7. The packet is now squared, and you produce the “thought-of” and now “vanished” card,

from your pocket.

The above “push-off” technique does take practice, but once acquired is a solid skill.

Producing the “Thought-of Card” from your pocket:

This is as easy as sorting the cards from a CrossRoads Set into your pockets so you KNOW

where each card is, without thinking. I displace them across four pockets as pairs:

Left Jacket Pocket: 2C, 3H

77

Page 78: Ben Harris - Run Silent Run Deep

78

1

2

3

Page 79: Ben Harris - Run Silent Run Deep

79

4

5

6

Page 80: Ben Harris - Run Silent Run Deep

Left Trouser Pocket: 4S, 5D

Right trouser Pocket: 6C, 7H

Right Jacket Pocket: 8S, 9D

So, for me to remember where any card is, is as simple as realizing that the CrossRoads Set

runs through my body, at pocket level, from left to right. As a rule, the lower valued card (of

each pair) is on the outer side of the pocket, the higher value on the inner side. It’s an easy

matter to dip the hand in and produce the correct card.

Another option is the use of a wallet as the final destination. I’d highly recommend a

Showdown Wallet from Outlaw Effects. It’s almost as if this wallet was “made” for

CrossRoads/Silent Running with it’s lovely eight-pocket index. Of course, many other

wallets will also do the job.

80

photo of card being removed from SHOWDOWN Wallet

Page 81: Ben Harris - Run Silent Run Deep

THE DECK AT THE OTHER END

Ben Harris

The title sounds like something from Douglas Adam’s dream of a far flung space at “the

end...” But it’s obviously not that! In fact, it’s the OPPOSITE of a CrossRoads Deck. Still quite

a bizarre proposition—babble fish and all, duly noted.

As you will know, having read either CrossRoads or Silent Running, the CR Deck is one that

allows the deck to be MISSING any one card of the CrossRoads Set. The spectator will always

count to FIFTY-ONE cards, and her “thought-of” card (one of the eight cards in the CR Set)

will ALWAYS be absent.

The Deck At The Other End (DATOE) does, as already mentioned, the opposite. It will always

contain ONE EXTRA card, and the deck will always count FIFTY-THREE cards. The extra

card will ALWAYS be her “thought-of” card (one of the eight cards in the CR Set). This card

may also have a different back design, if desired. It is desired.

What can one do with such a deck? What use is a deck that shows “one extra card”—even

though it’s a “thought-of” card? Well, that’s one of the reasons it appears here. Just like the

packet explorations during the previous effects, this is all designed to push YOU on to

creating your own ideas and routines. CrossRoads and Silent Running are young—they

have much in them worthy of exploration. That being said, I’ll will pass along, in full detail,

a complete routine using the deck. Firstly, let’s get one up and running...

Making a DATOE:

We’ll make a RED backed deck. This will always show as such, and the “stranger” card that

appears will have a BLUE back.

1. You’ll require a full RED deck and the eight CrossRoads Cards, in the key of “C,” from the

BLUE deck. These are the 2C, 3H, 4S, 5D, 6C, 7H, 8S, 9D. Mix the packet of eight so the cards are

in no particular order. Then place them on the bottom of the RED deck.

2. Remove ANY non-CrossRoads Card from the RED deck and place it on the face of the deck,

hiding your stack.

3. Remove the AC, AD, 10H, 10S, JD, QC, and KD from the RED deck, discarding these cards.

81

Page 82: Ben Harris - Run Silent Run Deep

You have now created a 53 card deck (52 + 8 - 7 = 53), that will always show an additional

“thought-of” card with an opposing back color.

Note: You may think it wiser to remove 7 suited cards, rather than delete the two Tens and

two Aces. Believe me, this has been thought about, field-tested, and mulled over for almost a

year. To remove seven suit cards is to make the deck “spot heavy.” Trust me. Seven is over

HALF the deck’s suited cards. Too many. Something just does not sit right with such absence

of color. The deletion of either ALL the tens, or ALL the Aces seemed too severe—someone

may notice. Careful experimentation though, has led to the final solution—deleting TWO

tens and TWO Aces—plus, of course—ONLY THREE suited cards.

Handling:

The physical handling is simple. The deck may be handled to appear as a RED deck, flashing

many backs. If you are careful, you can even perform a Ribbon Spread, without flashing the

Blue backed cards on the deck’s bottom.

To show the “arrival” of a “thought-of” card, Ribbon Spread the deck widely so that EVERY

card is visible. Have your spectator look over the spread, starting from the end OPPOSITE

your stack. Ask her to lower a finger onto her card when she sees it. She will do so. Have her

slide the card free from the spread. this will be the regular RED backed version of her card.

Invite her to continue looking for ANOTHER (insert name of her card). Could it be the

illusive fifty-third card? Wham bam—yes it is. She’ll find it up at the far end of the spread.

Again, have her place a finger on it, sliding the card from the spread. Place it beside the first

card.

If wanting to imply that this extra card is a physical entity from ANOTHER deck, then you

show the differing back color. This would make a lot of sense as the finale of a

“Transposition.”

(See also, Steve Shufton’s: Hands-Off: Silent But Deadly for another way of

skinning this cat).

, Page 31,

82

Page 83: Ben Harris - Run Silent Run Deep

EASY TRANSPOSITION

Ben Harris

With a CrossRoads deck at the front end, and a DATOE at the back end, you have a clean and

super easy transposition of a “thought-of” card. There is nothing for you to do but present

it. So on with the show...

Assuming the D TOE is the RED backed deck (just explained then acquire a BLUE

backed CrossRoads deck as well. Make sure both are in their cases.

1. Invite a spectator to assist. Have her create a playing card in her head—one that no one

can know. Using the Silent Running procedure, she will now be thinking of one of the

CrossRoads Set of eight cards.

2. Display the two decks and table them. You will now need to execute a simple piece of

“equivoque”. Ask the spectator to pick up one deck. If she picks up the RED deck, extend

your hand and have her pass it to you. Say, “thank you”. If she picks up the BLUE deck,

comment, “you hold onto that....” Either way, the spectator ends up holding the CrossRoads

deck.

3. Retreat to the opposite side of the table (or a separate table if “staging” this) with your

DATOE.

4. Both you and the spectator simultaneously remove your decks from their cases and

display the cards, front and back. She will be displaying BLUE backs, you will be displaying

RED backs (carefully concealing your 8 card block). After the display, you return your deck

to its case, and leave it sitting prominently on the table.

5. The spectator DOES NOT re-case her cards. Instead, she cradles the loose cards in her

hands. She is asked to “imagine” reaching into the deck and pulling her “thought-of” card

slowly away from the rest of the cards. You chide her gently as she only pulls the card out

halfway, teasing you. Once she has taken the “imaginary card” completely from the deck,

she is asked to pantomime—throwing it gently towards the RED backed deck. You explain...

“If, for a moment, we transposed this imaginary event to the present, we would... I

assume find some evidence of its occurrence. For instance, if you really tossed ONE

card from your deck to mine, then you would expect to be holding just fifty-one

A , Page 81),

83

Page 84: Ben Harris - Run Silent Run Deep

cards? And me... ah, my deck, to consist of fifty-three? Would you not agree?”

6. Once agreement is established, you prove the point by removing your deck and counting

the cards SIMULTANEOUSLY with the spectator who counts her deck in unison. You count

your cards, out loud—FACE UP. “I want to see what’s going on...” you explain. Have the

spectator count her cards in unison, matching you a card at a time—FACE DOWN. “I want

you to retain an element of surprise...” is your rationale. Of course, she runs out of cards at

fifty-one, and you have a total of fifty-three!

Whether on stage, or at two ends of a table, this has great theatrical play!

6. Once you’ve finished with the count, spread your deck—w i d e l y—face up across your

end of the table.

“How can this be so?” You inquire. “Your card exists only in your mind!”

Pause here and listen for the proverbial penny to drop. Allow the audience to anticipate the

next step. Allow them some treasured NFW-space.

6. Invite the spectator to run through her deck, looking for her card. Watch her amazement

as she FAILS to find it. She could actually go pale!

7. Now direct her to your deck, and have the two cards removed, in succession (

.

8. Accept your well earned applause.

The effect has many layers—from the Silent Running process, through the CrossRoads Deck

and then to the DATOE—that make it all possible. Conveniently, they “shade” each other

along the way. It’s kinda freaky that you don’t even need to know the name of the “thought-

of” card at any point. Support this with a solid presentation and you’ll have a winner on

your hands.

as explained

on Page82)

84

Page 85: Ben Harris - Run Silent Run Deep

HEADWAY

Ben Harris

While we are on the outskirts, exploring the fine bits of the machine, I would be remiss if I

did not mention this rather powerful use of DATOE.

By viewing the Deck At The Other End through rose-tinted “Silent Running/CrossRoads

eyes,” we see a full deck of cards—each and every card with a handy duplicate at call.

Think about it...

You really only have eight duplicates. However, the Silent Running procedure leaves the

impression that “any card” could have been created in the spectator’s mind. This being the

case, any possible use of duplicates is psychologically ruled out—it would imply a fat, 104

card deck!

What power to have—because we DO HAVE a duplicate of THEIR “thought-of” card—just

when logic dictates we can’t!

Put this to use with Ambitious card routines, Torn and Restored effects, Card To Wallet

applications, and so on.

Let’s try simulating The Berglas Effect, for instance...

85

Page 86: Ben Harris - Run Silent Run Deep

RAPID EYE MOVEMENT

Ben Harris

I thought “Berglas Effect” would grab your attention. Considered by many as the Holy Grail

of card/mentalism effects, it has a certain magnetism. A sub-genre, within the field, known

as ACAAN, has grown up around this effect—and its mythical status. David Berglas’

masterpiece, in his hands, or those of Marc Paul, is a thing of direct, mind-numbing

beauty—truly worthy of it’s cult status.

The following handling does not claim to be a solution, or an advance on any existing

methods for ACAAN. It is simply offered as a practical way of “skinning the cat” and

delivering the illusion of ACAAN on demand. It uses a DATOE, combined with the HeadWay

approach.

DATOE Preparation:

In the explanation of the Deck At The Other End (Page 81), you are taught how to make it

with the duplicate set of CrossRoads Cards having different colored backs. For the

applicat on at hand, you’ll need to use backs the SAME color as the balance of the deck.

Place both sets of CrossRoads Cards in front of you. “Pencil dot” the upper left and lower

right corners, of the backs of ONE SET of cards. These dots should be light enough to go

unnoticed, but easy enough for you to see when spreading the deck from hand to hand.

You will now “cascade” the pairs (marked/unmarked) throughout the deck with four

indifferent cards (X cards) between each. Here’s the order from top card of the deck to

bottom (the * beside a card indicates a pencil dot):

X, X, X, 2C*, X, X, X, X, 2C, 3H*, X, X, X, X, 3H, 4S*, X, X, X, X, 4S, 5D*, X, X, X, X, 5D, 6C*, X, X, X,

X, 6C, 7H*, X, X, X, X, 7H, 8S*, X, X, X, X, 8S, 9D*, X, X, X, X, 9D, X, X.

Yes, it IS a fifty-three card deck, remember? If this makes you uncomfortable, feel free to

ditch one of the tens.

With the deck in case, you are ready to perform this anywhere.

i

86

Page 87: Ben Harris - Run Silent Run Deep

Performance:

1. Enlisting a spectator to assist you, ask her if she is a “dreamer” and if she has a strong

imagination. Using the Silent Running procedure, have her “dream up” a card in her mind.

“One of the differences between reality states and dream states is that the DREAM is

within the mind only. It rarely reaches across into reality. Your DREAM CARD, for

example, only exists in your head, yes?”

The spectator will answer,

“Yes!”

2. Introduce the cased deck, remove the cards and casually display them. Say,

“In order for the people in the paying seats to receive value, we’re going to need to

reveal our dream, or it will be a tad meaningless... So, I’ll spread through the deck,

...would you remove your “dreamed-of” card when you see it? Please place it FACE

DOWN on the table WITHOUT showing anyone at this point.”

As the above is carried out, you will ascertain the identity of the “dreamed-of” card, AND cut

its partner to the top of the deck. This is done by spreading the deck between your hands, left

to right, with the cards held face to the spectator. As the cards are pushed across in singles,

and groups of two, simply COUNT the pencil dots in your head, as they pass. Photo 1.

87

1

Page 88: Ben Harris - Run Silent Run Deep

When the spectator removes her card (it will be a pencil dotted one) you will KNOW

immediately which card of the CrossRoads Set has been selected. As the spectator places her

card face down on the table (remember, she is NOT to show it to anyone at this stage),

secretly push across an additional FOUR cards with your left thumb. Secure a pinky break

at this point, and close the deck into a squared state. Now, CUT the deck to the table—cutting

at the break. The duplicate of the selected card is on top of the deck.

3. With the deck on the table, and the spectator’s “dreamed-of” card face down to one side,

you say:

“Now that YOUR dream is about to be revealed to all and sundry, let me reveal to you

the dream I HAD last night. It was, in fact, of this particular moment. You (directed at

the first spectator), appeared in my dream and selected one particular card, just as

you have done now...

“And, you sir (directed at another nearby spectator), ALSO appeared in my dream...

You nominated a number, a number between one and fifty-two. Would you care to

play along and name a number right now? Anything between one and fifty-two...”

Let’s say, for example, the spectator says, “Seventeen”.

Continuing, you say:

“In my dream you dealt off the corresponding number of cards, like this...”

Here, you deal seventeen cards (as per this example) off the top of the deck, one at a time to

the table, making a small pile. You then draw attention to the NEXT card and say:

“This NEXT card, right here (pointing to top card of the DECK), this NEXT card is the

one in my dream that matched YOUR card (pointing to the first spectator). It was

amazing. But, it was a dream.”

The above actions (counting off the freely chosen number of cards (in this example,

seventeen) has placed the duplicate at the bottom of the counted pile.

6. Re-assemble the deck by dropping the counted pile onto the balance still held in the left

hand. The duplicate will now be at the seventeenth position from the top of the assembled

deck. You are so far ahead of your audience—the still-not-revealed chosen card is on the

table, to one side. Yet, you are now set for the reveal.

7. Still, temporarily holding the deck, announce:

“I will turn my head to one side, and when I do so will you (directed at the spectator

88

Page 89: Ben Harris - Run Silent Run Deep

who “dreamed-of” the chosen card), please display your card so that everyone may

see it. Please, no one speak the name of the card out loud. Place the card back on the

table, FACE DOWN, when you are done. Have you finished? Thank you...”

While you are temporarily turned away, take a second to SECRETLY turn the top card of the

deck face up. Keep your elbows pressed against your sides to quell any tell-tale motion.

When you turn back around, (once the chosen card has been displayed and turned face

down), be sure to hold your hand in such a way (”wrist turn”), so as to conceal this reversed

card from view.

8. Now that you have turned back around, and the identity of the spectator’s “dreamed-of”

card has been shared with the audience, you continue.

Facing the audience squarely, and with your best poker face, announce...

“In my dream, last night, the card you (pointing towards spectator) chose, was the

(insert name of correct card).”

At this point, some members of the audience will give the game away by signaling that

you’ve successfully identified the “dreamed-of” card. You play this up, acting shocked, and

addressing the assisting spectator with...

“Of all the cards you could have dreamed up in your mind, you dreamed the (insert

name of correct card), gimme a break...?”

She, and the audience will laugh and CONFIRM the coincidence/magic moment.

9. Continuing to act genuinely surprised, you pick up the selected card to confirm matters

for yourself. Do this by lowering your “wrist-turned” hand, with deck, over the selected card

on the table. Grab it with the fingers and thumb, and then turn the hand over to display the

selection on top of the deck. Photos 2, 3 and 4 show the action. Keep the deck square as there

is now a face up card directly below the selected card.

10. IMMEDIATELY execute a “double turnover,” turning the top two cards face down, as if

they were one. IMMEDIATELY table the deck. Continue to act flabbergasted, enjoying the

apparent synchronicity of the moment.

“Well, this is all good and fine, but not the DREAM ending I’d hoped for... Quite a

coincidence, though...”

After a brief pause, add...

“There’s probably only one way to actually see the dream ending I’d proposed, and

89

Page 90: Ben Harris - Run Silent Run Deep

90

2

3

4

Page 91: Ben Harris - Run Silent Run Deep

that would be if we could all join together in a dream state. Sleep reseachers have

shown that when people dream, their eyes flicker back and forth. It’s called R.E.M.

Sleep. I propose we quickly flutter our eyes, take in the momentary buzz, and look at

this in a new frame of mind—a dream-like state... What do you say...”

After a brief moment of eye fluttering, you announce that,

“...Ok, apart from the slight onset of a migraine, you should now all be in a mildly

sleep-like, dreamy state. Let’s see how this all looks now...”

11. PAUSE and approach the tabled deck.

“If indeed we are in my dream, the top card of the deck WILL NOT BE the (insert name

of spectator’s card)!”

Slowly lifting the card you show this to be the case. IT IS NOT the chosen card.

Note: This is a profound moment because the audience now mentally fills in the blanks, and

that damned penny drops again. On occasion, you’ll hear so many pennies fall that it will

sound like cats on a hot tin roof.

12. After a suitable pause, allowing all the copper to land, hold the card aloft, firmly count

“ONE” and turn it face down, placing it on the table. Now count “TWO”—taking the next

card from the top of the tabled deck (without flashing its face) and dealing it onto the first

card. Continue...”Three, Four, Five, etc until you reach the second spectator’s chosen

number. In this example it was “seventeen.”

