lfirst became aware ofthe process ofEquivoque in my early
teens. Because so little information was available on this
subject, I was forced to develop my own principles built on empirical research. As is often the case, these circumstances led me to an understanding of the subject that is probably greater than what I would have been able to learn from written guides, had they been available. Given the above, why have I written such a guide m~ self? The answer is that I hope my work in this area will help others in their own field testing. with the understanding that reading this manuscript in no way eliminates the need for such experimentation on the part of the reader. This is a difficult process to learn properly. and conveying this process through the printed word has not been easy. By itself, this essay is worth nothing. Combined with your own explorations. this treatise can hopefully aid you in developing your own skills with Equivoque. This essay wasfirst written in 1976.
Phil Goldstein
entalism is not magic in cerebral drag. It is true that
M the two fields share common technical roots, and
that many of the great practitioners of one faction have been highly adept at both. However, there are radical differences between the two. All of the great mentalists have eschewed the use of magician's props, preferring to utilize the most commonplace materials-at least in outward ap- pearance. I am not demeaning the value of elaborately prepared working materials. Many such devices are quite worthwhile. However, I maintain that it is absolutely necessary for the working mentalist to avoid building a dependency on "things" with which to accomplish a performance. The late Theo Annemann once said about our art, "When you get to the root it is nothing but your personality and wits against that of your watcher, and a case of telling him to do as he pleases and then letting him do what you want him to do." Probably no other technique in mentalism is as "pure" in this respect as Equivoque-s-tue "Magician's Choice." Equivoque is one of the most valuable tools to the mentalist, if it is used properly. If it is handled poorly, it is embarrass- ingly transparent to the audience. If it is worked successfully, it is straightforward mindreading-without gimmicks or props. Every mentalist has had the experience of being ap- proached by a lay person, offstage, and the request (or demand) made, "Read my mind, here and now!" Equivoque is a perfect solution to this challenge. By just grabbing a handful of change, or a few objects off the dinner table, and applying the techniques of verbal control, the performer can provide a lasting impression that will prove hislher abilities to the most cynical observer. Given how valuable this technique is, it is most surpris- nothing could be further from the truth. Also, it serves to ing to find how little information is available in the literature take the spectator off his/her guard-and thus in::rease your of mentalism giving detailed attention to this subject. Most control over the spectator's actions. often, Equivoque is given only the briefest of descriptions, if Before explaining this "overkill" technique, let me any at all. The only writing to cover the "Magician's digress for a moment. There are situations in which the Choice" in any intelligent detail at all is that of Gene Grant objects to be chosen from will be quite differeta, In such a in his excellent 1956 treatise Phantini's Mental Key. Grant situation, one or two of the objects may strongly stand oat calls his approach "Phantinism," and it is very good. My from the others, due to size, color, etc. An outstar-ding item own work in this area goes a bit further in detail, and I pro- should not be used as the force object, for psychoklgically the pose to break down my approach explicitly. spectator will avoid it via the same "too obvious" reasoning Before I start, I should point out that my handling of previously discussed. Equivoque is by no means the only approach to this tech- For the purposes of this technical discussXm, let us nique; nor is it necessarily the best. As with most presenta- assume that the five objects are U.S. coins ~ diffe:reut tional theories, what works well for one performer is not denominations: a penny, nickel, dime, quarter, and fifty-nt always sound for another. I suggest that you study my tech- piece. The fifty-cent piece is a "too obvious" item: i1 is much nique and analysis, and then apply it to your own work. larger, and of significantly greater value than my of the When you evolve your own technique, you will have a valu- other coins. The next least likely selection will be the penny, able skill that will serve you well in a tremendous variety of due to the color difference between it and the rest of the circumstances. coins, and its lesser value. The spectator doesn't k::.ow it, but In essence , Equivoque is a process of psychological forc- the choice is already limited to three possible coins-abe ing combined with double entendre. The spectator is asked nickel, the dime and the quarter. On his/her inizal choice, to choose an item from a small group . His/her choice is the spectator will almost certainly reach for OLe of these guided by psychological factors . If necessary , a "narrowing three coins. process" is used , in which the spectator's actions are ma- Let's assume our choice for the force coin is ~ quarter. nipulated by instructions which seem to be specific , but in We'll place the quarter in position D. The reason busing D fact are open to multiple interpretations. instead of B will be explained shortly. Now, in oroer to move When a person is