Вы находитесь на странице: 1из 13

’eculiar Tales - Stories To Freak People Out a

Do you want to genuinely unsettle people with iii


a performanCe? Then you needrthis!

Peculiar Tales is a set of creepy and mysterious __


.

'
photos that enable you to perform some incredibly
'

“if
"

odd magic and mentalism. This accompanyings‘


booklet fully explains thetricks, the methods


-and the stories. There are eight stories in total.


There is also a primer on the best way to
perform this type of material.

Some of the tricks use multiple photos, some use we:


,just one. Some are perfect for walkaround gigs
whilst others are best saved for those times
when you REALLY want to mess with
someone's head and‘leave them with"
an image they will never forget.

All of them are practical, foolingan‘d .

somewhat grotesque...
Pecufiar
Tales

Copyright © 2016 by Mark Elsdon.


All Rights Reserved.
Do not copy it, do not scan it, do not upload it. Thank you.
More Elsdon goodies are available at: http://elsdon.blogspot.co.uk/
Introduction: Background:
Many thanks for buying this booklet of strange stories, peculiar tales. This is the
third mentalism/storytelling hybrid have released, following on from An Endless
I Over the last decade or so have come to fully understand and appreciate the
I

incredible power of stories and the impact they can have on the people who hear
Journey and Lost & Found. love this kind of material and find that audiences do
I

too. them. Previously, had always liked the idea of telling a story with a magic- or
I

mentalism-based ending and had thoroughly enjoyed reading the work of Gene
This type of material is quite the opposite of what almost all professional Poinc, Punx, Christian Chelman, Brother Shadow and many others. The problem
performers would class as ’worker material’; it needs time to be performed and was that a lot of the pieces read were firmly rooted in the world of bizarre magic,
I

which from the vantage point of the sawy, cynical, digital 21‘t Century made them
space to breath, it needs the audience to pay full attention and feel involved and it
is decidedly non-visual from a magic point of view. seem rather melodramatic at best and totally ridiculous at worst.

Nevertheless, for the right audience it can create a huge impact. And then sometime in the mid—19905 met Jim Critchlow. His approach to telling
I

stories, and incorporating those stories in to some kind of magic or mentalism


Please read this booklet thoroughly before you perform any of this material. effect felt more real and natural than anything had previously encountered.
I

There is a specific mind-set you need to be in for these pieces to fulfil their
At around the same time was starting to become very interested in ways to create
potential and only by fully absorbing all the informationoffered herein will you be
I

able to get into this mind-set. a 'performance’ rather than just doing a trick. Ultimately this has led me to a very
specific way of performing magic and mentalism where all my material feels very
immeasurably if you view each of these pieces as stories, rather
It will help you real and grounded because it is all genuinely based on experiences I’ve had, people
than presentations for tricks. Because that is what each of them really is: a story.
I
know or subjects I’m passionately interested in. There is nothing in my repertoire
that perform simply because it's a great trick or it gets a great reaction. Of course,
I

Sure, each of them has a finale... a climax... a dénouement that we would both of those things are important, but they are further down the list for me than
traditionally think of as 'the effect'. But in this instance it is just the last unsettling the question of why lwould want to show someone this. Whatever this might be at
element of each particular tale. any given moment.

If youare new to this approach, great! A whole new world is about to open up to
So having enjoyed watching Jim perform and having had the pleasure of learning
Alternatively, if you are already a fan of and performer of storytelling and using some of his creations always kept an eye out for whatever he was
I
you.
mentalism then am confident that you will find some potent new additions to
I working on next. In 2006-7 he was working on a story/trick that he later released as
Til Death Do Us Part. It is fabulous, so of course prevailed upon him to teach it to
your repertoire. Either way, enjoy!
I

me and started performing it, a lot! So much so that ended up being with Jim on
I I

the instructional DVD that comes with the trick.