13. Point up the NEXT card on top of the deck, just as you had emphasized when you

originally described your dream to the spectators. “Remember, I said, in my dream, it was

the NEXT card...” Have the spectator turn over this “next” card to reveal the chosen card at

the correct position.

Notes:

As mentioned in the introduction, this is not presented as a method for The Berglas Effect. It

is simply a way of simulating the basic outline, in a staged manner. You can further enhance

the effect, for serious performances, by allowing the second spectator to do ALL of the card

counting. Try to keep the deck on the table as much as possible. You want to create a “hands-

off” memory of the event.

91

Page 92: Ben Harris - Run Silent Run Deep

NEURO-PATHWAY

Ben Harris

The application of “Direct Mind Reading,” from the original Silent Running book, created

more discussion than any other of the effects or ideas presented therein. A quibble some

had, was with the spectator “handing you the suit”—as a confirmation of you having

divined the correct color. The following procedure eliminates that phase, replacing it with

a technique that gives you the EXACT SUIT without needing to request it.

Assuming a card has been created in the spectator’s head via the Silent Running Procedure.

The spectator has confirmed that no one else can possibly know which card she is thinking

of. In this example, we’ll assume she has “thought-of” the SIX OF CLUBS. You will now begin

your “mind reading” phase.

1. Begin, as in the original, by establishing if the card is an ODD or EVEN card. Do this with

the ambiguous question...

“I’m not getting an ODD valued card, am I?”

The spectator will answer either “Yes” or “No.”

If she replies “Yes,” reply with,

“ I thought so, you seem to be a well balanced person.”

If she says “No,” reply with,

“I didn’t think so, you seem like a well rounded person.”

Either way, you now KNOW if it’s an ODD or EVEN card, and the spectator has been

complimented along the way. In our example, she will have said “No,” which means it’s an

EVEN card. This, tells you that it’s a BLACK SUIT (all EVEN cards in the Crossroads Set are

BLACK).

Continue...

“As regards the suits, I’m a little foggy. The Neuro-Pathway is tight. I’m seeing, and

92

Page 93: Ben Harris - Run Silent Run Deep

don’t tell me which is correct, but I’m seeing either a SPADE or HEART, they are both

pretty much the same shape, depending on if they’re right way up or not. It’s blurry.

Are you thinking of EITHER a SPADE or a HEART?”

In this instance, the spectator will answer “No”. This tells you that she has chosen either a

CLUB or DIAMOND, and as you aready know it’s a BLACK card, you now know it’s the CLUB.

In addition, you will now also know that the chosen card is ONE OF TWO POSSIBLE TARGET

cards. In the case of CLUBS, it’s either the TWO or the SIX.

This wonderful rule applies across the entire CrossRoads Set. Once you know if it’s either

odd or even, then you KNOW the color of the suit. The answer to the question, “Is it either a

Spade or a Heart” tells you exactly WHAT suit has been selected.

You continue...

“It is so blurry, I can’t even pin down the suit. This may end up taking a little time. Tell me,

are there just a couple of pips on your card, or are there... are there... more than a handful?”

The answer to this question will now give you the NUMBER you require. More than a

handful, then it would be the SIX, less than a handful, it’s the TWO. Again, the same rule

applies across the entire CrossRoads Set.

Now, we apply a little ploy to convince the audience that you know nothing much at all

about the “thought-of” card.

Here’s how...

”Wow, I’m really having trouble tapping into the Neural-Pathway, the link between

your mind and mine. One of us has been consuming too much caffeine!”

Continue...

“I’ve TOTALLY failed to read the suit. It’s just a blur. I can’t even pin down the color.

And as to the value of your card, all I’m seeing is a smudge of pips. We may have to try

a Neural Scream.”

A “Neural Scream,” you explain...

“...is a state of heightened thought projection enhanced with emotive content. Like a

Primal Scream, only silent. Basically, just furrow your brow, and shout at me—IN

YOUR HEAD—’my card is... you IDIOT!’ Really put some emotion into it, but be sure

not to move your lips, OK!”

93

Page 94: Ben Harris - Run Silent Run Deep

Grab a pad of paper and pen, then count the spectator in, “three, two, one...” and have her

transmit the card mentally, with a Neural Scream.

Comment:

“Ah, that’s better,” and then write down the name of the card. Tear the paper from the

pad, place it face down on the table and have the spectator name her merely

“thought-of” card.

Turn over your impression to reveal the hit.

Notes:

This method of establishing the suit, and later RE-CAPPING events, both interlace to create

a very powerful demonstration that is very difficult to back track.

94

Page 95: Ben Harris - Run Silent Run Deep

Claude Imperiale

Silent DiceSilent Faro

Page 96: Ben Harris - Run Silent Run Deep

Claude Imperiale... was born in Venezuela, his father was Italian and his mother Belgian. And, if you're not already lost, he's French. He lived in Paris until he was 30 and

then settled in London working as a database administrator for a telecom company.

He's been practicing card magic for about 35 years.

IMPERIALE

Page 97: Ben Harris - Run Silent Run Deep

SILENT DICE

Claude Imperiale

Claude has always liked the notion of using other objects to generate a number. Dice are a

good choice. However, having 11 possible numbers—you can’t roll two dice to get a

“one”—Claude has had to stretch the Crossroads Set to accommodate the broader range.

The fishing method is based on Simon Aronson's idea of addressing two spectators

simultaneously. This, of course, ties in nicely with Bob Cassidy’s suggestion—from the first

book—for using TWO spectators to simultaneously select cards via the Silent Running

process. Basically, any 'NO' answer to the asked questions, will immediately lead to the card

being secretly thought of. Here’s how it works.

Invite two spectators to assist. Address the first spectator:

“Imagine you have two invisible dice, throw them a few times to ensure they are not

loaded (grin)... and when you're happy with your throw, silently add the spot values

of BOTH dice and remember the total.”

Once done, ask “Is the number you're thinking of ODD or EVEN?” Let's say she answers

“ODD.”

Instruct the second spectator to follow the same imaginary actions with the dice but to

ensure that she only considers EVEN numbers. (Remember, you goal is to have one spectator

select an “odd” number, and the other an “even” number. So, you always instruct the second

spectator to select the OPPOSITE of that indicated by the first spectator’s reply).

Once the two numbers have been selected, both spectators SIMULTANEOUSLY match a suit

to their relevant numbers. This is done by following the Silent Running procedure.

However, due to the expanded nature of the set: 2 C , 3 H, 4 D, 5 S, 6 H, 7 D, 8 S, 9 C, 10D, J H, Q S

(there are eleven numbers, not eight, and the set does NOT conform to the usual CHaSeD

ordering), you will need to perform the count of the suits—holding your fingers aloft as in

the original Silent Running Process—in the following order:

97

Page 98: Ben Harris - Run Silent Run Deep

1 2 3 4 5 6 7 8 9 10 11 12

(N/A) C H D S H D S C D H S

Note that, as per the original Silent running process, the FIRST finger is ANY suit because it

is of no relevance. Once the spectators have matched the suits in their minds, the possible

results will be confined as follows:

(SPEC 1) ODD (SPEC 2) EVEN

1 (N/A) 2C

3H 4D

5S 6H

7D 8S

9C 10D

JH QS

You will now divine BOTH the selected cards, as follows:

Address both spectators, asking the next questions to both of them simultaneously. As long

as you get two “yesses,” you continue. As soon as you get a “no” (or two “nos”), you know the

card(s) of the spectator(s) who answered negatively. In the case of a single “no,” you

continue with the second spectator until you get a “no” (or finally get his card on the last

“yes”).

The questions (Q) presented here are simplistic in order to lay the method bare. You will

need to refine these and make them suitable for your own performance style.

Question 1

“I sense a spot card?”

If two “nos,” then you know the two selected cards: JH (odd) and QS (even).

If one “no,” then you have hit on selected card and proceed with the other “yes” spectator.

If two “yesses,” then you proceed with the next question.

Question 2

“Do I see an “A” in the suit name?”

If two “nos,” then you know the two selected cards: 9C (odd) and 2C (even).

If one “no,” then you have hit on selected card and proceed with the other “yes” spectator.

If two “yesses,” then you proceed with the next question.

98

Page 99: Ben Harris - Run Silent Run Deep

Question 3

“I am sensing a red card?”

If two “nos,” then you know the two selected cards: 5S (odd) and 8S (even).

If one “no,” then you have hit on selected card and proceed with the other “yes” spectator.

If two “yesses,” then you proceed with the next question.

Question 4

“I’m feeling a low value spot card, something ... under six?”

If two “nos,” then you know the two selected cards: 7D (odd) and 10D (even), or 3H if odd says

“yes.”

If one “no,” then you have hit on selected card and proceed with the other “yes” spectator.

If one “yes”(which will be for the EVEN spectator and will be between the 4D or 6H), you can

fish for the final suit designation.

OR..

Rather than fish again, Claude has a prepared deck with the 4D towards the top and the 6H

towards bottom. He asks the spectator to secretly thumb through the deck and to look at his

card. This is to form a better mental image to assist the performer. The identity is secretly

acquired as you note WHERE in the deck he looks.

Example Run Through: (Assuming: ODD has chosen 7D and EVEN 2C).

Address both spectators:

Q1: You get two YES

Q2: ODD says YES and EVEN says NO.

You know EVEN's card: 2C.

Address ODD only

Q3: ODD says YES

Q4: ODD says NO, you know his card: 7D

You’ll need to practice and get used to the expanded CrossRoads Set, but the effort will be

worth it. It’s sometimes nice to use actual dice, rather than imaginary dice. Either way, this

is strong.

99

Page 100: Ben Harris - Run Silent Run Deep

SILENT FARO

Claude Imperiale

Claude submitted this with a non-Crossroads set that started with an Ace. I’ve tweaked it

back into line so as not to cause any confusion. Claude created this, wanting an impromptu,

full deck mind-reading application, that did not use any special cards. You can set this up

right in front of your audience (while toying with the cards), or you can simply set the deck

before hand (by placing the key cards at the appropriate positions).

While toying with the deck, cull a CrossRoads Set: 2C, 3H, 4S, 5D, 6C, 7H, 8S, 9D, to the top of

the deck. They need to be in order, the top card of the deck becoming the 2C. Cut off about

fifteen cards and Straddle Faro them part way into the balance of the deck. Only coalesce

the cards part way and then strip out the telescoping block, placing it back on top of the

deck. (Photos 1, 2 and 3). Square up. The 2C is still the top card. Repeat the actions

performing another Straddle “Faro and strip”, again placing the telescoping section on top

of the deck and re-squaring. Finally, cut the deck at the 8S and FARO this half into the

remaining half so that the 8S becomes the SECOND card from the BOTTOM of the deck.

Your position is now:

2C (3rd from top of deck)

9D (6th from top of deck)

3H (11th from top of deck)

4S (19th from top of deck)

5D (27th from top of deck)

6C (35th from top of deck)

7H (43rd from top of deck)

8S (51st from top of deck)

Table the deck and proffer an “experiment of the mind.” Ask a spectator to assist you, and

guide her through the Silent Running procedure so that she ends up with a single “thought

of card” in her mind. Reiterate, and have her CONFIRM that no one can know the card she

has secretly constructed in her head.

100

Page 101: Ben Harris - Run Silent Run Deep

101

1

2

3

Page 102: Ben Harris - Run Silent Run Deep

You will now take the deck into your left hand and thumb a packet of eights cards (in a nice

fan) into your right hand. These you show the spectator, being careful to keep your head

turned to one side.

This fan of eight cards will consist of the following:

(First fan) X,X,2C,X,X,9D,X,X.

Ask the spectator if she can see her card. If the answer is yes, you need to ascertain which it

is. This is done by asking the spectator to remove her card from the spread and to hold it

safely against her chest. As the two target cards are well separated within the fan, it is an

easy matter to note which card she removes. Try to keep your head turned away and

distinguish the target by feel (as she removes it).

Now, as you know the “merely thought of card” that the spectator is holding to her breast,

you can reveal it in your most impressive mind-reading manner.

If the chosen card is not in the first fan of eight cards, simply continue pushing off groups of

eight, fanning them, and asking the spectator to look for her card. The subsequent fans of

cards only contain a SINGLE CrossRoads card each, and they run sequentially (from fan-to-

fan). The final group being just four cards):

(Second fan) X, X, 3H, X, X, X, X, X.

(Third fan) X, X, 4S, X, X, X, X, X.

(Fourth fan) X, X, 5D, X, X, X, X, X.

(Fifth fan) X, X, 6C, X, X, X, X, X.

(Sixth fan) X, X, 7H, X, X, X, X, X.

(Seventh fan) X, X, 8S, X.

Adding in an extra surprise:

If during your initial set up (either on the spot, or before your show) you substitute the 7H

with a Joker, then you can have the option of pulling the 7H from your pocket AFTER the

spectator has confirmed her card is not in any of the fans shown to her.

“I know” (you add), your card I put aside safely, here in my pocket. I had a hunch...”

The 7H is the preferred target for such a demonstration because a “7” is the most often

named (or thought of) number when asking a spectator to select (or think of) a number

between 1 - 10.

102

Page 103: Ben Harris - Run Silent Run Deep

Isaac Louie

Silence of the lambs

Page 104: Ben Harris - Run Silent Run Deep

Isaac Louie... is a professional magician and variety performer based inSeattle, WA, USA.

When he's not on the road, he's an amateur bullwhip maker, robot builder and loves making forts from sofa cushions with his daughter.

Page 105: Ben Harris - Run Silent Run Deep

SILENCE OF THE LAMBS

Isaac Louie

When Isaac sent this to me, I had, what I remember so fondly from childhood, “a maniacal-

cackle” moment. Seriously, I broke out in a gaffaw, and had to turn off my cell phone. This is

so clever and effective, and, conveniently forces your audience to turn off their cell phones!

Hooray.

Here’s the effect. Note how it “plays” large and bold.

Everyone in the audience with a cell phone stands, and thinks of a card. Then, they send a

text message to themselves—with the name of the “thought-of” card—so that they won't

forget it. While they have their phone in their hands, you ask them to “set to silent or

vibrate” before putting it away.

Lots of fun to be had with the above procedure. It allows you to possibly involve a LARGE

group of audience members, depending upon age and demographics.

So everyone is phone silenced, and you can get on with your show. Wow ‘em!

Later...

...you invite someone from the audience onstage to help be the "eyes of the audience." You

then take a pack of cards and spring them into the air. Gravity ensures they flip, swirl, and

float down to the ground—in a face-up/face-down mess.

You now ask everyone that had previously texted the name of a card to themselves, to stand

up, and to open the relevant text on their phones. This is to remind them of their previously

thought of card.

The spectator who is assisting you on stage is now asked to call out the names of all the cards

that landed face up. He does so. The performer requests that all those who hear their named

card to “Please sit.”

Everyone standing, SITS DOWN!

105

Page 106: Ben Harris - Run Silent Run Deep

Quite a lovely moment, I think you will agree. Here’s how the deception is built.

Firstly, the “Deck”: This pack consists of 44 double backed cards (same color) and 8 double

faced cards. The double faced cards are the same on the front as the back (for example on

the back of the two of clubs is the two of clubs). You need one double faced card for each of

the eight Silent Running force cards.

The easiest way to get the correct double faced cards is to make them yourself: split two

matching cards and glue them together.

Seven of the eight double faced cards start in the bottom 1/3 of the pack, with the last double

face card on the bottom of the pack.

To Perform:

"Who has a phone? We're going to do a trick with your phone, if you have a phone

stand up and make sure it's turned on..."

Do the Silent Running procedure for the ENTIRE GROUP of standing spectators.

“Now I want you to send a text message to yourself. Text the name of the card to

yourself. So if you are thinking of the 10 of hearts, to abbreviate, just text the number

10 and the first letter of the suit, so you'd send 10H. Do it now, and once you've done

that, set your phone on ‘silent’ so it doesn't ring during the show. Once you've texted

yourself, and your phone is on ‘silent or vibrate,’ please sit down.”

photo of tossed deck

106

Page 107: Ben Harris - Run Silent Run Deep

If in an MC role, introduce the next act, or if part of your own act, perform your next effect or

routine. Later, reintroduce the mass-card-selection previously undertaken.

"I'm going to try to find the cards that everyone thought of and texted themselves. If

you thought of a card and texted it to yourself, please take out your phone and find

the text to remind you of the card you thought of. Once you've reminded yourself of

the card, please stand up. Also, I need someone to help me out on stage. Someone

that didn't text themself ..."

Bring someone from the audience onstage, to assist you.

"I'll find everyone's card in an unusual way, I'll throw this pack in the air and let the

cards flip and flop around in the air and we'll use whatever cards land face up."

Stand back, and then dramatically spring the cards high into the air. Once they land, use

your foot to spread them around a little, and to make sure that all the face up cards are

visible.

Ask your assisting spectator to:

"Please slowly say the name of all the cards that are face up.”

You then add:

"If you heard the name of your card please sit down."

Once everyone standing sits down, finish with...

"Please give everyone who helped a round of applause!"

Some extra thoughts from Isaac:

“I'm not worried about someone lying about the card that they picked to something that

wasn't called out. If someone is still standing, ask to see the text they sent themself. That

should take care of that problem. If for some reason they didn't correctly follow directions

and are thinking of the wrong card, you can use the Invisible Deck as an out to get his card.

Obviously, you need at least 8 people with a cell-phone to text themselves, so this won't work

in a close up situation for 4 people.

The idea of tossing the pack of cards into the air and having one end up face up is based on

Dai Vernon’s experience of throwing a pack of cards off the side of a cruise ship and having a

selected card end up being the only face up one in the ocean.