confronted with a horizontal row of the spectator toward the right end of the row ~-:cn heJshe objects, and asked to take one, hislher choice is not com- makes the initial selection, we'll position the fifty.....cent piece pletely random to begin with. Assume the number of objects and the penny in the first two positions (A and 3). In this we're dealing with is five. manner, when the spectator approaches the row, there will In a row of ABC D E, the object in position C will be a subconscious move away from the "extreme" coins on almost certainly not be chosen, for its central Iocation makes the left. it seem too "obvious" to the spectator's subconscious mind. Naturally, the positioning of the coins is don: casually. For the same reasons, he/she is unlikely to pick either A or We don't want to give the game away by suggesting to the E, for they are at the ends of the row, and thus too spectator that at the outset we are setting up the pcsitions of "extreme." The spectator is therefore most likely going to the coins toward a purpose. At the start of the test, you reach select either object B or object D. Furthermore, if the specta- into your pocket and dump out a handful of coins, Remove tor is reaching with the right hand, the choice will most the five different coins, and casually lay them out in the likely be item D; reaching with the left hand will lead to a order from left to right: half-dollar. penny. dime; quarter, choice of B. The spectator's subconscious mind attempts to nickel. Your choice of positions should seem to bearbitrary. avoid the "obvious" choices-and thus plays right into your The prediction is made. You can write "quarter" on a hands! scrap of paper, or else hold a sixth coilr-anOlher We want to take advantage of this psychological set-up quarter-in your fist. Now you are ready to begia the test, as much as possible. Also, we need to protect ourselves, by but before starting your instructions to the specator, you laying the foundation for the narrowing process, should the begin your "verbal overkill." spectator's initial choice be wrong. In other words, if it be- What I do in this type of situation is along mese lines: comes necessary to make the spectator do further selecting, "Before you is a row of coins. In a moment, fOEr of these we want himlher to assume that such was our intention from coins will be eliminated, for I only need one com to match the very start. We must conceal the fact that these further my prediction. As you look over the row, you will aotice that instructions are being delivered after the fact. there are many psychological factors regarding Cese coins Aiding us in all of this is an approach that might be that might make you more attracted to one than the other. termed "verbal overkill." It is a manner of instruction which The penny is a different color. The dime is the snallest in is designed to do several things. Most importantly, it will size, while the half-dollar is the largest. The quarter is tails- allow maximum flexibility should the "narrow process" side-up, as is the penny . The nickel is thicker than my of the phase be entered. In addition, it will convince the spectator other coins. The dime is in the center of the row; me nickel that your instructions are precise and deliberate, when in fact to one end, the fifiy-eent piece to the other. There are differ- ent pictures on each of the coins which might appeal to you Why the left hand? You make this specification for three in one way or another. The light might be hitting the coins reasons. First of all, we know that the use of the left hand in such a way as to make one of the coins shine brighter than will cause most spectators to reach to the right, toward the the others from where you are sitting. All in all, there are ) force position (D) . Secondly, the spectator is (we'll assume dozens of psychological factors involved with these coins, for the purposes of this essay) right-handed. To make a but think you will agree that there are so many factors in- ) right-handed person work with the left hand adds to the volved that they more or less cancel each other out, and there sense of confusion. Not being used to leading with the left is no way 1 could know which factors are going to affect you hand, a person will be more likely to flow with the basic and which will not. Do you agree?" psychological factors and go straight for the quarter. Let's analyze this pitch. First of all, note that the pri- Lastly, your emphasis increases the sense that you are mary statement is not that a coin is about to be chosen; following a deliberate plan which you've pre-thought. The rather, it is that four of the coins will be eliminated. Note specific direction thus gives you an "either/or" state. If the that this wording sets you up for the "narrowing process," spectator picks up the force object, your specifically stated should you need to enter that phase later. Also, note the use instructions makes that statement seem final, and suggests of the phrase, "1 ... need one coin." Again, this wording will that you did not plan to go further. be important if and when the "narrowing" phase is entered. If, however, the subject does not pick up the force item, You are laying the verbal groundwork for a potential future your specific instruction lends itself immediately for entry process of multiple interpretations. into the "narrowing" phase, for you instantly continue your Observe that in all of the preceding verbiage, the words instructions as if this was what you had planned from the "select," "choose," "pick out," etc. are never used; they are start. Assume that the spectator has