That was when got really turned on to the power of a great story, and started
I I

developing more material along those lines. The current fruit of that labour is the
booklet you now hold in your hands: eight odd stories with accompanying photos,
photos that just push each story over the edge. Unlike my regular presentations
which are always grounded in reality, all of these tales are tall tales: complete
fabrications. Wild inventions. Make believe. Stories!
3
And in fact these eight stories are just the tip of the iceberg. have researched,
I
The photos are quite obviously recently printed, rather than old and rare. When I’m
invented, collected, adapted, adopted and written dozens and dozens of stories. telling a story and introducing a photo into the proceedings describe it simply as a
I

Many of them, like the ones in this booklet involve weird or creepy photographs. ‘reproductionor print’ of an old photo. You might wonder if it would be better if
Others involve trinkets, mementoes, keepsakes or collectible memorabilia. Some the photos were artificially aged using one of the many ingenious techniques
use nothing more than the words that shape the yarn. But we'll start with the eight taught online. It wouldn’t. In fact to do that would be counter-productive; want
I

described in this booklet. They are all favourites of mine. people concentrating on the story and the content of the photo, not the photo
itself, wondering how old it is or where l got it from.

And when introduce a photo just keep it a simple white envelope like the one
I I

The Photos: that l have supplied all the photos in. Again, want people looking at the content of
I

the photo, not thinking about the envelope, or where the print came from.
As previously stated, the photos are not the effect or goal of each piece, rather
each one is a conclusion that rounds out the story in a surprising way. Some of the Finally, in some of the stories the photo is kept picture side down until the end
photos contain weird or freaky images. Others only become weird or disturbing whereas in others the picture is in view throughout and the final 'reveal’ is of some
once the story has been told. informationwritten on the back of the photo. When you write this info on the back
of the photo, please use a ball-point pen, not a Sharpie. When it comes time to
Let’s assign them numbers now to aid with the description later: reveal this information, ljust casually mention that it is something that wrote on
I

the back of the photo. No big deal. Just some detail that wanted to keep unknown
I

1. A seated head-hunter with a wall of trophies behind him. until the end, but something that is fact. It’s written down, so therefore it obviously
it is fact, and could not be changed.
2. A seated moustachioed man, with a small person wearing a white apron stood
next to him.
The Methods:
3. A group of people stood outdoors wearing huge over-sized masks, with a mask-
less boy stood at the front.
For all my talk of these just being stories (which they arel), the fact remains that for
4. A girl drawing a big, messy spiral on a blackboard. there to be some surprising/inexplicable/weird— hesitate to use the word
I

-
'amazing’ as it doesn’t really fit the vibe of this style of material there has to some
5. Three odd looking masks, the one at the front is bent over and element of a method involved. If I'm honest, this is the least interesting part of
people in very
leaning on a stick.
each piece. As you likely have already guessed, if you are looking for innovative
new methods, you have come to entirely the wrong place.
6. Five people wearing cartoon masks with a burning car behind them.
The methods involved are quite prosaic: some very, very minimal equivoque, the
PATEO force, some numbers written on the back of a business card, a cross-cut
7. Aperson wearing a light-coloured onesie and a mask. This is the picture from the
front of the booklet. force with some names written on some blank card stock, and for one story a peek
wallet and a nailwriter. Nothing that would fool you.
of the photos are very unusual and striking images. The kind of picture that will
All
make someone think ”Wow, that’s weird! What’ 5 going on here?!” But that is the great strength of this kind of material. It is not perceived in any way
as a trick, so no one is looking for a method! The audience buy into the story and so
naturally their scepticism and suspicion is absent. It's not a trick, you’re not trying
5
to fool them and they are simply listening to an odd and interesting story. They can
2. Give the time, place, setting and some relevant context. Keep it factual (?), short
and sweet.
see that there is nothing for them to ’work out’ so they just relax and enjoy it. This
means that there is zero heat on anything that you might need to do to make the
3. Action! Use verbs. And use a thesaurus to spice up your verb choices. But, avoid
method work. Any process involved just becomes part of the story. Win/win.
multisyllabic, show-off words. Confusion is not magic, and neither is it effective
The explanation of the method part of each piece is described immediately storytelling. If the audience has to think what a word means they are concentrating
following the details of each specific story. on the wrong thing.

