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CARNIVAL OF SECRETS NEAL SCRYER +7

Other titles in this series: The Practical Psychic's Little Black Book The Practical Psychic's Little White Book Neal Scryer & Friends

GARNIVAL OF SECRETS Neal Scryer +7

By Richard Webster Brookfield Press

Flrst published 20J.2 by BROOI(FIELD

PRESS

8 Napa Court, Auckland 2016, New Zealand

The copyright for all the efFects in this book are retained by the originators. This arrangement @ Brookfield press 20 j_2

978-86-467 -O89L-7 All rights reserved. No part of this publication may be used or reproduced in any manner whatsoever, including lnternet usage, without written permission from Brookfield press, g Napa Court, Howick, Auckland 2OL6, New Zealand. phone 064-9-535 -2344 rsBN

WARNING! DO NOT USE ANY OF THE INFORMATION CONTAINED IN THIS BOOK UNLESS YOU READ AND AGREE TO THE FOLLOWING IN FORMATION :

lnvolvement in dangerous performance pieces carries a significant risk of damage to property, personal injury or death. lf you should choose to perform effects in this book, you do so at your own risk. Frankly, you owe it to yourself and your audiences to appreciate and understand the risk involved in effects and performances tempting fate. The authors, editors and publishers of this book recommend that you should become knowledgeable about the risks invorved and assume personal responsibility for your actions. Be warned that you must exercise your own judgment as to the difficulty and your ability to safely protect yourself from the inherent risks and dangers. Do not use the information provided in this book unless you understand and accept the risks of performing the more dangerous performance pieces contained herein. Performing or practicing or any other use of the information contained within this book is purely the voluntary will of the performer or end user. You shall not hold the publisher, authors, editors or other contributors responsible for any incidents related directly or indirectly to the materials published within this work. The authors, editors and publishers assume no liability or responsibility for your actions.

DEDICATION We'd like to dedicate this book to one of the great unsung heroes of our art: Jerome Finley

ACKNOWLEDGMENTS As always, many people have been involved in the production of this book. lt's been a privilege and delight to work on this project with such good friends. We'd especially like to thank: Marc salem and Bob Cassidy for writing the Foreword and Afterword. Peter Arcane, Loyd Auerbach, W. M. Barclay, Mark Caretz, Max Maven, and Michael weber for their contributions. Paul Romhany for doing the page layout and interior design.

The entire team at stevens Magic Emporium for designing the cover, and promoting the book. We'd also like to thank yOU for buying this book.

@@N,ffi,EAXTINS FOREWORD (or

FORWARD)............ .........10

FIRST GOOD KISS, FIRST BAD PAPER

KISS

BALLS

.......11

.............13

MYSTICAL SU BL|M|NAL SVENGA1| .......................... 1 5

THREE OBJECTS OVER THE PHONE ......................18 SCRYER'S FEATH ER READ I NG ............. ...................21 SCRYER'S LOTTERY LIE DETECTOR TEST ....,......23 SCRYER'S BLINDFOLD THOUGHT DUPLICATION ..26

READING MAYYOUR W|SH COME TRUE BUSINESS CARD

......29 .................31

THREE EFFECTS USING A THUMPER .....................33 SMASH AND STAB

............

.........37

............ .....39 GROUP READING A TO Z ............. .............40 SCRYER'S GROUP CLEARING

SCRYER'S CARNIVAL OR AMUSEMENT READING.42

SEANCE. PENDULUM SVENGALI..........

SCRYER'S EASY

........44 ....48

SCRYER'S SNEAKY CARD ATANY NUMBER ..........51

EV|L.. THE EYES TELL.... GOOD OR

.........54 ......56

SCRYER'S COIN BEND IN COIN PURSE OR COIN ......._..._.1..,....L]..'....ua

ENVEIopE............. POSITIVE CHANGE

....60

SCRYER'S TOSSED OUT BOOK

TEST

...,.62

SCRYER'S CONTACT OR LIE DETECTOR BOOK ......64

TEST"""

SCRYER'S HELIUM BALLOON SCRYER'S HAUNTED A TH|N

WISH

........66

PEN

........68

ltNE........

.........72

SCRYER'S TIP WITH RESTAURANT STAFP.............75

STORY............. AFFtNtw CARD PLAYING BY EAR RINGS ON THEIR FINGERS UNLOCK A READER'S

.....77 ..........80 .......82 ......86 ......89

QUALITIES OF THE BEST PSYCHIC

PRACTITTONERS:.

......s2

MICHAEL WEBER'S SIX GOLDEN RULES" ............100 ASTRAL

TRAVEL

THE JOHN LENNON

,,,...1O2

SEANCE.............

....112

W@JR{BVJI

@RlE (or FoRWARD)

Forward is often defined as moving ahead. To continue, and to go further.

This book does all that......BUT MORE: This tome doesn't just move ahead, it MOVES A HEAD. Yes, the devious ideas will leave your spectators' heads spinning. I may or may not know Neal. (l'm not even sure I know me). He is everywhere and nowhere. He is isolated, but surrounded by confidantes . He is rarely seen performing, but has millions of fans. He is both known and unknown. My head just hurts thinking about this disappearing dervish of demonic delight. As a friend, one can have no one fiercer. He atways has you back. As an enemy . . . well he has none . . .you see they have all become one with the earth. Beyond his obvious gifts, creative genius, warmth, humor, ideas galore, he is also a complex man . . . or men, who defies description. His friends and collaborators are legion and proof enough of the high regard with which he is held. And that proof continues to be published.