107

Page 108: Ben Harris - Run Silent Run Deep

The idea of having everyone stand, then sit after their card was named, is from the standard

presentation, Hoy's Tossed Out Deck. By combining these two tricks, you get an excellent

stage presentation that will FILL an entire theater or play HUGE in a small comedy

club…and more importantly, it gets everyone to silence their phone!”

108

Page 109: Ben Harris - Run Silent Run Deep

Jason Messina

Waking Dreams

Page 110: Ben Harris - Run Silent Run Deep

Jason Messina... is a writer and performance artist who sometimes finds himself with a deck of cards and surrounded by people, but with no memory of how he got there. This usually turns out to be a good thing. He also tends not to believe anything, except on those days when he believes in everything. Usually, this also turns out to be a good thing. His work includes TUBE, Wi, Method Impossible I and II, Intelligent Design and Touch with Mark Calabrese.

www.surfthegasp.com

Page 111: Ben Harris - Run Silent Run Deep

WAKING DREAMS

Jason Messina

When Jason first learned the Silent Running technology, his first thoughts were to apply it

to effects without playing cards. This led to, as some called it, the offbeat experiment titled,

Silently Running Bearded Pop Stars (See Silent Running, page 54). Since then he’s devised a

slightly less bizarre presentation involving lucid dreams and how we can share them. There

is plenty of room to slip a bearded pop star into the mix and Jason will think no less of you.

Here’s the effect:

A diary is introduced to the audience. It is full of scribbled dreams. The performer explains

that he does something called lucid dreaming, a process where one realizes they're

dreaming while they're dreaming. When he wakes up in the morning, he writes down what

happened in his dream. He explains that he did this for an entire year: thus the diary.

A date is randomly generated and while across the room with his eyes closed, the performer

begins to relive the lucid dream as described on that date.

The Technology.

This utilizes the idea put forth in Silent Running, that by giving a seemingly random

selection process to an audience, you can actually force a set of objects/cards/etc. In this

case it will be a specific date.

Originally, the fingers were employed as a device for selection. Jason found this to be too

confusing to use with months, especially since he currently only has 10 fingers. To remedy

this he simply uses 12 index cards, a month written on each one. To further expand the

selection and overload the senses, Waking Dreams provides 36 possible dates to select from.

The beauty of this is that while all the dates are different, what is written on these dates is

not!

The diary needs to be prepared beforehand. This is where you pour yourself into this effect.

Consult a dream dictionary, one that describes what dreams mean, to inspire what you

write in each entry. Or you can spend a year practicing lucid dreaming. The first option is

probably quicker. Seriously, work up three interesting and themed dreams. These THREE

111

Page 112: Ben Harris - Run Silent Run Deep

dreams will repeat throughout the diary, on specific force dates. For the sake of clarity, let’s

refer to the dreams as, Dream One, Dream Two and Dream Three.

Write the description of DREAM ONE in all of the following twelve date entries:

January 1

February 2

March 3

April 4

May 5

June 6

July 7

August 8

September 9

October 10

November 11

December 12

Write the description of DREAM TWO in all of the following twelve date entries:

January 10

February 11

March 12

April 13

May 14

June 15

July 16

August17

September 18

October 19

November 20

December 21

Write the description of DREAM THREE in all of the following twelve date entries:

January 20

February 21

March 22

April 23

May 24

June 25

112

Page 113: Ben Harris - Run Silent Run Deep

July 26

August 27

September 28

October 29

November 30

December 31

You should intersperse DIFFERENT dream descriptions on as many of the other pages in the

diary as you can. Use different pens, pencils, etc. A coffee stain would not go astray. Make

this diary look used.

In addition, you will need to write each month of the year on a separate index card. You are

now ready for a walk through.

Jason begins talking about ideas and introduces the index cards with the months. He

explains that he will go through the cards, one at a time, and say a number as each card is

shown. He explains that when he comes to a month the spectator wants to select, she is also

to remember the number called out. These “two elements,” it is explained, are to be used to

create a random date. This will be the target date.

Before beginning, Jason asks the spectator to pick the number “1, 10 or 20.” Whichever one

he picks, that's the number he starts with. For example. If he picks 1, you start with the first

force set and as you flip over January, say, "1" and then February, "2," and so on, counting off

the months. If they pick “10” or “20,” that’s the second and third force set, respectively. So,

you simply count off the index cards, matching months to numbers and ensuring you start

from THEIR selected start point, either “1, 10 or 20.”

Once the date/month are decided, have a spectator open the diary at the appropriate date.

Have her read the lucid dream depicted there to herself. Then, use your creativity to reveal

the lucid dream by acting it out, talking it out or drawing it!

Jason’s extra tips:

Before the audience member reads off the correct entry, ask her to silently read off some of

the adjacent entries, to confirm that they're all different. Since there are only 11 other

entries that are alike, the diary can withstand fairly close scrutiny. This is especially so, if

you’ve been thorough in adding many additional dummy entries.

Instead of going through the dates in order, you could use a stack and false shuffle them for

a more "random" order of months. Just be careful with the 3rd force set: February won't

work past the 28th and you'll have to make sure the last month in the stack has 31 days.

113

Page 114: Ben Harris - Run Silent Run Deep

If performing for a large group, you could hand out large cards with the different months

written on them. Then as you went down the row of people, they would hold up their card

and say their respective number (the first person saying "1," and so on). This adds a visual

element and can play to a big audience.

The diary premise can be broadened. It could be your eating diary (you magically produce

whatever food they're thinking of), an exercise log (you start doing the exercises), random

scribblings (drawing duplication), etc.

This is a crazy idea, one that I haven't tested, but you could conceivably have 12 force sets,

one for each sign of the Zodiac. Using 12 months, you now have 144 force entries. The first

one would start January 1st, February 2nd, March 3rd, etc. The second one would start

January 2nd, February 3rd and so on. Depending on their Zodiac Sign, you'd have to

somehow force the starting point. But then they could think of any date, and when they go

to that entry in the diary, there would be some mention of their Zodiac sign. This might be

best suited for secretly finding one spectator's Zodiac Sign and then forcing the starting

point on a second spectator so the second spectator could wind up landing on the first

spectator's Zodiac Sign.

Though I haven't explored this idea too much because it makes my head hurt, you could

have more than one force set happening in the diary. At just a brief glance, if you always

started with January and went in order, you could have 19 different force sets. But going

even further, if you combined entries (an entry about what you ate could also mention that

you met a Taurus that day), you could have a diary that could predict LOTS of different

possibilities.

Basically, you throw the diary on the table and ask the volunteer what they'd like to think

about (food, Zodiac Signs, playing cards, exercises, baseball team, etc.) and then you force

the appropriate set of dates on them.

What I'm trying to say is that there is a way to use each and every diary entry as a possible

force, giving you a handy 365 forces in the palm of your hand.

114

Page 115: Ben Harris - Run Silent Run Deep

Ran Pink

The White RoomICAINU

Page 116: Ben Harris - Run Silent Run Deep

Ran Pink... is a music producer and mentalist living in Los Angeles.As head of Fonogenic Studios, he has collaborated, recorded, engineered, and produced various well-known artists, from Macy Gray to David Grohl, Alan Parsons, Kris Kristofferson, Don Was, Dave Koz, Band of Horses, Pete Yorn, Oren Lavie, The DayLights, Lissie, Harper Simon, Minnie Driver, Priscilla Presley for The BBC and many more…

As a mentalist he has created the Think Pink center tear as well as the Showdown wallet with Outlaw Effects and has consulted and contributed to several other effects on the market.

www.worldwidemagic.com

Page 117: Ben Harris - Run Silent Run Deep

THE WHITE ROOM

Ran Pink

Ran had contributed to the original Silent Running, but could not switch his brain off.

Continuing to allow his creative juices to flow, he developed this lovely cousin to Silent

Running. This manuscript, up until now, has been available exclusively to mentalists, and

only from Ran’s website. It is a pleasure to make it available to my readers.

Note how in the following scene this is being set up in a “classic” mentalism fashion—as an

“experiment”—with the acknowledgment of a possible failure. The idea being, to enthuse

the spectator into playing along. And to encourage him or her to carry the ball over the

finishing line themselves.

You may like to imagine this description of events unfurling in your own mind—playing

along—to see if Ran can read your mind through the printed page.

“I would like to attempt something very difficult. It may not work. This is also

probably the first time you'll have done something like this. So just go along with me,

relax and use your first instincts. A lot depends on your imagination and

concentration abilities. I promise, I'll make it fun. I've got a good feeling about this.

"First, please close your eyes so everything goes dark. Now, keep your eyes closed but

just imagine that you open your eyes and now you are somewhere else. You are in a

large, bright, empty white room and you are sitting in the middle of the room

holding a little box on your lap. The walls are breathing and pulsing as though they

are alive. Hold this image in your mind.

"It's ok to open your eyes now as long as you can remember the picture in your

mind—so you can go back there when I ask you to.

“Let's play a game where you make all the choices in your mind. Are you ready?

"The walls in the room are about to change color. There are two colors we are going to

concern ourselves with at the moment, red and black. Please don't change your mind

as soon as the color has crossed your mind. I want you to make a silent choice and

117

Page 118: Ben Harris - Run Silent Run Deep

only focus on either red or black. Now imagine the walls slowly turning into that

color. Remember, these choices exist only in your imagination.

"If the room is now the color red, I want you to think of a number between 1-5.

"If the room is black, I want you to think of a number between 6-10.

"Now, lets have some fun. We all enjoy playing card games. I want you to imagine that

the box you are holding in your lap in this room, is a box of playing cards. We are

going to create an imaginary playing card in your mind. Please focus once again on

the color and the number you are holding in your mind.

"If you are thinking of an odd number, I want you to think Spades or Hearts, based on

the color of your room. So, if your room is red, think Hearts. And if the room is black,

think Spades, again, only if you are thinking of an odd number.

"If you are thinking of an even number, I want you to decide on Clubs or Diamonds,

again, depending on the color your room. So, if your room is red, think Diamonds.

And if the room is black, think Clubs.

"Now you have made a series of choices only you could know. You have arrived at an

imaginary card that exists only in your mind.

"I want you to close your eyes again and imagine that you open the box of playing

cards and you look at the cards, but they are all the same card. It's your card. All the

cards fly out of your hands and stick to the walls and now what used to be a white

room has now gone dark, like in a theater, and now images of your card are being

projected all over the walls. Focus on these images. Try to make them as strong and

as clear as possible. I am going to imagine walking into that room and I'm going to

try to describe what I see on the walls of your mind."

Now, if in the past, Ran had guessed which card you are now imagining (you are reading it

long after it was written), would you forgive him if he gets a little confused and sees a few

different cards? After all, a bunch of you mentalists are reading this at the same time and

there are 52 cards in a deck!

Well, Ran’s on the phone now, and here is what he has to say...

“My first instinct tells me that your readers have thought of the 7 of spades, but my

instincts are not 100%.

“But, then a 3 of hearts just popped into my mind...

118

Page 119: Ben Harris - Run Silent Run Deep

“Who was that? Ok now a couple people in Texas are thinking of the 4 of diamonds

and the 8 of clubs. That's all I'm getting.... Hold on I'm also getting a 9 of spades. That's

it. Wait. No. Never mind...

“If I missed your card you probably didn't focus hard enough... on your 2 of

diamonds. I'm seeing a very faint picture. What can I say, it happens.”

* * * * * *

The above presentation was written so that it might be magical for you, the reader.

Obviously, we didn't want you to close your eyes while reading it. Ran just wanted to include

some of the subtleties that will work to give you an advantage. The forcing procedure is

there, you can adjust it as you please.

The only cards you could have thought of are:

2D, 3H, 4D, 7S, 8C, 9S—that's only SIX cards.

The effect can be done over the telephone, using various pumping techniques, explained

later. Six cards are so easy to index, and so much more. The most common choices, Ran has

found, are 3H, 7S, 4D, then 8C. To understand why this is the case, we suggest studying

Banachek's Psychological Subtleties series.

Here is a simple chart (breaking down the distribution of elements):

1,5,6,10 are cancelled out by asking for numbers BETWEEN 1-5, 6-10

If you include these options then the cards are 6C 10C.

Red Black

1-5 6-10

If Odd, then Hearts or Spades and

If Even, then Diamonds or Clubs,

depending on the color of the room.

(Reds) 2D-3H-4D (Blacks) 7S-8C- 9S

( , AH, 5H, , )

119

Page 120: Ben Harris - Run Silent Run Deep

The Instruction Beat:

Ran says, that watching somebody get a refresher Poker lesson from a friend, inspired this

idea. The cards were dealt for a sample game and the teacher said something along the lines

of,

"You want to make sure you have a decent hand to start— high pair for example."

The student looked up immediately when he heard “pair” and said,

"What did you say about pairs?"

We all knew he was holding at least a pair, probably a high one. It didn't matter, as this was

only a lesson. But it reminded me that when someone is learning a new game, they tend to

focus on rules that pertain to their situation.

So, if I you ask someone to think of Red or Black, the next instruction is,

"If you are thinking of Red, I want you to think of a number between 1-5.”

Wait a beat. They will either start thinking of a number, or they will be awaiting instructions

because they are thinking black. It's subtle but you can tell the difference. Look for their

eyes to shift momentarily, as they are visualizing numbers.

Sometimes it will be more obvious than other times, but since it's not required that you gain

this information for the effect to end well, you don't have to worry and you can just observe,

examine the results after the effect, and make a mental note of the cues you noticed during

the procedure. Since the pumping is built into the card selection process, you have the

chance to be quite ahead of the game.

It is very important that you take your time while going through the procedure, making

sure that they are following along and that they understand the process.

A Bold Addition of Visual Cues:

Tell them that you will turn away so they can imagine privately. Have them close their eyes

when they are deciding on the color choice and keep their eyes closed until you tell them to

open them.

"If you are thinking of red, I want you to open your eyes, and think of a number

between 1-5.”

120

Page 121: Ben Harris - Run Silent Run Deep

"If you are thinking of black, I want you to open your eyes and think of a number

between 6-10."

The trick is to stand parallel with your head looking away from the participant and pretend

you are not looking or paying attention to them at all. You will notice that if they are

thinking of red, they will open their eyes. They may shut them again once you've continued

with the instruction, but that's because they are trying to fool you.

It's important that they see you turned away from them before they close their eyes. They

must be sold that you are not looking at them, or it becomes too obvious. I said it was bold.

Fishing Techniques:

You must be a good fisherman, but you only have 6 cards to fish for and hopefully you've

picked up clues during the forcing procedure. The goal should be to make statements that

always feel like a hit.

Note: If you are not thrilled about using pumping techniques or you find it difficult to fish

convincingly, then you might want to skip to ICAINU which involves none of the

above.

If you can't tell if they chose red or black, you are still going strong. As a matter of fact, the

reveal will feel just as direct. It is explained in the section called: If you can't tell if they

chose red or black, you are still going strong. (Page 123).

The next two sections deal with the situation where you feel confident that you know the

color. Your abilities will improve over time and will give you a very direct path to revealing

their card.

The Direct Hit Approach:

One approach is to simply go for a direct hit. Lets say you know the color because of the

"instruction beat," so you only have 3 cards to fish for. I like an approach that Derren Brown

uses in his effect, "Smoke," from his book, Pure Effect.

Use the middle card of the set first. So, if you feel confident that they are thinking of a red

card, you want to check first if they are thinking of the 3 of hearts.

Have the spectator imagine their card and instruct:

(page 127),

121

Page 122: Ben Harris - Run Silent Run Deep

"Please focus on your card and repeat it over and over in your head, 3 of hearts, 3 of

hearts, 3 of hearts.”

Pause for a second to see if the participant reacts. If they are thinking of the 3 of hearts there

will be a reaction. If not continue with:

"...or whatever card you are thinking of."

Let’s say there was no reaction, so you know it's either the 2 or 4 of diamonds. This is the

perfect moment to use T.A. Waters technique from his effect, "Trionic," from, Mind Myth and

Magic.

You claim that you see 4 pips or drawings on the card. If there is a positive response or

reaction, then it's the 4 of diamonds. If there is a negative response, then you immediately

declare the card to be the 2 of diamonds. (Ran has an alternate—a similar ruse that involves

the diamond suit for this particular set. It is explained later).

You should be correct. But what if you are still wrong? Well, so far you've only made one

guess. They are either thinking of a black card or they didn't quite hear the instructions and

chose 1,5,6 or 10. Most likely they are thinking of a black card. The most common anomalies

are 5 and 6. Based on the procedure, the 5 is a hearts and 6 is a clubs.

So, you've eliminated 2,3,4, but you were sure they chose red. After you incorrectly guess the

2 of diamonds you could exclaim "but it is a red card." If they agree, then you know it's the 5

of hearts. If you are wrong about the color, then try to reset the situation by telling them

they need to focus harder, take a deep breath, and close their eyes when they concentrate.

Start the direct hit procedure over, but this time with the black cards. This is, of course, the

worst-case scenario, which is the risk you take by going with this approach. However, if you

name their card without asking any questions, then that's quite a feat.

More Fishing Options:

Again, if you already know the color because of the "Instruction Beat," then you only need to

find out which one it is amongst 3 of the same colored cards. Here is another option that

works as well:

If I knew it was Red, for example, I would start with:

"I'm seeing something even?"

122

Page 123: Ben Harris - Run Silent Run Deep

If they say, "Yes," now you declare that you see 4 points in the design. If they immediately

respond as soon as you say 4, you know it's the 4 of Diamonds.

If it takes her a second to think about it or she acts unsure, then she is thinking of the 2. You

clarify that you are seeing 4 corners of a Diamond suit and then reveal her card as the 2 of

Diamonds.