not taken the force instead implied, with the less-specific word "attract" The object, but has instead opted for the nickel. complementary concept of "elimination" is the one actually You immediately bark, "Pick it up!" This is delivered stated. Once again, you are setting up an ambience of multi- with a shade of impatience-as if you had told the subject ple interpretations. specifically to pick up the coin in your initial instructions. In The opening monologue serves other purposes . It func- fact, you did not: you told hirnlher to touch a coin. But by tions as a focusing device, establishing the idea that you are impatiently adding this extra instruction you throw the sub- controlling the situation. Note that you have yet to tell the ject further into the confused state, and make it seem as if spectator exactly what he/she is going to do. The spectator you'd planned to continue all along. knows that a choice is about to be made, but he/she is wait- You keep going by saying, "And now reach out with ing for your Iead. Psychologically, the spectator is feeling your right hand, and pick up another coin, for as I told you, just a bit confused, and will therefore look to your authority an elimination must be made." as a guide out of that confusion. In other words, the spectator Note that you have already introduced the term is ripe. "eliminate" prior to this step, so that the use of the word here Note also that this monologue makes the (blatantly false) rings true. By using the left/right gambit, you give the psy- statement that you have no psychological advantage in this chological suggestion that you had planned from the start to situation . It is a convincing argument, which puts the specta- have two objects picked up, one in each hand. By using the tor off-guard, and also adds to his/her confusion at the same word "elimination" here, you again set yourself up for a fur- time. if the subject has approached this test with the idea of ther "narrowing" phase, should that be necessary. "psyching out" the performer, that idea will now be dropped. One of two situations now exists: either the spectator has You are, in this speech, talking more than you have to in picked up the force item in the right hand, or not. Assume terms of the specific information conveyed. In addition to the former . Here you would again assume a posture of delib- confusing the spectator, you're setting up a "drone effect" In erate instruction : tell the spectator, "Weigh the two objects other words, by talking too much you are causing the specta- carefully. We only need one of them, so hand one to me." tor to be drawn toward the form of your speech over its Note the wording of this last statement. You've used the content. Thus, once again you are building a framework for ambiguous term "weigh," and added the modifier future multiple interpretation. Hence, the term ''verbal over- "carefully." Again, the subject is made both confused and kilL" self-conscious. Recall that earlier, during the "overkill" The spectator is already off-guard. We'll push further in monologue, you stated, "I only need one coin." This time, this direction by now stating, "I want you to relax." The you've changed the phrase to "we only need one"-so that minute this is said, the subject of course goes in the opposite the spectator's , next action will be open to two totally oppo- direction: he/she feels very self-conscious, knowing that site interpretations. something important is about to happen, and that he/she is Adding to this flexibility is, of course, the word the one who will have to do it. Say, "Relax . Take a deep "elimination" which you've just reintroduced. Let's say the breath. Now I want you to reach out with your left hand, and spectator pauses, then hands you the force coin. You smile, touch one of the objects." and say, "'Remember, I said I only needed one coin. This is the one you've decided to give me. It is the quarter. Would coin, you suggest that he/she has decided to keep only one you now look at my prediction..." coin after eliminating the other four. Note that you have reverted to the original first person This, then, is the basic technique of Equivoque. Obvi- pronoun., ignoring the ambiguous "we" of a moment before. ously, this has been an overly-detailed description. Details As the statement is made, you raise your hand with the which loom large in this description are actually swift and quarter. All of your attention is directed to that coin . You subtle when put into use. You will observe that in every step focus your eyes on it. holding it up prominently. The specta- of this hypothetical run-through we have constantly prepared tor's attention also focuses on that coin. You forget about the ourselves for the next step, should we have to take it. provid- other coin the spectator is holding... and so does the ing an ongoing continuity as perceived by the spectators. If spectator. properly delivered, this technique should always come off as If, on the other hand, you are given the other coin. you being exact and deliberate, as if you had specifically planned immediately put it down, and point to the force coin which to carry it out in exactly this fashion-no more, no less. the spectator has retained. Focus all of your attention on that I most commonly use Equivoque with coins for an im- coin, as you exclaim, "You have made your elimination; that promptu test. However, I should note that I usually do it with is the coin you've elected to keep. Hold it up!" Again, by just four coins, as I rarely have a filty-cent piece with me. deliberately shifting the focus of your own attention, you Using four