The latest is in your hand. Use it wisely Enjoy it, while you can. Marc Salem 2OL2

L0

PtS,W

0'00D KWS', tsND KU$S

ErUmtS,

This is one of Neal's favorite openers when doing a ladies only home psychic party. He starts by asking, "How many of you remember the first great kiss you ever had? Please raise your hands." Neal smiles as he looks at the women. "That's great. Now, how many of you remember your worst kiss? Please raise your hands. That's good. What I'm going to try to do is to sense between the good and bad kisses. Would the people who remember their first good kiss raise their hands again." Neal hands each of them a business card. "On the back of my card please print the name of the person you kissed." Neal repeats this with the people who remember their worst kiss. He asks a lady to collect the cards and give them a thorough mix. When she's done that, she hands the cards to Neal. He looks at the top card, and then pauses for a moment. "l don't want anyone to say anything that might tip me off when I call out the names. ls that okay? Good. Now let's see - the first name is Robert. Yes, I sense he was a top kisser. You were crazy about him. ln fact, you couldn't resist him. Please don't send me anything else. lt's your secret." Neal walks over to one of the ladies, and shows her the card. "ls this yours?" She looks astonished. "Yes,

it is."

Neal looks at another card. "This name is Tony. I sense you were very disappointed. He wasn't very good. I don't think you saw him again." Neal walks

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over to another lady, and hands her the card. "l believe this is yours." Again, he is correct. Neal sometimes stops at this point, having revealed one good kisser and one bad kisser. Sometimes, he does it this twice more, revealing another good kisser and another bad kisser. METHOD:

The cards are marked. Neal marks the good kisser cards on the right side of his business card, and the bad kissers on the left. When he hands out the cards, he nicks the cards of one or two of the good and bad kisser cards, so he knows who to return them to. ln practice, Neal has the top card of his stack of business cards already nicked for the good kisser. The bottom card of the stack is already nicked for the bad kisser. lf you wish, you might prefer to nick the third card from the top and the third card from the bottom. lf you intend identifying two good and two bad kissers, you might use the first and third from both the top and bottom of the stack. Neal usually performs this with one good kiss and one bad kiss. Most of the time, Neal does an A to Z reading on the name written on the last card. Despite its simplicity, this is an extremely strong piece. Neal works on the principle that the easier the effect, the stronger it is, as you can focus entirely on the presentation.

t2

PAPffiEt tsAI,LS At a party, Neal will approach a lady. Let's assume her name is Lisa. "l sense that you're very psychic," he says. "ln fact, I sense there's a strong psychic connection between us." Neal takes five crumpled paper balls from a pocket and tosses them onto a table. "Let's try something," he continues. "l'll place my energy on two of these balls." Neal places his hands over two of the balls. "Please sense the one you'd like to remove." When she indicates one, Neal removes it. "Now it's your turn. Put your hands on any two balls, and I'll try to sense which one to remove." Neal indicates one of the balls, and it is removed. "There are just three balls left. I'll put my hands on these two. Now, go deep into your psychic abilities, and sense which one you want to remove." When she indicates a ball, Neal removes it. "There are just two balls left. Place your hands on them, and I'll sense the one I want to remove." Again a ball is removed, leaving just one ball. Neal smiles at Lisa. "lf we both used our intuitive skills, we'll have the correct one. Earlier, I took the liberty of writing something on one of the balls. Will you open the other four balls." Lisa does, and nothing is written on any of them. "Would you now open the ball that we both intuitively chose." Lisa opens it and reads: "l sense you and Scryer make a perfect team. I hope you have succeeded intuitively, and are left with this message. You are a gifted person, Lisa, and your psychic abilities are unlimited. lf you work hard on this gift, you will reach your goals. Feel free to contact me if you have any questions." L3

MffSWT(OAI, SUBI,WruilVI

METHOD:

This is simply the PATEO force. You need to secretly learn the person's name beforehand. If you crumple the ball containing the message smaller than the others, you'll be able to identify it once they are placed in a row. Alternatively, you could carry four balls in one pocket, and the ball containing the message in another. Mix them up on the table before starting the force, but make sure to keep an eye on the force ball. It's not necessary to include the person's name, but it adds enormously to the effect, as people will be stunned that you somehow know their name. Don't play this effect short. lt makes the other person feel empowered and successful. She's also demonstrated her psychic abilities. Instead of using crumpled paper balls, you might use five business cards. The one containing the message is marked. ln this version, you can ask the person to mix the cards for you. lf you don't wish to mark a card, you can have the card with the message on it at the bottom of the stack. Casually mix it to the top, and then back to the bottom, before laying them out.

S\ffB,[V'0'AU"U( Neal asks someone to cut a deck of cards, look at the card she cut to, and then replace the packet she cut off. He then asks her to cut the deck a few times to make sure the card she looked at is completely lost.

"There is no way that you or l, or anyone else, could possibly know where your card is," Neal says, while producing a digital recorder. "This is a recording device. I recorded a mystical sound on it. You won't be able to hear it consciously, but your psychic sense will subliminally hear it. Would you please start dealing the cards into a pile until you sense it's time to stop." Neal turns on the digital recorder, and his volunteer starts dealing the cards. Sooner or later, she'll stop. Neal asks her to turn over the last card dealt. Amazingly, it is the card she looked at. METHOD:

The name of the effect says it all. Neal uses a Svengali deck, and the volunteer can stop whenever he or she wishes. Neal silently counts the cards as they're dealt. lf the last card dealt is an odd number, he asks his volunteer to turn it over. lf it's an even card, she looks at the top card of the stack still in her hand. Sometimes Neal records twenty seconds of new age music. He tells the volunteer that when the music stops, she will be dealing the card she selected. Neal also sometimes uses a plastic flute. He steps several feet away and plays the flute while the volunteer is dealing the cards into a pile. He keeps

74

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tracl< of the number of cards dealt, and stops on an odd number.

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