If they say, “No,” you continue with:

"Yeah, I see a shape with 2 bumps, but now it makes sense to me. I'm seeing 2 bumps of

the top of a heart shape, and you are thinking of a 3 of hearts."

Same goes if they are thinking of black, except now you start with:

"I'm seeing something odd."

Then you use the same excuse for the 8 of clubs, as you did for the hearts. Explaining that

you saw an odd shape, but it was the 3 bumps of a Club card, and they are thinking of the 8 of

clubs. To determine if it's the 7 or the 9, you could use T.A. Waters pip ruse, or you can try

something explained in the next section.

If you can't tell if they chose red or black, you are still going strong:

This is perhaps the best way to start practicing The White Room. You don't need to worry

about getting any visual cues. This is how you would perform the effect over the phone.

I prefer to start with a direct statement:

"I'm sensing something odd."

If you get a positive reaction from an "open book" participant, one can assume they are

thinking of an odd number. If you don't get any reaction, continue with the classic fishing

ploy,

“You're not thinking of an odd number, are you?"

If they say “no,” then continue with:

"I didn't think so. It's just odd to me that I'm seeing the image you are sending me

reversed and upside down. Can you try and reverse and flip the image over in your

mind? Perhaps that will calibrate us."

123

Page 124: Ben Harris - Run Silent Run Deep

Once you know this piece of information, you narrow the cards down to 3 from different

color sets. If she said “no,” then you know its 2D,4D, or 8C.

I would use the Derren Brown idea here and tell them:

"Please repeat the card in your mind, 8 of clubs, 8 of clubs, 8 of clubs, or whatever card

you are thinking of.”

You will know if they are thinking of the 8 of clubs.

Now ask them to visualize their card as they repeat it's name and that you will try to describe

what you see. You declare that you see 4 points in the design. If she immediately responds as

soon as you say 4, you know it's the 4 of Diamonds. If she thinks about it for a second and

then agrees, she is thinking of the 2, because she probably connected the 4 points to the suit

of diamonds, which has four corners. It's more likely she'll say “no.”

Either way, you explain that you see four points of the suit of diamonds and that her card is

the 2 of diamonds.

If she is thinking of an odd card, your response is:

"Yeah, but it's just strange that I'm seeing the image you are sending me reversed and

upside down. Can you try and reverse and flip the image over in your mind? Perhaps

that will calibrate us."

Now you can use the Derren Brown gambit of repeating the 3 of hearts in their minds again.

Or you can try another pumping combination that works with this set. Continuing with the

"upside down" idea, immediately say:

"OK. I'm seeing what looks like a spade..but, I think it's still upside down?"

If there's an immediate reaction to spades, you know its between the 7 and the 9 and you can

say:

"Please try to send me the images right side up, thank you. This is difficult enough as

it is."

If there is no response to the spades, then it's the 3 and you continue with:

"I'm sorry...Upside down, it actually kind of looks like a heart. The 3 of hearts.”

124

Page 125: Ben Harris - Run Silent Run Deep

This upside down spades thing was inspired by Rick Roth. Thanks Rick.

If it is between the 7 and the 9, you could use the T.A. Waters pip ploy as described earlier. Or

another option would be to state:

"I see what looks like a 7, but the picture seems incomplete. Does that make sense?"

Again, if there's an instant reaction to the 7, then you know it's the 7 of spades.

"It's incomplete because you forgot to imagine the spades in the corners."

If they respond with a negative, you immediately continue, saying:

"and I'm starting to see what looks like a circle on top, which looks more like a 9. I'm

getting 9 of spades. Is that correct?"

Anomalies:

If you have a real poker-faced person, who will not confirm that easily, I would go for direct

hits amongst the most common choices. I've found these types go for the 8 of clubs, based on

the procedure. If I'm wrong, I apologize and state something like:

"I was completely thrown off because this morning I found a playing card on the

sidewalk. I put it in my wallet thinking it may bring me luck. But it hasn't brought me

luck. If it did, I would have been able to read your mind. What was your card? No

kidding.(Pull it out of your wallet). I guess it is my lucky card."

There is always a chance that the participant will think of a card that's not in the set.

Perhaps they included cards A-5-6-10 as their options. I've found that this happens when

someone has chosen his or her lucky number. This isn't a problem for some of the effects

described. But, it will throw you off, if you are going for a direct, "mind to mind," revelation.

If you ultimately miss because they thought of a card outside the main set, then you can say:

"You thought of a lucky number, didn't you? I think that's what's throwing me off.”

If they agree, you'll get credit for knowing that. By this point you should have enough clues

to give it one more shot. If you're wrong, you can thank them for trying this experiment with

you and move on. It is known that being off sometimes adds believability to what we do.

125

Page 126: Ben Harris - Run Silent Run Deep

Final Fishing Tips:

Odds are that most of the time Red is chosen. 3 should be the most commonly named or

thought of number between 1-5, and 4 is next in line.

Certain types of people lean towards black, 7 then 8 being the most popular options.

The cards in order of probability of being chosen—3H-7S-4D-8C.

The natural choice of red sometimes gets rejected, simply because they only catch your

directions after you've mentioned, that if they are thinking of red they should think of a

number between 1-5. Just pay attention to the participant's attention level at all times.

Notice in the original script, that just before I have them make the color choice, I ask them if

they are ready. The "ee" sound of the "y" should be slightly under enunciated, so it almost

sounds like red. There are probably many ways to try to subtly influence the participant to

choose one color over the other.

In the script, the participant experiences darkness-Black, and a White Room-White. So

when the option of red comes along, I' d expect it to be tempting.

These built in fishing/pumping techniques are useful for a direct mind reading, where you

are receiving thoughts and images and then revealing the card merely thought of. But now,

lets discuss the fish free, hands off, ICAINU.

126

Page 127: Ben Harris - Run Silent Run Deep

ICAINU

Ran Pink

ICAINU stands for, “Imagined Card at Imagined Number Unspoken.” The White Room is

turned into a “Thought Card at Thought of Number” with a regular deck. The story changes

so that the participant imagines opening the card box and putting their card at a number

they think of between 1-52. Your spectator arrives at this number in a very personal way, by

multiplying their thought of card by the number of letters in their name.

Here’s an example. Say your participant’s name is name is Jenny. She would multiply her

card number by 5. The reasoning being, that by multiplying by the amount of letters in her

name she has a personal connection (and it will place the card deeper into the deck).

Note from Ran: I know this might seem disappointing. Some of you might cringe that the

method involves multiplication in the procedure. You must try this on a layperson and see

what kind of reaction you get. I've also figured a way to tie the math in with something

personal from the participant.

You could choose to multiply each card 2,3,4, by whatever number you want from 1-5. It

must be 5 and under to make sense. Place those cards at those positions in the deck. If you

know the name of the participant is 5 letters or less you could have them multiply their

thought of card/number by the number of letters in their name. The deck is easily set up in

front of the participant, false shuffled and then handed over to the participant before the

start of the effect. So if you chose to use 5, then set up the deck so positions 10-15-20-35-40-45

are occupied by the magic 6 cards. No special deck needed!

If you met someone named Jackson, you couldn't use his name, so you would use 5 as a

standard setup. Justify the use of number 5 by explaining,

“During the imagination/dream moments... if you have a difficult time maintaining

the image of the white room, it helps to imagine looking at your hand as a focal point

to maintain the waking dream.”

Then you tie it in by asking them to multiply their thought of number by 5, because we have

5 fingers on our hand.

127

Page 128: Ben Harris - Run Silent Run Deep

To be extra safe, there's always those people who don't hear “in between 1-5, between 6-10.”

Just put cards A-5-6-10 in the correct positions in the deck as well. Remember, based on the

forcing procedure, the extra cards you'd need to set up are the AH-5H-6C-10C and at

multiples of 5, they would be placed at 5-25-30-50 respectively.

You can set up the deck in front of a participant and do so under the guise of pretending to

begin a different effect and then changing your mind. Do your best false shuffle, box the

deck and hand it to the participant.

Another easy way to set up the deck is to find the force set, and get them in order on top of

the deck. Let’s say our multiplier is 5 and we have all ten cards to set up. Now begin a face up

overhand shuffle and peel one card at a time until you reach 4. Next you will peel both the

face card and the top card with your left fingers and then peel the next face up card and

count “2” in your head.

Continue with 3,4 and repeat the procedure above. Do this ‘till you have the 10 of clubs at

position 50. Box the deck and hand it over.

A fancier method for setting up would be to get the force set on top of the deck and execute

two faro shuffles placing the cards at multiples of 4. If the person's name is Jane, you are set.

To make the cards sit at multiples of 5, just look through the cards, and displace cards from

the face of the deck to positions in between the force cards.

You have the option to count to yourself as the participant is dealing cards and you'll know

what card they were thinking of before they turn the card over for the reveal. Use this info

how you would like.

This can be performed “over the wire.” You just have to send a setup deck to someone and

instruct him or her not to open it until you speak on the phone or on iChat or Skype. Do The

White Room procedure and then have them unseal the envelope and listen for the gasps.

They can examine the cards forever and it still won’t make sense. If you know more

information about your victim, like a birth month under 5 or some other personal tidbits

that can work for the multiplication, then use this instead of the name.

Tossed Out White Room:

Invite six audience members to stand up. Do the procedure. Call out the 6 cards. Have them

sit down if you called out their card. There's more to this but you know where this is going

and you can take it from here. This is based on David Hoy's, Tossed Out Deck. (See also: Isaac

Louie’s take on this, . page 105)

128

Page 129: Ben Harris - Run Silent Run Deep

Alternate Sets and The Court Cards:

The set can also be flipped so that if they have thought of black they should choose a

number between 1-5. If red, then they select between 6-10. If we maintain the previous rules

for odd and even, then the force set would be:

2C,3S,4C

In other words, you can customize the set if you prefer certain force cards. Change the rules

for odd and even and you have a whole new set. This may be useful in coming up with your

own fishing procedure that you feel comfortable with.

In this version of The White Room, both Ran and I wanted to keep it simple—with as few

outs as possible. This was in order to create an impromptu direct mind reading effect with

the minimum amount of fishing. However, you could even change the rules around so that

they think of a number from 1-13, allowing for a broader range of choices.

In case you would like to include the court cards in the set for the other card effects, then

these are the suits of the royals. These are based on the original forcing procedure:

JS,QC,KS

Instead of red room thinking of a number between 1-5 and black thinking of one between 6-

10, it would be red thinks between 1-7, and black thinks between 8-13. This changes some of

the cards in the forcing set.

For example, the 6 is now a 6 of Diamonds and the 7 is 7 of Hearts.

So, here is the whole alternate set with the court cards:

(Blacks) 8C-9S-10C-JS-QC-KS

This means that for ICAINU, the highest number you could multiply by is 4. Four seasons,

four suits, four Beatles; there are many good ways to incorporate 4 into the picture.

Final tip: You can easily find out if they are thinking of a court card. This time the good ole,

"I'm seeing too many details! Your not thinking of a court card, are you?”

You are just trying to find out because,

"It's much harder with a court card.”

(Reds) 7H,8D,9H (Blacks)

(Reds) AH-2D-3H-4D-5H-6D-7H

129

Page 130: Ben Harris - Run Silent Run Deep

You'll either say:

"Great! Phew! It's so much harder with a court card!”

or

"Great (sarcastic) I knew it. This is so much harder with a court card. Let's try it

anyway."

If it is a court card, it's actually much easier. It's most likely JS or QC, because 13 is a fringe

number and is likely not to be chosen. If it's not a court card… Well, surely by now you have

enough fishing techniques in your arsenal to work this out.

Premonition/Prizewinner/Thought Control/Crossroads:

The White Room procedure will also work for a "Premonition" style effect. This concept was

made famous by Eddie Joseph, but invented by William H. McCaffrey and he called it "Prize

Winner." Later Fred Peterson and Burling Hull used this same idea in "Mental Television

Thought Control," which was published in Sensational Mentalism Part 3, and was also

marketed as a separate item before that. In addition, the more recent Crossroads, by Ben

Harris is also due credit.

The White Room story is adjusted so that only their card flies out of the deck and then gets

projected on the wall. You say that you are going to walk into that room in your imagination

and you are going to take their card away, so the projections have gone blank and the walls

are back to bright white. So, there should only be 51 cards left in the deck. The spectator

looks through the deck to find their card is missing. You take it out of your wallet. No fishing

required. Just the magic 6, or if you want to play it safe, 10 cards have to be removed from the

deck, put in your wallet, and replaced with 5 or 9 others.

Thankyou:

Ran would like to thank, Rick Roth. “We brainstorm almost daily and I'm very fortunate to

have a good friend like Rick who is very supportive and full of incredible ideas. Rick is a big

fan of impromptu mental effects and this one is dedicated to Rick. Thank you to Yaniv

Deautsch for recommending additional excellent sources for pumping/fishing techniques

and for help with credits.”

130

Page 131: Ben Harris - Run Silent Run Deep

Christopher Taylor

Silent Solstice #1

Bill Fritz

Silent Solstice #2

Page 132: Ben Harris - Run Silent Run Deep

Canadian mentalist Christopher Taylor has produced material for Chris Angel, David Copperfield, Marc Salem, Keith Barry, Andy Nyman and scores of other performers all over the world.

While he is best known for the multitude of high-tech devices he has released through his company, Taylor Imagineering, he has also created a great deal of well received traditional magic and mentalism. This material includes: Outside the Conventional (2 DVD set through Inner Mind Productions); No Batteries Required (DVD), the eBook, The Poor Mage's Billet System, and his two books: Inside Out and Unconventional (H&R Magic Books).

www.taylorimagineering.com

Page 133: Ben Harris - Run Silent Run Deep

SILENT SOLSTICE #1

Christopher Taylor

In Christopher’s own words:

“The concepts presented in Ben's Silent Running book are powerful and versatile.

Combining them with a mindreading device, like the electronic Solstice Wallet from Taylor

Imagineering, provides for effects that are simple and devastating.”

Description of Effect:

The mage introduces the notion of how Numerology and Cartomancy can reveal much

about ourselves. To demonstrate, the mage requests a participant to think of a number

between one and ten. He passes his jotter wallet to the participant, who finds in it an index

card with a list of "Cartomancy Associations" (see illustration). The participant circles their

thought of number.

The participant is now directed to circle any one of the four suits and combine it with their

thought of number to create the image of a playing card clearly in their mind. The wallet is

closed and put aside. The mage does not touch or even glance at the wallet again until the

effect is concluded.

The mage is now able to provide a reading for the participant, explaining how their

“thought-of” card reflects on their personality. Lending great power to the overall effect is

the fact that during the reading, the mage accurately reveals the colour (red/black), then

the suit and finally the full identity of the imagined card.

Discussion:

My philosophy regarding props like Solstice, is that it makes no sense to employ an

electronic device in an effect if it does not provide a significant theatrical advantage over

non-electronic methods. In this effect, there are two such advantages.

133

Page 134: Ben Harris - Run Silent Run Deep

1 2 Clubs

3 4 Hearts

5 6 Spades

7 8 Diamonds

9 10

Christopher Taylor’s Index Card configuration for The Solstice Wallet

134

Page 135: Ben Harris - Run Silent Run Deep

Firstly, hands-off distance:

Once the wallet is handed to the participant, the performer comes nowhere near her or the

wallet. In fact, the performer can be on the opposite side of the room or behind a room

divider (which adds a nice piece of theatre to the proceedings). The distance also facilitates

the easy removal of the thought of card from a deck during the reading, which can then be

placed face down on a table for later revelation.

Secondly, the participant is not restricted in any way as to their choice of suit.

Note: This effect is even easier when performed with two participants.

Working:

It is not necessary for me to provide a detailed description here of the inner workings of the

Solstice. Suffice to say that the device instantly signals the performer as to which of the five

lines on the index card the pen is touching (from up to 100 feet away). That means, if she is

thinking of the 7H, when she circles her number, we know it is either 7 or 8. When she circles

the suit, we know exactly what it is.

How do we use this information to our advantage?

We begin our reading with the revelation that she is thinking of a red card, and proceed with

a "warm reading" based on that surefire hit. Then comes the number which, because of the

layout of the numbers on the index card, we know is either 7 (odd) or 8 (even).

Of those two numbers, the most likely is 7 and we state casually that her number is odd. If

we are correct, we carry on. If we happen to miss, we act very pleased and state that she has

even greater depth than we first picked up on and continue appropriately. In any case, we

do not need to be concerned because we have already had one direct hit and are about to

have another, namely, the complete identity of the card.

Working with two people:

As mentioned, it is even easier with two participants. When working with a group, have

everyone think of a number between one and ten. Explain that you want to work with two

people and simply ask someone if their number is odd or even. If their number is even, ask

the rest of the group; which of them is thinking of an odd number.

Let us assume the thought of cards are the 4D and the 7H. When the first participant circles

their number, we know it is the 4 as it must be even. We find the second participant's odd

135

Page 136: Ben Harris - Run Silent Run Deep

number through the same process. It could not be simpler.

A final word:

I am confident that those readers who own Solstice, will find a great many ways of applying

the concepts in this book, and Silent Running, to create an endless variety of powerful

effects.

136

Page 137: Ben Harris - Run Silent Run Deep

SILENT SOLSTICE #2

Bill Fritz

This clever idea from Bill came in right at the last moment, and almost did not make the

deadline. I’m so happy we’ve been able to squeeze it in. It’s a further way of using the

Solstice Wallet with Silent Running. And, it is one of those “wish I’d thought of that!”

moments. Thanks, Bill.