4. Gleaming detail: choose one ordinary moment or object that becomes a


'gleaming detail’. Something that best captures the essence of the story.
Telling Stories
that the story will hang on. Things that
5. Shining detail: pick several keep 'facts’
stoory are so unnecessarily specific that they must be true.
'stéré/
6. Tune in to your sense memory: choose the strongest of the five senses in your
noun, plural stories.
story and use it to make a deeper connection with your audience. There is always
1. a narrative, either true or fictitious, in prose or verse, designed to interest, one primary sense that dominates every memory/photo. Is it the deafening noise
amuse, or instruct the hearer or reader; tale. of a car exploding? The smell of stale sweat on a small man who didn’t wash for a
2. a fictitious tale, shorter and less elaborate than a novel. decade? The squeal of chalk on a board that lasts for an hour at a time?
3. such narratives or tales as a branch of literature.
4. the plot or succession of incidents of a novel, poem, drama, etc.: 7. Let go: hand over your story, letting it build to its natural, emotional punch line,
5. a narration of an incident or a series of events or an example of these that is or then end it and get out fast. Leave the audience wanting more. Less is more.
may be narrated, as an anecdote, joke, etc.
6. a narration of the events in the life of a person or the existence of a thing, or For these stories to work, you need to closely follow these principles. The stories
such events as a subject for narration: are not long-winded, epic narratives. Rather they are uncluttered, short tales
7. a report or account of a matter; statement or allegation: where the background is set with some specifics of place and time, and then the
8. news story. weird/creepy element is introduced: the person, action or event that marks this
9. a lie or fabrication: out as a story worth sharing. Disturbing details are shared that unsettle the
listeners. Then an audience member makes a choice (or picks something, or
whatever) and their choice is proven to match exactly a precise, un-guessable
Now that you’ve read the definitions, you can easily recognise that it is the first, element of the story. This makes the audience feel very uneasy...
second and ninth entries which are of interest to us.
And that's how the stories go. Obviously you would only every use one of these
Let’s talk about the elements of a good story. There are 7 principles that you need stories at any one time. The audience could be a small group or just one single
to learn, think about and focus on. have based this list on a similar list from
I person.
Bobette Buster’ s informative little book DO/STORY. l’ve freely adapted it and added
to it for our purposes: At the conclusion of the story and its photographic revelation,just sit back and let
the thing breathe... Don’t step on the moment. Don't feel that you need to explain
1. Tellyour story as if you're telling it to a friend: this applies no matter where you anything. Not a single thing. If pressed, it is simply a story that your grandfather
are or who your audience is. told you, and you were able to find the reproduction photo online that confirmed
7
what he said. Or maybe a friend of yours is a researcher for The (NY) Times has been inside the envelope on the table the whole time. One audience member
newspaper and came across the story whilst researching something else. Or decides on a number— he picks 20. The photo of Guillaume is removed from the
perhaps you met the counsellor/parole officer of the person in the photo a few envelope and there are exactly 20 trophy heads.
years ago when you were in rehab...
Method:
Whatever your explanation, keep it vague and keep it brief. Act as if the act of I’ve used several different methods for this over the last couple of years. Here are a
telling the story unnerves you too. Resist the urge to over-explain. Remember: less couple.
is more.
Tellthe participant that it is definitely less than 30 heads. You spin a coin and he
As you read the details of each story, make them your stories, not mine. They need slaps his hand down on it. He lifts his hand to see if it is heads or tails. You do this
to become yours, something you know, something you tell. Not something you 29 times in total and end up with 20 heads — the correct amount.
learnt from a book about how to tell creepy stories. For that reason have not
I
How? You will now use a delightful little force that l have been shown by three
given you a full script. The last thing a good storyteller should be doing is learning different people: Karl Scott, Bob Ostin and Looch. After significant research none of
and parroting someone else’s script. Rather have given you (as per Principle 2
I
us have been able to find the originator.
above) the background for every story/photo and (as per Principles 4 and 5) some
detailed specific facts to hang the story on. Embellish it however you like but keep Here’s what you do: pick up the coin and get ready to spin the coin by gripping the
the core details intact. Tell it slowly. Let it build. edges of the coin with the pads of the left thumb and right index finger as normal.
However, instead of spinning the coin in a perfectly vertical alignment you angle
the coin away from yourself slightly. You need to hold the coin so that the tails side
is facing you, as the side that is visible will be face upward after spinning.
The Stories:
As you look at the top of the coin as it spins, you will see a small sphere. At the top
Story for Photo 1 of the sphere, you will see a small hole begin to open, and that hole will gradually
become wider the longer the coin spins as the coin eventually slows down.
Background details: However, rather than letting the coin spin to a stop, you ask the participant to slap
Belgian King Leopold ll convinced the European powers to grant him control of a their hand down on the coin. Because the coin was not spinning in a true vertical,
large portion of the Congo basin. He promised to bring civilisation to the so-called the slap will result in the coin laying the same orientation up as it was when you
dark continent. Christened the Congo Free State in 1885, King Leopold’s playground angled it back and started spinning.
was an astonishing 76 times the size of Belgium. It was comprised largely of
unmapped jungle and was a hotbed of slavery and tyranny. Do this 29 times, forcing the heads 20 times. know that as you are reading this, 29
I