coins makes the test just that much easier. In shift the attention of the others . By bringing up the word such a case, the force coin is usually the nickel or the dime. "elimination" again, you once more establish the continuity The four are laid out ABC D, and the force coin is at of action, implying a pre-planned sequence of actions. position C. Let's go back to the situation wherein the spectator has picked up a coin in either hand, and neither one is the force coin. In this case, we go back to our gambit of impatience. You quickly say, "I told you we had to make our elimination. Having described this technique for you, I think it only right Put those two coins aside!" The slight trace of annoyance in that I suggest some routines for stage and close-up using the your voice again suggests to the spectator that you had process. Of course, as you piny with Equivoque you will find planned for this to happen from the start. that new ideas occur to you constantly. You can use this There are three coins on the table. One of them is the verbal control concept with virtually anything. force coin . You are again going to tell the spectator to per- Scraps of paper can be used. On each you write some- form a specific action. The force coin was in position D . thing-s-numbers, words, colors, designs, etc., and then Thus, it is now either at the right end of the row of three, or crumple the scraps into small balls which you layout ina in the middle. In either case, it is to our advantage to tell the row. For instance, you might take a wristwatch and set its spectator to use his/her left hand once again. hands at a specific time-say 9:10. Now put the watch into We will vary the instructed action this time, to distin- the spectator's pocket. guish it from the preceding events. "This is important. I On five scraps of paper, you write a different time: 2:34, want you to extend your left forefinger... and push one of the 8:40,4:55, 11:02,9:12. You use Equivoque to force the 9:12 coins forward." Note that by telling the spectator that this slip (having written the time two minutes ahead to compen- action is important, you have kept the action ambiguous , and sate for the time it takes for the selection). When the specta- again added to his/her sense of being self-conscious. tor opens the chosen slip, it is the only one which matches A coin is pushed forward. If it is the force coin, you im- the time on the pocketed watch. mediately pick it up and hold it high, exclaiming, "This coin. On stage, you display five identical packages. You 'ex- You separated this coin from the others." Again. you utilize plain that you're going to playa game of "Psychic Let's the focus of your own attention to control the attention of the Make A Deal," This spectator chooses one package . The spectators. other four are opened. They contain lumps of coal.; while If the coin pushed forward is an indifferent one, you the selected package has a box of candy which is given to the immediately sweep that coin aside with the first two. You spectator as a gift. exclaim, "Good! There are two coins left. Now this next You display a row of six miniature liquor bottles. The decision is the most important of all. Pick the two coins up . spectator picks the one that matches your previously written Two coins, and two coins only. One is mine. Hand one to prediction, and thus gets to take the bottle home. For certain me." Again, the subtle impatience the used. Again, the two- audiences you would change the product to different brands way inferpretation of the situation is provided, for the state- of soda, or cheese, cigarettes, etc. ment "one is mine" is totally ambiguous until it is inter- An Equivoque version of "Bank Night" would be simple preted a moment later. enough-or how about a reverse "Bank Night." You display Obviously, if he/she hands you the force coin. you pro- live envelopes. The spectator chooses one. When they're mote the idea that the coin just given to you is meant to be ... opened, the chosen envelope contains a blank piece of pa- the target coin. If the spectator chooses to keep the force per... the others all have bills. Why not a version of "Seven Keys To Baldpate," where the spectator finds the only one of five keys that will open a padlock? The lock is ungimmicked. The keys are put into envelopes. The working key is- put into a nail-nicked enve- lope, and thus is easily kept track of so that you can force it with Equivoque. For close-up, take out five business cards. On the back of one you've marked a bold X. Force this on the spectator, and show that he/she located the only marked card through "psychic intuition." The spectator keeps the card-which helps advertise your business. Use a set of locking flap slates. Show them blank, and ask the audience to call out geometric shapes. As each shape is called, you draw it onto a surface, until each panel has one design on it. The slates are given to a spectator to hold, and DOW you draw the four shapes onto slips of paper. These are crumpled up, and another spectator chooses one. It is, say, the square. Upon opening up the slates, the first spectator finds that the square has been disfigured with chalk lines-the spirits have responded to the spectator's choice. The preparation and handling are obvious to anyone with a knowledge of slate work. Certainly there is no limit to the possibilities. ESP sym- bols, playing cards, colored balls, chess pieces, crayons, postage stamps, etc., etc. Once again, I remind you: when Equivoque is handled badly, its nature is completely obvious and transparent to your audience. When properly presented, it is infallible.