Write two columns of numbers (as per the illustration). The first column goes:

A, 2, 3, 4, 5

The second column goes:

6, 7, 8, 9, 10

In a 3rd column write:

Spades, Hearts, Clubs, Diamonds

Explain that we're not going to use face cards:

“Basically, all of the face cards look the same. The only differences are the actual

faces. So, for people new to mind reading, such as yourself, it's really hard to

differentiate. Therefore, we'll stick with what's easy to transmit—the numbers.”

Have them stare at the ten written numbers and mentally select one.

Now comes the clever bit...

Run through the suits, as in Silent Running. Ask them to CIRCLE THE SUIT they ended up

selecting. Due to the wallet’s secret workings, you now know the suit they have selected,

even from across the room! This means, you also know which of TWO NUMBERS they have

in their mind.

Say:

137

Page 138: Ben Harris - Run Silent Run Deep

"You've locked in the suit, in your mind, by circling it—right?”

Spectator says:

“Yes.”

Then, I say:

"And you're locked in the number you thought of by circling it too, right?"

Because you DID NOT ask them to do this previously, the spectator says:

“No”

Nonchalantly request:

“Oh, go ahead and circle the number."

Now, based on the signal received, you will know exactly which number they’ve selected.

For example, let's say you know they circled a Diamond. That means that your POSSIBLE

TARGET NUMBER is the 5, or the 9. (As you know, the CrossRoads Set features a LOW and a

HIGH number for each pair associated with a suit).

When they circle their number on the Solstice Wallet, you will receive a signal from one of

the five hot zones. (1-5). This signal will either MATCH the lower card in the two card set of

possibilities, or it won’t. You only have to remember that a direct match is YOUR TARGET

CARD and an INCORRECT MATCH means that it was the HIGHER of the two possible values

that was chosen. This works because of the way the numbers are ordered in two columns.

In our above example (DIAMONDS), you will receive either a “5” (direct hit) or a “4”

(indicating that the HIGHER of the two possible values (ie: the 9) was chosen.

Bottom line—getting them to first circle the suit allows you to figure out the number.

Isn’t that sweet, petite?

138

Page 139: Ben Harris - Run Silent Run Deep

Bill Fritz’s Index Card configuration for The Solstice Wallet

A 6 Spades

2 7 Hearts

3 8 Clubs

4 9 Diamonds

5 10

139

Page 140: Ben Harris - Run Silent Run Deep
Page 141: Ben Harris - Run Silent Run Deep

Bernardo Rodriguez

Numb-blur

Page 142: Ben Harris - Run Silent Run Deep

Bernardo Rodriguez... is 17 years old and a professional magician— performing close-up card magic and mentalism.

“I enjoy adding my own creativity and presentation to already existing effects”.

Page 143: Ben Harris - Run Silent Run Deep

NUMB-BLUR

Bernardo Rodriguez

Begin by introducing a prediction.

Then, display a deck of cards. A special deck with a single number written boldly on the

back of each card; a deck of cards with numbers on them in a mixed up random order. These

numbers run 1 - 52.

A spectator now THINKS of a card and then spreads through the deck to also SECRETLY note

the NUMBER on the back of her selected card.

Your prediction is then shown to match the number! The effect can also be made into a

mind-reading game. This is done by telling the spectator what card they chose, and then

revealing the prediction of the number!

The How 2:

Prepare a spare deck of cards by firstly removing the CrossRoads Set:

2C, 3H, 4S, 5D, 6C, 7H, 8S, 9D.

On the back of each CrossRoads card, write the number “23.” (You can use any number

between 1-52, but “23” is what Bernardo uses). Shuffle the balance of the deck and write a

random number from 1-52 on the back of each card. DO NOT duplicate your Crossroads

Number on any of these cards. Mix your CrossRoads Set back into the deck, and then, on a

piece of paper, make your written prediction. This is the NUMBER you have written on the

backs of your eight key cards. In the above instance, it is “23.”

To Perform:

This should be self-evident. Begin by having a spectator think of a number, and then a suit,

using the Silent Running procedure. Once she has a card in her mind, ask her to remember

it.

143

Page 144: Ben Harris - Run Silent Run Deep

Introduce the deck, and display the numbers on their backs while pattering about “the

coincidence of numerology.” Ask your spectator to secretly locate her “thought of card” in

the deck, and to note the NUMBER written on its back. (This will be your force number).

Once she has done this, have her place the deck upon the table. You are now ready to either

read her mind, revealing her “thought of card” (Direct Mind Read, Silent Running, Page 21),

or reveal your prediction—and THEN divine the card.

Other Ideas:

This makes a nice effect with “ESP Symbols” written on the backs of the cards. Thus, you

have a nice double-barrelled prediction/revelation involving a card and a symbol. Also,

why not experiment with NAMES written on the backs of cards? Or, town names, and a tie-in

with a map—for a “Murder Mystery.”

144

Page 145: Ben Harris - Run Silent Run Deep

Hiro Sakai

Notes on Silent Running

Page 146: Ben Harris - Run Silent Run Deep

SAKAI

Page 147: Ben Harris - Run Silent Run Deep

NOTES ON SILENT RUNNING

Hiro Sakai

Sometimes language and cultural differences can make explicit nuances problematic.

Such, in Japan, is the case with the concept of “between” 1-10. My friend, Hiro Sakai, ably

translated by Yuki Kadoya, hereby addresses the problem. Hiro’s thinking asssures a deep

and powerful mystery.

Hiro-san says:

First, we must ask the spectator to think of any number BETWEEN 1 and 10. This patter

prevents numbers 1 and 10 from being chosen. But in Japanese, we rarely speak like this. We

must say:

“any number FROM 1 to 10,” rather than “any number BETWEEN 1 and 10.”

If you use the following patter, spectators will have no feeling of inconsistencies:

"In your head, please imagine 10 digits from 1 to 10. Line them up in a row. Can you

imagine this? Now I want you to select a number between 1 and 10 in your head."

Even if we carefully select the words in our patter, we can't eliminate the risk that someone

might choose numbers 1 or 10. This problem could occur to Japanese speakers as well as to

English speakers. Especially, if we use the patter that appears in "The Court Card Illusion,"

the probability that 1 or 10 will be chosen dramatically increases. I actually faced this

situation a few times. To avoid this risk, I came up with the following strategy:

I changed the "Crossroads” set a little bit, as listed below.

(1) Ace of Diamonds

(2) 2 of Clubs

(3) 3 of Hearts

147

Page 148: Ben Harris - Run Silent Run Deep

(4) 4 of Spades

(5) 5 of Diamonds

(6) 6 of Clubs

(7) 7 of Hearts

(8) 8 of Spades

(9) 9 of Diamonds

(10) 10 of Clubs

I set number 1 for Ace of Diamonds and number 10 for 10 of Clubs, so I can reveal any

number chosen, no matter which routine from the Silent Running booklet I choose to

perform. If you feel that the spectator is unsure, or if something goes wrong, you can reveal

the Ace of Diamonds or 10 of Clubs.

Now, you can cover any number from 1 to 10.

I've found that a better way to handle the revelation is like this: remove these two cards

from the deck and put them in different jacket pockets as predictions. If you want to

perform "Spirited Card Stab," you will need to make one additional pocket on your

newspaper, for the extra pair of cards.

A Routine: Image Is Just An Image

For this effect, you will need 1 full deck (52 cards) with no Jokers, and any 3 additional court

cards from another deck.

Remove the following 10 cards from your full deck:

Ace of Diamonds, 2 of Clubs, 3 of Hearts, 4 of Spades, 5 of Diamonds, 6 of Clubs, 7 of Hearts, 8

of Spades, 9 of Diamonds, 10 of Clubs.

From these 10 cards, place the Ace of Diamonds, 8 of Spades, 9 of Diamonds and 10 of Clubs

in 4 different pockets (example: AD in your jacket's outer left pocket, 10C in the outer right

pocket, 8S in the inner left pocket and 9D in the inner right pocket). You must remember

which card is in which pocket.

Split the remaining six cards from my set into two groups - Black cards (2 of Clubs, 4 of

148

Page 149: Ben Harris - Run Silent Run Deep

Spades and 6 of Clubs) and Red cards (3 of Hearts, 5 of Diamonds and 7 of Hearts). Set these

six cards as follows, from the top of your deck to the bottom (X indicates an indifferent

card):

X (top card)

3 of Hearts

X

5 of Diamonds

X

7 of Hearts

(remaining 36 cards)

2 of Clubs

X

4 of Spades

X

6 of Clubs

X (bottom card)

Once you have assembled these cards, your deck will consist of only 48 cards. So, you must

now add the additional 3 court cards from another deck. Duplicates of these 3 court cards

must be well separated in your deck. This is a simple version of a “Crossroads Deck.” Insert

this deck into the card case and you are ready to perform.

Performance Script:

After you select your assistant, say:

"Together, we're going to attempt an interesting experiment. This experiment is

based on the power of imagination."

It is important to announce up front that this is an "experiment based on imagination." This

line can apply any to any of the effects that appear in the Silent Running booklet.

"Yes, I know that your imagination has no limits, so I want to limit it somewhat, just

for this experiment. We'll use a deck of playing cards."

Introduce your deck and place it on the table. The deck must remain in full view during this

effect.

149

Page 150: Ben Harris - Run Silent Run Deep

Carry out the "Silent Running" procedure to have a card mentally selected. Using my new

set, you can cover any number from1 to 10.

"I want you to create a more solid image of the playing card in your mind. Please

burn an image of your imaginary playing card into your eyes."

As you say this, step to the side of your assistant. Indicate the deck of cards on the table, and

continue speaking:

"Please pick up this deck and remove it from the card case. Slowly thumb through

the deck until you find your card. Once you find your card, break the deck at that

point, and hold all those above it aside for a moment. With your card at the face of

the deck in your left hand, hold your card against your heart. This will help you to

really focus on your mentally selected card."

This procedure gives you a clue as to the mentally selected card in one of 3 ways. (This is a

variation of "Speechless" by Steve Shufton. [Translator's note: England's Jerry Sadowitz first

published this strategy within the context of his "Out of Sight, Out of Mind" variation. His

method actually used a Tabled Spread method.])

Here are the three possibilities in brief. We’ll examine them in detail, after:

Pattern 1: The assistant found her card right away.

In this scenario, she has found her card near the bottom of the deck, so you instantly know

that her mentally selected card is one of 3 black cards in my set (2 of Clubs, 4 of Spades, or 6

of Clubs).

Pattern 2: The assistant took time to find her card.

She will find her card near the top of the deck, so the mentally selected card is one of 3 red

cards in my set (3 of Hearts, 5 of Diamonds, or 7 of Hearts).

Pattern 3: The assistant couldn't find her card.

Her mentally selected card is one of the four cards that you previously removed from your

deck, and secreted in your pockets.

Once you note that your assistant has located her card, turn away from her as soon as

possible. If she was unable to find her card, I'll explain this scenario (Pattern 3) later.

150

Page 151: Ben Harris - Run Silent Run Deep

Pattern 1 (in depth):

"Now you are imagining your freely selected card in your mind, and you're also

seeing it with your eyes. I can sense it clearly, too. Your card is definitely a black card.

Isn't that right?"

In this scenario, the answer is always "Yes."

You can continue from here using Devin Knight's patter in the original text (Silent Running,

Page 48), or you may use my patter, which is described below.

"Please imagine all of the pips on your card, not just the number. Yes! I can see... four

pips. I see four pips. Is this true?"

— If she responds "Yes":

"Yes, I can see the actual shapes of each pip. Your imaginary card is the 4 of Spades.

Is this correct?"

End of effect.

— If she responds "No":

"That's strange...I can see 4 pips. Please concentrate on your card more intently... Yes,

I sense 4 proper pips.... I definitely see 4 pips. Please look at your card again... Look

closely. Do you notice anything about the pips?"

This is a technique similar to Cold Reading. Depending on the response of your spectator,

you will receive a clue. If you use the suggested patter and make a little pause, you surely

can get some reaction from your assistant. It is important to deliver the above patter with

complete confidence.

(a) If the spectator says that her number is "smaller than 4" or asks, "Does this include these

small corner pips?” then respond:

"A-ha! Yes, I sense 2 small pips in the corners, so that's what made me think there

were four pips! So your number is 2... Yes, I can see the actual shape of the pips...

Clubs... Your card is the 2 of clubs!"

End of Effect.

151

Page 152: Ben Harris - Run Silent Run Deep

(b) If the spectator says, "Is this possibly the direction of the pips? Are there four pips facing

the same direction?" This will make sense to spectators who were initially confused about

the statement. Or, if your spectator says "larger than 4":

(In the case of the 6 of clubs, for example, 4 large pips face in the same direction, while the

other 2 pips face in the opposite direction.)

"Yes, that's right! 4 pips! 4 pips faced in the same direction. Is this true? I can sense

other pips facing in the opposite direction...1,2,3... No, two pips face in the opposite

direction. So you are imagining 6 pips. Yes, I can see the actual shape of the pips...

They are clubs... and the card you' re thinking of is the 6 of Clubs!"

End of Effect.

Pattern 2 (In Depth):

"Now you are imagining your freely selected card in your mind, and you're also

seeing it with your eyes. I can sense it clearly, too. Your card is definitely a red card.

Isn't that right?"

The answer is always "Yes."

You can continue from here using Devin Knight's patter in the original text (Silent Running,

Page 48), or you may use my patter, which is described below:

"Please imagine all of the pips on the card rather than the number of pips—yes, I can

sense... 5 pips. I see 5 pips. Is this correct?"

— If she responds "Yes":

"Yes, I can see the actual shapes of each pip. Your imaginary card is the 5 of

Diamonds. Is this correct?"

End of effect.

— If she responds "No:”

"That's strange...I can see 5 pips. Please concentrate on your card more intently... Yes,

I sense 5 proper pips.... I definitely see 5 pips. Please look at your card again... Look

closely. Do you notice anything about the pips?"

152

Page 153: Ben Harris - Run Silent Run Deep

(a) If the spectator says that her number is "smaller than 5" or asks,

"Does this include these small corner pips?” then respond:

"A-ha! Yes, I sense 2 small pips in the corners, so that's what made me think there

were five pips! So your number is 3... Yes, I can see the actual shape of the pips...

Hearts... Your card is the 3 of Hearts!"

End of Effect.

(b) If the spectator says,

"Is this possibly the direction of the pips? Are there five pips facing the same

direction?”

This will make sense to spectators who were initially confused about the statement. Or the

spectator says,

"Larger than 5":

(In the case of the 7 of Hearts, for example, 5 large pips face in the same direction, while the

other 2 pips face in the opposite direction.)

"Yes, that's right! 5 pips! 5 pips facing in the same direction. Is this true? I can sense

other pips facing in the opposite direction...1,2,3... No, two pips face in the opposite

direction. So you are imagining 7 pips. Yes, I can see the actual shape of the pips...

They are hearts... and the card you' re thinking of is the 7 of Hearts!"

End of Effect.

This subtle technique of including the corner pips is a T. A. Waters idea. Using the direction

of pips as a further means of discerning a thought-of card and the associated patter are my

ideas.

At the end of Pattern 1 or Pattern 2, you have revealed a mentally chosen card. Thank your

assistant for her great power of imagination, and lead a round of applause for her

participation in your successful experiment.

153

Page 154: Ben Harris - Run Silent Run Deep

Pattern 3 (In Depth):

"You can't find your card in the deck? Wonderful! Our experiment in imagination is a

success! Allow me to explain. Someone's image can be transmitted unconsciously.

Before we started, I removed a card from this deck without looking at it. So, I don't

even know myself what card I removed. To make sure, please count the cards. Let's

see if one is missing."

Your spectator counts the cards, and finds only 51 cards in the deck.

"What is the card you've chosen in your mind? The card that only you know?"

Once she answers, you must adjust your patter to match the correct pocket that contains

her named card. As soon as she answers, indicate the correct pocket and say:

“Ah yes. Please reach into my pocket and remove the card that I took out earlier."

She will remove her thought-of card from your otherwise empty pocket.

"Images surely can be transmitted unconsciously!"

Thank your assistant for her great power of imagination, and lead a round of applause for

her participation in your successful experiment.

End of Effect.

Final Thoughts:

You may not need to count all 51 cards, as the case may be. The audience already knows that

the imaginary card has vanished from the deck, so it may just create dead time by dealing

through all of the cards.

If you don't feel that it's necessary to count all 51 cards, there is no need to initially add 3

duplicate court cards to your deck. You can use a 48-card deck for this effect and perform it

impromptu.

There are 2 points that I think enhance Ben’s concept:

1. You can cover any number from 1 to 10.

2. From the spectator's point of view, it appears that the performer never makes a mistake.

The mentalist never asks an either-or question. (Actually, you do ask a question, but

154

Page 155: Ben Harris - Run Silent Run Deep

spectators never notice this.) Despite this lack of fishing, you are able to accurately divine a

mentally selected card without any obvious questions. As a result, your spectator will

believe that she has truly had her mind read by a mentalist. When I perform this effect, I

receive a tremendous reaction from my audiences.

When you perform this effect (or any mentalism), it is important to have some degree of

acting skill. When you perform the "Silent Running" procedure, you must speak slowly and

clearly, to make sure that your spectator understands every one of your directions. If she

can't understand your directions, "Silent Running" effects can fail miserably. And if you

direct a spectator too blatantly, the audience will sense that you are imposing some kind of

limitation during the selection procedure.

I highly recommend that you write down your own patter once on paper. You can adjust the

entire procedure and therefore fully understand what you need to say at each stage.

155

Page 156: Ben Harris - Run Silent Run Deep
Page 157: Ben Harris - Run Silent Run Deep

Matthew Shepherd

Screaming Walking

Page 158: Ben Harris - Run Silent Run Deep

SHEPHERD

Page 159: Ben Harris - Run Silent Run Deep

SCREAMING WALKING

Matthew Shepherd

Matthew has some pretty radical views on things, and that’s why he’s a successful

performer—he’s not afraid to be himself. Here are his thoughts on various elements of

Silent Running.