sounds like a lot of times! But in performance it is quite quick. Plus if you want to
Specifics: speed it up, you can spin multiple coins at the same time and have several people
The half-brother of one of the biggest Belgian slave traders was a head-hunter slam their hands down.
called Guillaume and he used to use a highly polished scythe to decapitate his
victims. Witnesses always spoke about the whistling sound that the scythe would An alternative is to use the TOXIC calculatorforce (credited to Bob King). Explaining
make as Guillaume swung it in a large arc to perform the gross act. that you want truly a random number you open the calculator app on your phone
and have the participant type in a 3-digit number, multiply it by a 4-digit number
The ending: and then another 3-digit number. He then looks at the first 2 digits of the total.
Very bizarrely, a photo exists of Guillaume with all his trophy heads mounted on a They are 2 and 0, or 20. Perfect! How? Before the performance you enter the
_
wall in his favourite garden. A reproduction copy of that photo is the photo that following into your calculator app: 2078521458 + 0 x (

3 9
This sets the long number as the total whatever numbers they type in and multiple. photo out of the wallet at the beginning, leave the wallet on the table. At the end,
The great thing is that after inputting the above string you can exit the calculator
once the participant has decided which leg and which murder method, bring out
app and when you open the app up again during performance it is still set to go. the correct newspaper clipping.