Fishing Without A License:

This is a slightly different way of using fishing techniques, so that the spectator never says

the suit OR the color of their card out loud. It appears that you make two statements (one

which could be wrong) about the card and then "reveal" the thought of playing card. As we

know, the 8 cards the spectator can think of are:

2 Clubs

3 Hearts

4 Spades

5 Diamonds

6 Clubs

7 Hearts

8 Spades

9 Diamonds

This is a VERY basic script of how I fish for the correct card:

“Please Think of a number between 1-10."

Now execute the Silent Running “suit selection” procedure (See next section for my

handling).

Note: Once they have a card in mind, there is a good chance of it being the 7 of Hearts. I use

this to my benefit in the next bit of patter...

"Say your card over and over again in your head for me, just like that, like the 7 of

159

Page 160: Ben Harris - Run Silent Run Deep

Hearts, 7 of Hearts, 7 of Hearts."

Stop if you get a reaction to the 7 of Hearts. You have your miracle! If no reaction, then carry

on as normal.

"You're not thinking of an ODD value are you?”

Either response from the spectator means that you are always right: “No” = Black Card,

“Yes” = Red Card.

"I could be wrong but it appears to be higher than a 5, yes?"

“No” (Black) = 2 of Clubs / 4 of Spades

“No” (Red) = 3 of Hearts / 5 of Diamonds

“ Yes” (Black) = 6 of Clubs / 8 of Spades

“Yes” (Red) = 9 of Diamonds

Note: If, at this point, they say “NO” then I say something along the lines...

"I should always go with my first instincts!"

You are now ready to reveal the card. With just the two cleverly disguised questions, you

already know what color the card is—if it is odd or even—and, if it is higher than a 5! At this

point I use Devin Knight’s handling of the T.A Waters’ subtlety (Silent Running, Page 50) to

reveal the correct playing card—achieving a full-on hit.

The Suit Selection Procedure:

I use a different method (to that described in Silent Running), to “sell” and “lock in” the suit

selection. What I do, instead of holding up my fingers, is to SNAP MY FINGERS as I verbally

call, “1, 2, 3...” etc. I ask them to remember the “random suit” that falls on their number. If

they are thinking of the number 3, they are to remember the 3rd suit I name and “snap” my

fingers upon. If they are thinking of the number 8, they are to remember the 8th suit I

name/”snap”.

I then start calling out the suits in a very "I don't really care what I am saying" tone of

voice—clicking my fingers each time I name a suit. I also look away from the spectator like I

am not really interested, but I keep a close eye on them using my peripherals just in case! I

space the suits out, probably 2 seconds between each other. I also call them out as if I am

making them up on the spot. I pause every now and again, like I am struggling to think of a

suit. Also, since 1 and 10 will never be chosen (with proper audience management), you can

call out two totally random suits that don't fall into the ChaSeD sequence.

160

Page 161: Ben Harris - Run Silent Run Deep

Finally, once I have named 10 suits, I turn to the spectator as if I was in a world of my own

and say to them:

"Oh, I am sorry! Have you selected a suit?"

All of this, I have found, really helps to sell the effect and also covers up the method a little

bit more.

Time Misdirection:

Once the spectator has a playing card in mind, fumble in your pockets and pull out a

business card or slip of paper. Request for the spectator to write down the name of their

playing card and to fold it up into quarters. You turn your back whilst this is being done.

Once done, you now turn to the spectator and boldly say:

"You have freely thought of any playing card and have now written it down on that

slip of paper, yes?"

They will say "YES," and you then request for them to place the slip of paper in their pocket,

so you can't cheat. This bit of time misdirection, and forcing them to say "yes," will (most of

the time) cause the spectator to forget the selection process and remember that they

"thought of any playing card."

Do not shun this little subtlety. It will make all the difference to the after effect, where the

"real" magic takes place.

The Two Card Out:

Here’s an alternative to the T.A Waters fishing method that Devin Knight provides in his

fantastic section in the original book.

"I seem to be getting two cards, I think there are a few people in the audience

thinking of playing cards, too. I am getting the 6 of Clubs and the 8 of Spades. Which

one were you thinking of?"

The spectator will confirm their card, let's say it is the 8 of Spades.

"Ah! I thought yours was the 8! I should have taken a gamble as it would have paid

off!! Just out of curiosity, who was thinking of the 6 of Clubs?"

161

Page 162: Ben Harris - Run Silent Run Deep

Acknowledge the person who makes themselves known and make a joke out of them

"blocking your thought process" or just acknowledge an imaginary person, if no one makes

themselves obviously known. I have found that this plays just as strong if doing this on a

stage, since you have just received two playing cards!

Using Two People:

In the original book, Bob Cassidy provides a brilliant subtlety, that when using two people it

is easier to do the fishing, since you already have one piece of information at your disposal.

As an afterthought, it occurred to me that since you know who has a red card and who has a

black card, you could do the Richard Osterlind dodge of saying:

"Who's card has the value over 5?"

Notice how I phrase it as "Who's card has THE value over 5." This implies that I already know

that one of the cards is higher than a 5. If they both are above 5 then I can say something

like:

"Oh, that's why I was getting confused!"

Once this person makes themselves known, you can now "reveal" both cards!

Below is a copy of the basic script I used to use when I first came up with this handling.

There is a little bit more fishing to do, but its fun to play around with and I sometimes still

use this method just for fun. The benefit is that the spectator gets a 100% free choice of suit.

The downside is, you need to be good at fishing and making misses seem like hits. I have

tried to update the notes with extra subtleties and tips that I have stumbled upon since first

writing these notes. I call this, SHO-BAM-RO:

"Please Think of a number between 1 and 10."

This should be done quickly, to hopefully force them to think of a 7.

"There are also the four suits, Clubs, HEARTS, Spades and Diamonds. Please think of

one of the suits—either Clubs, HEARTS, Spades or Diamonds."

A slight emphasis is put on "Hearts", to try to psychologically force that suit.

“Please concentrate on the card for me. In fact, start repeating it over and over again

in your head for me. Just like you are now... like... the 7 of Hearts, 7 of Hearts, 7 of

Hearts.”

162

Page 163: Ben Harris - Run Silent Run Deep

If they are thinking of the 7 of Hearts they will most likely react, if not then carry on with

the script.

"Great! You seem to be doing really well! Please concentrate on just the color

for me, please."

"You're not thinking of a RED card, are you?"

“YES” - “I thought so!”

“NO” - “I didn't think so!”

"I seem to be picking up on your thoughts quite well! Please concentrate on the value

now."

"Ok, this is a little harder, it’s coming through quite fuzzy and I can’t quite make out

the number, it appears to be higher than 5, yes?"

“YES” — “Ok good I thought I was losing it a bit there, but our minds are still going

strong.”

“NO” — “No, I didn't think so. I should have gone with my first instinct.” (That doesn't

really make sense, but I have found that spectators go with it!)

"Oh, by the way, it’s not an ODD card is it?"

“YES” — “I thought so!”

“NO” — “I didn't think so!”

"Oh, just one more thing. I see bumps at the top of the suit—does that make sense to

you?"

“Yes” (Black) - Clubs

“No” (Black) - Spades

“Yes” (Red) - Hearts

“No” (Red) - Diamonds

I now use the T.A Waters method (previously cited) to correctly identify the card. I ask the

spectator to picture the playing card as if they were holding it, to see all the detail in their

mind. I claim I am going to:

"...count the symbols on your card in my mind.”

163

Page 164: Ben Harris - Run Silent Run Deep

I then count the symbols. Once I have finished counting, I look at the spectator with a

hopeful kind of look. If I see that they are looking hesitant or about to say “NO”, then I know

it is the lower card. If however they look excited or are smiling, then I know I have hit the

nail on the head. Sometimes I will go straight past the fishing for the suits business and just

take a gamble at the suit. More often than not, I get it correct. Even if I miss, I still get the

number and color, just the same. I am still credited with being very close.

By the way, if the spectator IS thinking of an ODD RED card, then you can boldly state that it

is the 9 of Hearts. This works more often than not. If you miss, then it will be the 9 of

Diamonds. Even if you miss the suit, the spectator will still credit you for being very close.

Enjoy.

164

Page 165: Ben Harris - Run Silent Run Deep

Robert Smith

PulseVoodoo Finger

EdgeworkImpromptu Invisible Deck

The Sharpie PrincipleAnother One

Page 166: Ben Harris - Run Silent Run Deep

Robert Smith... (a.k.a. bSmith) is what some would consider a mentalist, but he can seamlessly blend it with powerful visual magic. With a philosophical approach to magic, and controversial effects such as "Wounded,” and "Tears of Blood", bSmith pushes the boundaries of our art form and uses illusion to break through the social conditioning of whatwe accept as real.

bSmith has been a creator/Head magic consultant for David Blaine and consultant of the great Paul Harris. Many other well know magicians seek his insight, tips andadvice.

Page 167: Ben Harris - Run Silent Run Deep

SILENT FLOODGATES

Robert Smith

When Robert Smith gets to thinking about something, he normally does not stop until he’s

exausted every little avenue. This is possibly the off-shoot of living with Paul Harris for

twelve months! A flurry of recent emails carried these communiques from the rarefied air

of the offlands...

Pulse:

Conceptually, you have the participating spectator thinking of an assigned finger related to

their card. The idea is to then silently know that finger—thus knowing the card. There is an

old effect published in The Jinx, in which a spectator places their finger tips to your

fingertips and you know which finger they are thinking of (this is due to a slight twitch

when asked to concentrate on the finger).

When they are thinking of the card, have them think of the finger (your finger) assigned to

it, and touch all fingertips (they will usually favor their eyes on the hand/finger they are

thinking when lining up the tips). You can re-emphasize for her not to say anything. Now,

have her close her eyes and "send the image of the card through that finger into your mind."

When the eyes close and she is thinking of that finger, you will undoubtedly get a twitch or

slight release of pressure on that finger.

The above has a "mind-meld" look to the effect. You can now step back and reveal by any

means you choose.

With your subtlety of being nonchalant while keeping an eye on their attention, followed

by nonchalantly watching their focus while they line up their fingertips to yours, and

finally feeling the twitch/lift in that finger, the hit rate should be incredible without any

words or fishing involved.

Of course, if you are still uncertain, you can easily fish.

167

Page 168: Ben Harris - Run Silent Run Deep

Voodoo Finger:

I use a voodoo effect—where the spectator concentrates on a finger. I then stab a napkin

tracing of my hand, and my REAL (corresponding) finger begins to bleed. (I secretly prick

the thought of finger with a diabetic lancing device in my pocket when I retrieve the pocket

knife to hand to them... it does not bleed until I put pressure on the pad of my finger with my

thumb). A nice blood puddle seemingly appears out of nowhere. (Disclaimer: neither the

author or publisher can be held responsible for any harm you inflict upon yourself by

following this procedure).

Edgework:

Also, play with edge marks on the force cards. This way they can be located and

forced/produced from a shuffled face down deck. The fact that there are only 8 cards makes

this very easy to do and can rival the best memorized deck effects.

Impromptu Invisible Deck:

You can do a pretty nice invisible deck by reversing only the red ones and separating them

1/4 of the deck apart. Spread the deck revealing the thought of card, while pushing the

others over in clumps to hide their status.

The Sharpie Theory (Using Pencil Writing Awareness):

Here it is in a very logical theory, but it needs testing as the events unfurl after the Silent

Running procedure has been completed:

Hand a marking pen and an index card to a spectator. Orientate the card vertically in their

hands. You will want her to write on the card while holding it in “portrait” position.

Instruct her:

"If you’re thinking of a higher number, like above 5, write it down on the top of the

page...”

Pause slightly, and expectantly, to see if they begin writing. Whether they begin writing or

not, continue with:

“If its a low number, write it at the bottom of the page... I’ll look away while you do

this.”

168

Page 169: Ben Harris - Run Silent Run Deep

You have 2 chances to know what half the number falls into: first, is if they begin writing

immediately or not. Second, when they begin writing, just notice if it’s at the top of the page

or bottom of the page. Once they start writing, you look away with a Doc Hilford-style, gypsy

peek (one eye on them). The number may be obvious through the markers movement plus

sound, in which case your job is done. Even if you don't get the number, it’s not a problem.

Now all you need to know is the suit.

"Now draw the suit on the other half of the page...”

A hesitant look will most likely confirm they are thinking of a club or spade. Look for this. If

they jump right in, it will be a heart or diamond.

Either way, cut them off and say:

"Actually, don't draw the suit—just put down the first capital letter of the suit, I’ll

look away...”

The SOUND of the writing, for each of the letters, is very distinct (C, H, S, D). By employing

“sound reading,” you have the audible strokes (C-1, H-3, S-long1, D-2) Again, you also can re-

confirm whether they have a high or low card by the position of where the suit is drawn.

This should be enough information to know exactly what the card is. At the very least, it will

have your fishing cut in half and only one question, phrased in the negative, will solve it:

"It isn’t a spade, is it?" ("thought so/didn’t think so")

Here’s another one:

A good friend of mine, Aaron Delong, has a deck out called the Hummer Deck. The deck, if

you are not familiar with it, consists of half-blank and half-printed cards. When the cards

are spread one way, they see the entire 52 card deck, and when turned end for end and

spread, they see a blank deck. The idea is to remove the crossroad set, along with a blank

cover card from the Hummer Deck, and you’re ready to go.

Once they are thinking of a card (via the Silent Running procedure), spread the blanks and

ask them if they see their card... You’ll get a laugh.

Now fish, "red card?... no?"... etc. "Are you sure it’s not there?" Show the blank fan again, for

another laugh. Notice, the byplay with the blank cards should disarm the fishing process

completely.

169

Page 170: Ben Harris - Run Silent Run Deep

Once you know the card through fishing, but before they know that you know, act

perplexed. With the spread facing you, remove the thought of card, turn it end for end and

replace it in the fan, while saying: "That's not it." Now, remove the blank card, show it to

them and say "you sure this isn't it?" Another laugh.

Finally, ask them to name the card they are thinking of. When they name it, bring the fan

down, showing that card to be the only card amongst all blank cards. This is a powerful

moment.

Later...

170

Page 171: Ben Harris - Run Silent Run Deep

Francesco Tesei

Silent Running For Stage

Page 172: Ben Harris - Run Silent Run Deep

Francesco Tesei...is a professional mentalist in Italy. Since 1994, his show has toured more than thirty countries and three continents. He has released "Mind Juggling," (a dvd in Italian), and recently joined Marc Spelmann and Peter Nardi in the creation of new effects, produced by Inner Mind Productions, UK.

Page 173: Ben Harris - Run Silent Run Deep

SILENT RUNNING ON STAGE

Francesco Tesei

Introduction:

Most of my work as a mindreader is for stage, usually in front of two or three hundred

people, comfortably seated in the dark. Every time I need to interact with the audience

during the show, my lighting technician brings the house lights up by 30-35%, so I can see

faces and engage a proper rapport with spectators.

My mind is set to this kind of "working environment," and I believe that is why something

weird clicked into my own head as soon as I read Ben's amazing Silent Running. Since I first

talked about this with Ben, I had the chance to try and test it on several occasions, and the

results were delightful: I am talking about that strange sensation, when you feel you have

accomplished so much with, well, so little. You know that look in the face of your spectators,

when at first they just don't know what they could possibly hang to, and then they surrender

to the thought—they just witnessed a true miracle. That is due to a simple fact: this routine

is built like a mind-trap.

Once the Silent Running procedure is accomplished, and is "accepted" by spectator’s mind,

there is simply no turning back. You, as a performer, find yourself well ahead, and

spectators suddenly are into that deep, deep pit that you silently dug for them, even if they

cannot realize it just yet. That is precisely the situation I like to be in: everything has not

even begun from the audience's point of view, while for you, the "trick" is already over and

the fun part can begin. It just makes me feel so in control, and lets me focus on my

spectators, on the presentation, the rhythm, the humor and all those things we can sum up

as showmanship. So, if you like to be in that position too, keep reading and I am pretty sure

you will soon have the same kind of grin I had on my face when this wacky idea crossed my

mind for the first time.

Scenario:

The perfect scenario is a formal show, rather than a party where everybody knows

everybody. You will soon see why.

173

Page 174: Ben Harris - Run Silent Run Deep

The Procedure:

At any point during my show, I randomly select FIVE spectators by throwing paper balls, or

a puppet, among the audience. I then ask the selected spectators to stand up for a moment

and I explain that we are going to play a little test in order to find out who has, among them,

the strongest imagination.

After a brief pause, I continue by saying:

"Imagination is the ability of building images with your mind, and that is exactly what

I would like you to do: in a moment I am gonna ask you to create a strong and vivid

image in front of your eyes. Are you ready?”

Once I get a positive reply from them, I continue, just like the standard S.R. procedure:

"Well, I would like you to start with something easy, so picture a number in your mind.

I would say a number between... between... let's say between one and ten."

I then go on for a while, trying to pump the idea that it is very important that they do see the

number they are thinking of. I ask them to decide on a color for it, maybe they also want to

mentally outline it— make it a little bigger and so on...

All this is done in order to focus the attention on the IMAGE of the number, rather than the

number itself and the way it was selected. In other words, it doesn't matter that I gave them

a range between one and ten—all that matters is how they see the image of their own

number. Now...

I then smile and say:

"Good job. You can sit, now, and I'll come back to you later."

I then continue my show, performing one or two effects, and then I get back to my five

spectators, asking them to stand up again. I then proceed with the selection of the suite,

following the standard procedure, but, in case you didn't notice it, this is done with FIVE

spectators at the same time. The idea that I vaguely suggest is that this game of imagination

is a little test in order to select the best subject among them, for something that will happen

later. That will not really happen, but nobody will notice at all, by the end.

Once each of them has a suit selected, I smile again and say:

"Very good! You are doing really well. I will come back to you later...”

174

Page 175: Ben Harris - Run Silent Run Deep

I like very much this approach, not only because it creates a time lapse between the

different phases of the procedure, making it easier for the whole audience to forget those

details we want them to forget (like the range of numbers, and the way specific suits were

selected), but also because it creates a mysterious interlude between effects, giving the

feeling of building something little by little, during the whole show. In a way, it can help to

make the show a little more organic, and if you play it well, it could look and feel like a

recurring theme.

Lately, I included this effect, and this specific way of performing it, during my lectures for

mentalists and magicians in Italy. This lecture is titled "Vision," and the idea of having some

people playing with their own imagination all along the two hours of my lecture just made

sense and felt like a nice touch.

Back to the routine. After one more effect from my repertoire, I then get back to my five

spectators. Notice that every time, I ask them to stand up from their seats.

In this third phase, the number is combined with the suite, to create a mental picture of a

playing card. Hopefully, the time lapse will play on our side, but (as Ben says) it is also very

important to focus the attention on the fact that these choices were merely thoughts, which

were never shared with anyone. The more we make them think about this, the more they

will stop thinking about the mechanics of the procedure.

Once they have the image of a playing card in their mind, my pattern takes a slightly

different route from the original routine. You may follow this or not, it is up to you and to

your own opinion about this (I will explain what I mean shortly).

Here is what I say, word by word:

"Great! Now, please remember, folks, that you never said a single word to anyone, have

you?”

“NO.”

“You simply created some images in your mind, no one else could see them, except

you, right?”

“RIGHT.”

“Each of you has the image of a playing card in their mind, right now... as you know,

there are 52 cards in a deck—you first imagined a number, a nobody could possibly

know which number you are thinking of—right?”

175

Page 176: Ben Harris - Run Silent Run Deep

“RIGHT.”

“Then you chose a suit, and again no one could know which one, right?”

“RIGHT.”

“As far as I know, you can have in your mind any suit, as well as any number.”

(Brief pause)

“... Well, any-suit and any-number to me sounds like you could be thinking of any

card! Actually, to be honest with you, you cannot have a picture card in your mind, like

a king or a queen: I did that on purpose, 'cause those cards just look too similar when

you try to read minds... anyway, that takes possibilities from 52 down to 40. Fair?”

“YES—FAIR.”

Let me take a moment to analyze what happened just then. I openly declared that court

cards could not be selected in order to strengthen the idea that any other card, apart from

court-cards, could be chosen. It makes me sound so fair... I even do the math for them! And,

after all, 40 cards is still a pretty good range!

This is my personal opinion, but I believe that smart people would figure out easily that,

due to the procedure, only numbered-cards could be chosen, so I might as well declare that

openly, if it can help to subliminally suggest that all the other cards are into play. I call that

losing a battle in order to win the war, if you know what I mean...

This concludes my personal take on the procedure. At this point I have FIVE different

members of the audience thinking of a card. They were never asked to take nor glimpse a

card from a real deck. They just formed a card in their own mind, saying nothing to no one.

And yet, the dirty work is done.

The reveal:

You must have figured it out, by now. Yes, that's it: the good old “tossed-out deck principle,”

but with no deck at all. A miracle, ladies and gentlemen! ... Are you smiling?

Here is the situation, at this point of the routine: five members of the audience are standing.

Each one is thinking of a playing card in a range of eight cards only, even though everybody

(themselves and the rest of the audience) thinks it's a free choice among 40 cards. From your

point of view, you have eight possibilities and five cards to name out loud.

176

Page 177: Ben Harris - Run Silent Run Deep

The beauty of the Tossed Out Deck principle, is that people are led to believe that each

person is thinking a different card. It is just the most natural and logical thing to believe,

even though that is not what's happening.

So, back to the routine. I now ask the participants to literally push the image of their cards

to me, as I concentrate trying to receive those images, looking for all of them, one by one. I

close my eyes, as if it is for me really hard to make sense of all those images entering my

mind at the same time...

"This is what I see... it was... there was a black four, I think the four of spades... I also

saw many hearts... it was a three and a seven... yes: the three and the seven of hearts...

but something else was red... I think it was the 9 of diamonds... and the last card was

clubs... yes... the six of clubs... again... four of spades... three of hearts, seven of hearts...

6 of clubs and 9 of diamonds. If you just heard me saying your card, sit down, now.”

I always name those cards in that precise order. I think it is the best way to make them

sound quite random. Those are also the most common cards, as we well know that number 3

and number 7 are the most commonly chosen numbers.

At this point I just wait and see what happens. Different outcomes may arise now, so let's

analyze them one by one:

(1) All of them sit:

A true miracle. Nothing was said, nothing was written down, five different minds, five

different cards freely chosen. Could it get any better than this? The fact is, this will happen

more often than you think, as people will tend to choose the same common numbers, but

(just like the Tossed Out Deck effect) they will believe that each had a different card in his

mind. Plus, do not forget that you simply named those cards, one by one, without the need

of any fishing procedure.

They think five cards, you name them, they sit. Thank you. Nothing could be more direct

and straight-forward.

(2) Four sit, one of them stands:

This is, in a way, an even better scenario, because it gives you the chance to create some

drama. If you play it well, people will have the feeling that you might have missed one on

purpose, just to create this climax. When this scenario happens, first of all I get my

applause: after all I got four right, which is very impressive.

.

177

Page 178: Ben Harris - Run Silent Run Deep

Then I turn to the one standing:

"Mmm... I am sorry, I guess I got confused with all the other images. I don't know why,

but I thought you were thinking of a black card."

Before I go on, let's take a moment and see what our options are at this point.

I named 5 cards out of the range of 8. That means that three specific cards are still in play:

those are the 2 of Clubs, the 8 of Spades and the 5 of Diamonds. Two of them are black and

one is red. All I need now is a little fishing, which doesn't even sound like fishing. In fact, it is

supposed to look as if I am still talking about my "miss," apologizing for my mistake, while

at the same time I take the chance to get the information I need to find out what card he is

thinking of.

So, when I say:

"... I thought you were thinking a black card," my tone is supposed to mean: "I guess I

made a mistake, then..."

At this point the spectators will feel called to give me some feedback, and will naturally

comment on my last words. If he says something like:

"Yeah... you were wrong, it's not black.”

I just comment, by saying:

"Yep, I was probably thrown off by that 6 of Clubs, I thought yours was black too."

I then take a little pause and continue:

"Well, let's try again. Try and push me the suit and the value of your card. We all know

it's red, so please try and make that color more bright and vivid in your own mind...”

Suddenly, we are back into the game! And I am going to get a direct hit, since there is only

one red card available now.

"I think I can see it clearly, now: it's... it's... yes... I think it's the 5 of Diamonds. Am I

right?”

“YES!”

178

Page 179: Ben Harris - Run Silent Run Deep

Notice that this time, rather than ask him to sit, I prefer a verbal confirmation. This also

suggests the idea that I knew which specific card each of the other four spectators were

thinking of—even if it's not exactly like that.

Let's check the other option, now—if the spectator says something like:

"Well, it is indeed a black card!",

I look at him for a second, as if I was surprised to hear that, and then I say:

"Well, it was not a high card, was it?”

Again, this is supposed to sound as if I am only trying to understand when I made my

mistake.

Considering that his options are a 2 or a 8, it really takes a second to understand which one

he is thinking. If his answer is a quick and firm "No," then he chose the 2 of Clubs. If he says

“Yes,” or if he takes a second to think about it, then he is thinking the 8 of Spades. Usually

when I see that the spectator takes a moment to answer, I stop him by saying:

"Don't tell me, it doesn't matter. Just think about it. Think about your card, now...”

And then I name the 8 of Spades.

Let's take a step back and see what's happening if the spectator is thinking of the 2 of Clubs

instead. When I ask:

"Well, it was not a high card, was it?”

He will answer with something like:

"... Right, it's not high.”

At this point I continue:

"Ah! There! I am sorry: I saw that 6 of clubs, the 8 of spades... I must have confused your

image, but now that it's just me and you I think I can see it. Just focus for a second, push

your image towards me again... Yes... I see clubs, two of them... You must be thinking

of the 2 of Clubs, right?"

“RIGHT!”

179

Page 180: Ben Harris - Run Silent Run Deep

Again, all I asked was a vague question about being high or low, then I was able to name the

correct value and suit. That's good fishing...

3) Three sit, two stand:

Basically, I repeat the above scenario, talking to both spectators at the same time. From

their reactions to my questions I will be able to determine which card each of them is

thinking of.

4) Three or more remain standing:

Ok, this might look a little lame, as I managed to guess only one or two cards. The good

news, though, is that I now have three (or more) spectators standing, and only three

possible cards remaining. That means that I don't need any fishing at all. I just name the 2 of

Clubs, the 8 of Spades and the 3 of Hearts (adding more random cards if more spectators are

standing), and they will all sit. I have tried this effect many times and only once three

spectators remained standing. It was during one of my lectures, so the audience members

were all magicians. I think that was due to the fact that magicians tend to avoid common

numbers, as they are aware of this. In other words, this effect works much better with lay

people.

Last words:

I realize that it is, to a certain extent, a bold presentation. It takes guts and a good performer

to be convincing. Also, it is not 100% sure fire. Potentially there is, in fact, the chance that all

spectators will choose the three cards that you are not naming at first. This never happened

to me. It happened, instead, that all of them sat straight away, after naming the first bunch

of cards. People were so impressed by this effect that I believe it is well worth it to take the

risk.

It's not a smart idea to do this with a few friends at a party, because they might talk to each

other after the show, and find out that some of them thought of the same card. That is a

typical issue for the Tossed Out Deck (in general) as well, so I am sure you already have your

own opinion about this.

Last, but not least, this approach with multiple spectators, makes the fishing procedure

absolutely painless and, more often than not, you won't even need it.

I hope you will give this a try.

180

Page 181: Ben Harris - Run Silent Run Deep

Mario Unger

Thought-of Card To WalletSilent Frixion

Page 182: Ben Harris - Run Silent Run Deep

Mario Unger...is a semi professional mentalist living in Austria.He is married to Martina and has two children—Laura 13 and Sebastian 17.

Page 183: Ben Harris - Run Silent Run Deep

THOUGHT OF CARD TO WALLET

Mario Unger

We’ll use the CrossRoads Set to allow a nice Thought of Card To Wallet routine. This is for

those who like to “jazz the moment,” making it up as you go along. The wallet used is one

that will accept a palmed card.

Firstly, consider every card in the set as a number. This is easy:

2=2C

3=3H

4=4S

5=5D

6=6C

7=7H

8=8S

9=9D

With a handy scalpel (or knife) and steel rule, shorten the five of diamonds. Now, set up your

deck to this tune (top to bottom):

2 (2C)

3 (3H)

22 x-cards

4 (4S)

5 (5D—short card)

6 (6C)

7 (7H)

22 x-cards

8 (8S)

9 (9D)

183

Page 184: Ben Harris - Run Silent Run Deep

To present:

Remove setup deck from box.

While performing the Silent Running procedure (number and suit selection), casually “toy”

with the cards. Nothing fancy, just cradle them as if anticipating that something special is to

come.

When you ascertain the “thought-of” card, secretly take a break at the short card.

NOW, it will only take two cuts—at most—to bring the thought-of card to an accessible

position for either a top palm, a bottom palm, or a Mercury Fold. This is power, and allows

the performer much flexibility in producing the “thought-of” card.

Some examples of how this may play out:

Thought of card is number 7 (Seven of Hearts):

You cut to break.

You then double undercut the top card to bottom. The Seven of Hearts is now on top of the

deck.

Another example:

The “Thought-of” card is card number 2 (Two of Hearts): This time you were lucky. It’s

already the top card. Enjoy! Maybe, as another example, the “Thought-of” card is number 9

(Nine of Diamonds). Here you either Mercury Fold, or bottom palm.

If the card was number 4 (Four of Spades): Then you would cut to break, buckle the bottom

card, and double cut to top. Mercury Fold the Four, which is now on the bottom.

You’ll work out the other possibilities.

Once you have your system in place, you will be prepared to produce an apparently

“thought-of” card from your wallet, or anywhere, on demand!

184

Page 185: Ben Harris - Run Silent Run Deep

SILENT FRIXION

Mario Unger

Mario has applied the modern technology of the Frixion Pen to solving, post reveal, the

“two-number-ambiguity” in Silent Running. This had previously been solved by carefully

“reading” the spectator, or via physical means (see Ben’s Note Pad approach: Silent

Running, Page 23).

What you’ll need:

(1) A Small writing pad.

(2) A “fineline” permanent marker.

(3) A FRIXION “fineline” marker.

The FRIXION marker consists of a special ink that vanishes when HEAT is applied—via

rigorous rubbing—or a cigarette lighter. You’ll find them in various colors at your local

stationers. BOTH pens need to be the same color.

To prepare, leave the top sheet of your pad blank, and write the cards 2 -5 on the NEXT four

pages of the pad with the permanent marker, like so:

Sheet 2: 2C

Sheet 3: 3H

Sheet 4: 4S

Sheet 5: 5D

Cut the lower right corners of the pages so you can easily flip it open on the correct page.

Place the FRIXION pen, and the pad, in your pocket.

In performance, you follow the Silent Running procedure to have the number and suit

“thought-of.” Once this is done, introduce the concept of mind reading, and perform

“Direct Mind Reading” (Silent Running, Page 21) until you have discerned the SUIT. At this

point, you will know which of the TWO possible values the card could be. This is because the

cards in the CrossRoads Set always, (conveniently), travel in pairs:

185

Page 186: Ben Harris - Run Silent Run Deep

Clubs: 2/6

Hearts: 3/7

Spades 4/8

Diamonds: 5/9

We’ll assume, for this example, that the suit is HEARTS. That being the case, your target pair

is 3H-7H. So, you take the pad and FRIXION pen from your pocket, turn to the appropriate

page, and OVER-WRITE the smaller number with the higher number in the pair. Do it

BOLDLY. In the example at hand, you’ll be over-writing a big bold “7” over the “3”.

The same technique is applied to WHICHEVER pair is applicable. Once you know the suit,

you have all the information you require.

Once you’ve scribbled down your psychic impression, rip the page from the pad and

crumple it into a ball. Hand this to the spectator as you put the pad and pen back in your

pocket.

You are committed. Ask the spectator to open the paper and announce either a “Yes” or

“No,” as to the accuracy of the prediction. Emphasize that a simple “Yes” or “No” is all you

require.

If she says “YES,”—then your over-written embellishments (the higher of the two numbers)

is correct. Bath in the glory of the moment!

If she says, “NO”—then you ask:

“Is the suit correct?”

She will have to say “YES”—and you then continue...

“So, I’m a little off on the number, let’s use this flame (borrow a lighter) to focus your

attention...”

Wave the borrowed lighter under the incorrect writing. Do this as you ask your spectator to

“again concentrate on the numeric value” she has in her head. The heat from the flame will

cause the over-written material to vanish. This miraculously turns it into a CORRECT hit,

right before their eyes.

To finish, ask for confirmation. (Although, the look on her face should suffice).

186

Page 187: Ben Harris - Run Silent Run Deep

BONUS

Starman

Page 188: Ben Harris - Run Silent Run Deep

STARMAN

Page 189: Ben Harris - Run Silent Run Deep

STARMAN

Ben Harris

This was one of the first routines I began working on with the intent of moving away from

the traditional playing card application for Silent Running. The idea is to replace the card

values and suits with planets and months/years. Dr. Elmer William Bishop’s Star Deck (the

original is in the author’s collection) provided the inspiration.

The original Star Deck was used by UFO “contactees” (people who claimed to have been in

contact with aliens) of the 1950’s and 60’s. It was utilized in much the same way that

occultists used a Ouiji board. Dr. Bishop initially found nothing of interest with the claims

of Adamski, Fry, etc., but the deck did eventually provide the inspiration for his far flung

(and often amazingly accurate) predictions. The deck has been adapted and modified for

our purpose.

Effect:

The performer introduces the Star Deck and explains how it was used to make various

astronomical predictions in the 1960’s. Many of these predictions have indeed come true.

The most profound prediction, however, is that of “First Contact”—the humanity-changing

event, when we first genuinely encounter intelligent life elsewhere in the universe.

The deck is displayed, showing its various star-field images, celestial maps, a plan of the

solar system, and Bishop’s ninety or so “Event” predictions.

Continuing, the performer explains that the “Event” was/is so profound that it has echoed

back in time and is secretly known by each and everyone of us. “We all feel it in our hearts,”

he declares. Somehow, “we know that we are not alone—we feel it in our bones,” he

explains. An experiment, to prove the point, is proposed.

This humanity-changing “Event,” as predicted by Bishop, “occurred in this current

century,” the performer explains. “It was recorded on a single card,” which is placed onto

the table.

A spectator is now asked to merely think of a number between 1 and 10. This number, it is

explained, could possibly be associated with a decade in question, or maybe even the month

of the profound “Event.”

189

Page 190: Ben Harris - Run Silent Run Deep

Once she has secretly thought of a number, she is asked to associate it with one of the

planets in our solar system. She does this by remembering which planet falls on her secret

number, as the performer counts them off on his fingers. She is then asked to associate her

secretly thought-of planet on one of the many celestial maps and to note if it has an “Event”

number listed along side it. She confirms that it does, and is asked to note the name of the

“Event” on the list of predictions. This she does.

For the first time, she is asked to name her secret number. Let’s say she says, “5.” The

performer explains that this could either mean the FIFTH DECADE of this century, or the

FIFTH MONTH (MAY) of the year in question.

So, we have: a FIFTH DECADE and the month of MAY. She is then asked what planet she has

thought of. We’ll assume she says: MARS. She now also names the “Event” she has

associated with the planet. We’ll assume it’s called the “BIRTH EVENT.”

To recap. The spectator has, via the Star Deck, and a free choice of number (one she felt, in

her heart, may be relevant), established the following information:

FIFTH DECADE

MONTH OF MAY

PLANET MARS

BIRTH EVENT

The prediction, made by Bishop in the 1960’s, that has been sitting UNTOUCHED on the

table all the time, is now turned over. It reads:

“First Contact: This amazing event (MAY, 2051) will occur on PLANET MARS and will

become known as the BIRTH EVENT!”

Method:

The Star Deck does all the work for you. If you’ve made one according to the instructions

(see Appendix), you will be aware that the bulk of the deck is set up using the Svengali

principle, allowing all of the possible predictions (eight of them) to be hidden. The Silent

Running process is used to force one of the eight outcomes, and an “Optical Turnover” used

to switch in the correct “Event” at the climax.

Performance:

With the deck prepared and set up as explained in the Appendix, proceed as follows:

190

Page 191: Ben Harris - Run Silent Run Deep

1. Introduce the deck and explain the backstory. Discuss the wonders of the universe, the

likelihood of us being the only intelligent(?) life amoungst the stars, and Dr Bishop’s

predictions. If desired, hand out the top card of the deck (entitled “About The Star Deck”) for

any curious spectator to read out loud. When done, place this card aside, it will NOT be used.

2. Display the Prediction Card (this is the one reading: “this is the most profound moment I

see in the Star Deck”) and without flashing the star-field on its underside, place it in full

view to one side.

3. Leaving the two “Event List” cards atop the deck, flick through the cards in established

“Svengali-style” to display a flurry of star-field images and celestial maps. Photos 1 and 2.

The short cards interlaced between the full length cards, will force them to fall in sets of

two, thus concealing all of your prediction cards.

191

1

2

Page 192: Ben Harris - Run Silent Run Deep

4. Ask your spectator to think, silently, of any number between 1 and 10.

“This event occurred in one decade this century. It could have been the 2nd decade,

the third, the seventh, you think of which decade it MAY have been. Just think of any

number between 1 and 10—whatever your heart tells you.”

5. Now, ask your spectator to associate a planet with her number. Using the Silent Running

procedure, call off the bodies in the solar system (holding up your fingers as per the original

procedure) in this order to force the appropriate match:

(1) Sun

(2) Mercury

(3) Venus

(4) Earth

(5) Mars

(6) Jupiter

(7) Saturn

(8) Uranus

(9) Neptune

(10) Pluto

The spectator will now be associating one of these celestial bodies with her number.

6. Again, flick through the deck, Svengali-fashion, displaying all of the star-fields. Ask the

spectator if she feels any affinity with any of them. Despite her answer, turn the packet over

(ensuring that the words on the celestial maps now face the spectator) and begin thumbing

the cards from your LEFT hand into your RIGHT hand. Ask the spectator to stop you when

she sees a map that contains HER THOUGHT-OF PLANET. Do this fairly briskly so that she

really only has time to fully perceive the LARGE force planets on every SECOND card. Photo

3. (Each of these cards has the appropriate prediction on its back, the cards interlaced

between them—with star-fields on their backs—are dummies only).

7. Once she has indicated her card, remove it from the spread (without flashing its back) and

draw attention to the fact that there are SEVERAL planets on the card (her large planet and

a couple of small ones). Flip the balance of the deck over and drop her card on top of it.

8. Perform a Double Turnover (turning the top two cards over as if one) in order to display

the star-field supposedly printed on the back of her card. Ask her if she feels any affinity

with this image. Squeeze whatever entertainment you can from her answer, and then flip

the pair back over.

9. Now, ask the spectator if there is an “Event” number beside her planet. She will say “Yes.”

Placing the card alone on the table, hand her the two “Event” list cards and ask her to look

192

Page 193: Ben Harris - Run Silent Run Deep

193

3

4

5

Page 194: Ben Harris - Run Silent Run Deep

up the appropriate “Event.” Once she has done this, you recap by emphasizing that she

freely chose a number that she felt an affinity with, a planet and an event. Reiterate that her

number could be related to a decade, or maybe a month.

10. For the first time, ask the spectator to reveal the details. You then associate her number

with the appropriate DECADE and the appropriate MONTH. (Example. 2 = the SECOND

decade, and the month of FEBRUARY. Another example: 6 = the SIXTH decade and the

month of JUNE). Then have her reveal the name of the “EVENT” she referenced on the list.

11. Once you have had the details announced, reveal the “prediction hit” via an “Optical

Turnover.” To do this, slip the spectator’s card below the prediction card, and then, in one

smooth action, use it to flip the prediction card over. Photos 4 and 5. These actions switch in

the back of the spectator’s celestial-map card—where it then pretends to be the flip side of

the original Bishop prediction. The fact that the “other” card now shows a star-field on its

back, makes this the perfect switch for this application.

Notes:

This effect is all about capturing the imagination of your spectators. It’s about keying into

one of the most profound questions we can ask: “Are we alone in the universe?” So,

PRESENTATION is everything.

The effect can be achieved without the use of the Silent Running procedure. You can start by

having the spectator think of a planet, and then have them lock into the “planetary

number” printed on the “Solar Objects” card. You can also do this in reverse by having them

think of a number and then associate that with a planet (again by looking at the “Solar

Objects” card).

Try making the association with the number more personal by having the spectator add

the digits of their birth date together. Have her compress them in the tried and tested

numerological manner, until she arrives at a single digit between 1 and 10.

The objects represented by the “Solar Objects” card, are deliberately numbered the way

they are, to both eliminate Pluto and the Sun, and to shift the number “3” away from the

“Third Rock.” This removes the temptation for a spectator who chooses “Earth,” from

defaulting to “3” automatically, due to familiarization with that sitcom.

194

Page 195: Ben Harris - Run Silent Run Deep

APPENDIX

Templates

Page 196: Ben Harris - Run Silent Run Deep

APPENDIX

Page 197: Ben Harris - Run Silent Run Deep

Silent PastTemplates

Print these photo templates out ona high quality photo paper with a laser

or ink-jet printer. Trim alongguidelines or trim to leave

a white border.

197

Page 198: Ben Harris - Run Silent Run Deep

Silent Past Photo Templates

Copyright © 2010 by The Underground CollectiveAll marketing/manufacturing rights reserved.

You are permitted to produce one (1) setfor your own personal use.

198

Page 199: Ben Harris - Run Silent Run Deep

Silent Past Photo Templates

Copyright © 2010 by The Underground CollectiveAll marketing/manufacturing rights reserved.

You are permitted to produce one (1) setfor your own personal use.

199

Page 200: Ben Harris - Run Silent Run Deep
Page 201: Ben Harris - Run Silent Run Deep

StarmanTemplates

201

Page 202: Ben Harris - Run Silent Run Deep
Page 203: Ben Harris - Run Silent Run Deep

PRINTING AND ASSEMBLING

A STAR DECK

On the following pages, you will find the templates allowing you to print your own Star

Deck. This artwork is mono—producing a black and white set of cards. It is suggested that

you “age” the finished deck (with strong black tea) to give it a genuinely old appearance. If

you pre-ordered this book, then you will have also received a color set of templates. These,

you do not age.

For now, you’ll need 5 sheets of card stock (A4 or Letter size) that will run through your laser

or ink- jet printer. You will also need a sharp knife (or scalpel), a steel rule, and a cutting

mat.

Printing The Star Deck:

The card stock used needs to be thin and stiff. You’ll find something suitable at your local

stationers. A little experimentation may be called for. For the very best card stock, I would

suggest you get in contact with Chris Wasshuber at Lybrary.com. Chris has “air cushion”

finish stock available, just like what they use to print genuine playing cards. This card stock

is wonderful, and will give your Star Deck a lovely fit and finish. At the time of writing, the

cost is $20.00 for ten A4 sheets—enough to make two Star Decks. Find out more here:

(http://www.lybrary.com/blank-aircushion-playing-card-cardboard-sheets-p-31762.html).

1. Print SET A (Backs 1,2,3,4)

2. On the BACK of this sheet print SET A (Fronts 2,1,4,3)

3. Print SET A (Backs 5,6,7,8)

4. On the BACK of this sheet print SET A (Fronts 6,5,8,7)

5. Print TWO sheets of SET B (Backs)

6.On the BACKS of BOTH print SET B (Fronts)

7. Print SET C (Backs 1,2,3,4)

8. On the BACK of this sheet print SET C (Fronts 2,1,4,3)

Ensure that the orientation is correct. In other words, after printing, the artwork on both

203

Page 204: Ben Harris - Run Silent Run Deep

sides should “face” in the same direction. “Head to head,” as it is called in the printing

industry. Some printers flip the sheets, so be careful. Best to experiment first so that you

know how YOUR printer behaves when printing two sides of a sheet. Once printed, allow

the ink to dry.

Trimming your Star Deck:

9. Using your scalpel and steel rule, carefully cut out the cards from SET A. Once done,

shuffle this packet into a random order (ensuring all cards are orientated in the same

direction) and place the packet to one side.

10. Do the same with SET B. However, once you have cut the cards out, TRIM AN EXTRA HALF

A MILLIMETER from one NARROW end of each card. This will set them up for the Svengali

Principle. Shuffle this packet into a random order (ensuring all cards are orientated in the

same direction) and place the packet to one side.

11. Cut out SET C, and also place this packet to one side.

Assembling your Star Deck:

12. Place SETS A and B in front of you, MAP SIDES DOWN, and orientated so that the writing

(on the maps) is facing AWAY from you. Alternate the cards from the sets so that you end up

with ONE packet. Do this by firstly taking a card from SET A and placing it on the table, map

side down. On top of this, place a card from SET B (again, map side down) and so on. Once

done, a B/W image of a star-field should be seen as the top card, Photo 1.

204

1

Page 205: Ben Harris - Run Silent Run Deep

This single packet is now set up with the Svengali Principle—allowing you to flick through

the cards showing nothing but maps and star-fields—the predictions remaining concealed,

Photos 2 and 3.

205

2

3

Page 206: Ben Harris - Run Silent Run Deep

13. Place the remaining four cards (SET C) onto the combined packet, to this order:

A. EVENT card (list side up).

B. EVENT card (list side up).

C. PROFOUND MOMENT card (writing side up).

D. ABOUT THE STAR DECK card (either side up).

Thus, the very top card of the deck is the ABOUT THE STAR DECK card. Your deck is now

complete, and ready for performance.

206

Page 207: Ben Harris - Run Silent Run Deep

1 2

3 4

Set A (Backs)

207

Page 208: Ben Harris - Run Silent Run Deep

5 6

7 8

Set A (Backs)

208

Page 209: Ben Harris - Run Silent Run Deep

2 1

4 3

Set A (Fronts)

MERCURY

EARTH

VENUS

MARS

SATURN

NEPTUNE

SATURN

EARTH

JUPITER

MARS

JUPITER

JUPITER

XG6

D2

A37A68

A68

A51

A68

A76

A76

A92

A23

A51

A48

A48

A26

A84

A10

A19

A56

A63 A56A19

A10

A84

209

Page 210: Ben Harris - Run Silent Run Deep

6 5

8 7

Set A (Fronts)

JUPITER

URANUS

SATURN

NEPTUNE

SATURN

NEPTUNE

MERCURY

EARTH

MARS

MARS

JUPITER

JUPITER

XG6

D2

A76A76

A51

A51

A83

A92

A92

A23

A68

A68

A48

A68

A26A84

A10

A63

A19 A56 A26

A56

A84

A63

210

Page 211: Ben Harris - Run Silent Run Deep

Set B (Backs)PRINT TWO SHEETS

211

Page 212: Ben Harris - Run Silent Run Deep

Set B (Fronts)

SATURN

NEPTUNE

SATURN

EARTH

JUPITER

MARS

JUPITER

JUPITER

XG6

D2

TWIN SPIRAL

ANDROMEDA

Tt2

Tt2

A92

A51

A48

A68

A68

A68

A76

A76

A31

A31

A19A45 A56

A56

A10

A10

A84

A63

212

Page 213: Ben Harris - Run Silent Run Deep

1 2

3 4

Set C (Backs)

About the Star DeckDr. Bishop’s work with the Star Deck came several

years before his meetings with the famed UFOcontactees of his era. The most famous of theseencounters supposedly involved the legendary

George Adamski.

While Elmer did not take most of theclaims made by the “buzz-boys” (as he called them)

seriously, his imagination was indeed sparkedto further delve into the “star deck.”

The resulting revelations have proven eerily accurate.Through the use of this deck, he has presented theworld with a galactic time-table, stretching across

the 21st century.

NOTE:Bishop categorized events into two classes:

Alpha (A)

Beta (B)Only Class “A” events are represented

within the Star Deck.

The original Star Deck is in theDr. Elmer William Bishop collection.

This current deck is an updated version.

A10. “Nomad Event”A11. “Sagan 2 Launch”A12. “Mars Water Test”A13. “Nomad Return”A14. “Cassini Encounter”A15. “Disc Ammar probe”A16. “Orion Signal”A17. “Loss of Moonbase”A18. “Retro Space disc”A19. “Contamination”A20. “Sagan 3 Launch”A21. “Shufton Super Nova”A22. “Mars Walk #1”A23. “Awakening Event”A24. “Neptune Affliction”A25. “Moonbase #2”A26. “Unger Matter disc”A27. “Ran Pink Event”A28. “Stellar Stall”A29. “Tesei Matter disc”A30. “Antimatter ship”A31. “Roland strip disc”A32. “Water on TT2”A33. “Dusheck Dimension”

A34. “Time Slip Disc”A35. “Signal from Sagan 1A36. “Black Hole Breach”A37. “Dawn Event”A38. “Felicitti Free Space”A39. “Taylor Time disc”A40. “Loss of Sagan 1”A41. “Mars Base 1”A42. “Earth near miss 1”A43. “Badman Space disc”A44. “Mars Failure”A45. “Holographic Time”A46. “Disc probe from TT2”A47. “Bob Delusion”A48. “Enlighten Event”A49. “Miller Matter disc”A50. “Mars Mission 3”A51. “Birth Event”A52. “Great Comet”A53. “Star Matter Drive”A54. “Teletransporter”A55. “Sideways Time”A56. “Hitchen’s Matter”A57. “Hawking’s Base”

A58. “Sakai Space disc”A59. “Loss of Mars Base”A60. “Saturn Event”A61. “Giant Sunspot Event”A62. “Artificial Moon”A63. “Space Rip at D34”A64. “Comet Near Miss”A65. “Evacuation MB2”A66. “Nano Mass Drive”A67. “New World Plan”A68. “Welcoming Event”A69. “The Roth Event”A70. “Earth re-build 1”A71. “Black Hole Engine”A72. “Antimatter Backlash”A73. “Dual Universe disc”A74. “Moon 3 collapse”A75. “Clone Revolution”A76. “Rising Event”A77. “Banachek Binary”A78. “Berglas Effect”A79. “Starbase 1 est”A80. “Two World est”A81. “Signal from T77”

A82. “Nomad’s return”A83. “Final Proof Event”A84. “Eden Project”A85. “Grant’s Event”A86. “Re-Earth Project”A87. “3rd Moonbase”A88. “Gardner Gap est”A89. “Maximum Drive”A90. “Sagan 1 reappears”A91. “Jason’s Star disc”A92. “Clarifying Event”A93. “Nurture Event”A94. “Total Loss Event”

CLASS “A” EVENTS21st Century

CLASS “A” EVENTS21st Century

For a full description of bothclass “A” and class “B”

events, please consult thebook:

Galactic Event Categoriesand Explanations

by Dr. ElmerWilliam Bishop (1966)

213

Page 214: Ben Harris - Run Silent Run Deep

2 1

4 3

Set C (Fronts)

Mercury

Venus

Earth

Mars

Jupiter

Saturn

Uranus

Neptune

Pluto

Sun

plan of mainsolar objectscirca 1960

“...there are manymore than ten and

debate will rageabout classification

well into thenext century.”

Dr. Elmer Bishop, 1962

Dr. Elmer William Bishopdeveloped many strange theories and

demonstrations throughout his secretive life.

His work with the Star Deck in the 1960snot only predicted the Hubble Telescope,the exact date of the first Shuttle Launch

and the confirmation of black holes, italso lays clear what is to come: from the date of

man’s first footsteps on Mars, to thehumanity-resolving moment of

“First Contact.”

1

2

3

4

5

6

7

8

9

10

214

Page 215: Ben Harris - Run Silent Run Deep
Page 216: Ben Harris - Run Silent Run Deep

WOWBOUND.COM

Easy & Effective MagicCardStunning & Mysterious

MagicMental “Ben Harris has always been incredibly creative and is constantly coming up with truly off the wall ideas with methods that are original and innovative. In 2009 he sent me his "Crossroads Deck." I thought it was great. When he released it to the magic world, it created a sensation.

In early 2010, he improved the principle using a clever dodge of Peter Duffie's and brought out "Silent Running,” which created even more of a sensation. It enabled the performer to influence, genuinely, which card a spectator will think of. The whole process is incredibly clean and works like a charm. It's a great step forward in prop-less mentalism...”

Marc Paul(from the Foreword to Run Silent, Run Deep)