Story for Photo 2 Story for Photo 3


Background details: Background details:
In the 18705 William Campbell, an Englishman who lived in Philadelphia had an In central Europe in the 19605 a group of travellers used to visit remote villages as a
incredible act that toured the vaudeville theatres all over North America. His act 'circus’ and stay in character the whole time. They would stay a while and then
was the most life-like ventriloquist’s dummy audiences had ever seen. In fact the leave, taking with them a young boy to join their troupe although no one knew
dummy WAS a real person, a dwarf called Edward who was William's cousin. But what really happened to the abductees.
the brilliance of the act was that they never did things that would have been too
obvious. The 'dummy’ didn’t walk or sing or do any of the other things that he Specifics:
could have easily done. And wealthy people used to pay fortunes for a private It is believed that this travelling group were of Jenische origin rather than Romani,
'performance’ of the act in their home, where Edward would be able to speak although no one ever saw them to confirm this, as they never took their giant
whilst William was out of the room! heads off! The boy had to be 10 years old, no younger, no older. No one knows
why. Different boys had to wash the giant heads of the entire group each night
Specifics: until they decided on the boy they wanted to take. They would leave the next day.
Edward was only 3’6”. Due to an accident in his youth, he had his one of his legs They might have stayed two nights or fifteen.
amputated and wore a false wooden leg. This allowed one of the ‘dummy’s' legs to
fall off during the act, a hugely convincing touch. However Edward had a vicious The ending:
temper and used to beat William when he got angry! Whenever they arrived at a new village, they never had any young boys with them
and the whole process would start again. The whole group mysteriously vanished
The ending:
en masse in 1969. Nine years later when some clearing work was taking place to
A theatre critic in Detroit became obsessed with Edward and followed the act make way for a new road, their bodies were found in a mass grave. All of them
around for several months trying to gather evidence that Edward was a real person were still wearing their masks! An audience member is asked to use his intuition to
so he could expose the scam. Edward tracked down and murdered the critic with try and ascertain what date the grave was found. He gets it spot on.
his own false leg! An audience member decides on which leg (right or left) was the
false one and how he killed the critic. The performer brings out a newspaper Method:
cutting confirming that audience member is 100% correct! You have a stack of double-blankbusiness cards. 43 of them. 12 of them have the
months of the year written on and the remainder have the numbers 1-31. Shuffle
Method: the numbers and the months together. Decide on a date, e.g. October 18 and write
Multiple outs. Pick four ways for Edward to kill the critic using his leg: forced it that on the back of the photo. Put the October card and the 18 card on top of the
down his throat, stabbed him with the sharp connecting end, battered him to stack. Spread the cards face up to show them mixed and then shuffle some more,
death or choked him with it. Use this online newspaper headline generator: retaining the top two cards in place. As you are telling the story, casually cut (or
http://newspaper.iaguarpaw.co.uk/ to make eight headlines, four death methods double-undercut) the top card to the bottom. Hand the photo to the participant
using his left false leg, and four using his right false leg. Keep the photo in a picture side up and have him slide it into the middle of the packet of cards. Do the
multiple our wallet (Shogun, Heirloom, Panther, Cerberus, Blockbuster, Hideout, Bill Simon Prophecy move to force the top and bottom card. Show the match.
etc, etc!) and also have the eight outs hidden in the wallet. When you take the
10
11
Story for Photo 4 Story for Photo 5
Background details:
Background details:
This little girl killed her parents at home in their bed in 1973. Her parents were
These three people were very, very unlucky. They all lived in London in the early
called Bryan and Maria Temple. They were killed with a knife, the mother first. No
19805 and one of them worked for a company who made special effects,
one knows why the mother didn’t fight back and stop the girl or even more prosthetics and costumes for film and TV. At considerable expense they had these
strangely why the father didn't wake up and stop her. The terrifying thing is that costumes made for a Halloween-themed fancy dress party. This photo was taken
-
they weren’t stabbed the girl drew on them with the point of a knife in ever outside their apartment less than half an hour before they all died.
increasing circles until they bled to death.
Specifics:
Specifics:
John, Geoff and Martin were en route to the party when their car broke down.
Until the murders, they seemed to be a normal family, apart from one incident.
Although the party wasn’t far from where they lived they were running quite late,
That incident is what is shown in the photo. Exactly one week earlier,
so had decided to drive. This was obviously pre-mobile phones so once they had
The girl had gone crazy in her primary school class, grabbed some chalk and started
broken down they used the nearest phone box and rang their friends to let them
drawing circles on the blackboard and wouldn’t stop. She carried on for four or five know about the breakdown and that they were still on their way. They knew that
minutes until a second teacher came into the class and they were able to physically their costumes were genuinely scary but since it was Halloween they weren't
restrain her. The other students said they could hear the squeaking of the chalk
remotely worried that they would look too out of place.
ringing in the ears for hours afterwards. Later that day the girl had no recollection
of the incident. The ending:
They had reckoned without Alexander Robinson though. He was drunk and he was
The ending:
high, and he was also driving a car that hadn’t broken down.
A local photographer who was visiting the school to take the school photo stepped
Due to the fact that the three guys lived on a street that was part of a one-way
into the classroomto see what all the commotion was and took this picture.
system, they had to walk back past their own front door to get to the party.
The girl is now obviously a woman (aged 52) and is currentlyan inmate at As they were passing their own building on the opposite side of the road,
Broadmoor. She hasn’t ever spoken since the moment she was taken into custody. Alexander Robinson saw them and freaked out. High, and thinking they were
Using his intuition an audience member is somehow able to find the girl’s name.
monsters, he ploughed head-on into them and killed them all outright. An audience
This is confirmed when the photo is turned over and her name, Julie, is written on
member now takes a Sharpie pen and sight-unseen circles a spot on a random page
the back. in a London A—Z. When he looks at the road that he has circled, it is the exact
address that is written on the back of the photo.
Method:
The PATEO force (devised by Roy Baker and detailed in his book Baker's Bonanza).
Method:
i’m sure you already know it though. Write 13 girls names (to represent the 13 girls
The old standard: the A-Z is prepared, as is the Sharpie. Find a page in the middle of
who were in class that day) on 13 separate little pieces of paper. Maybe tear up the the A-Z that is densely populated with lots of roads and buildings. Draw a rough
envelope that you were keeping the photo in? Turn all the pieces writing side down circle in the centre of that page and the trim the page slightly along its long edge
and mix them around on the table, making sure that you know exactly which piece
using an X-Acto knife and ruler. Take the Sharpie and leave the cap off for a week
has Julie written on it. Use the PATEO (pick any two, eliminate one) to force the
to dry it out. Then go over the nib with some clear nail varnish. It will never write
name Julie. Since 13 is an odd number you would go first. if you need a rationale again. Whatever road you circle, write a full address including that road and area
explain that you are both getting to play god in the same way that Julie did...
(postcode/zip code) on the back of the photo.

12
13
To perform, hand the Sharpie to the participant, riffle force to the narrow page in even numbers (2 and 4). Then say to him, ”Inner or outer?” Whatever he says,
the A-2 and then hold the book with the pages facing the floor and ask him to cross out the 1 and the 5 and circle the 3, saying, ”Middle it is!” as you pick up the
uncap the pen, turn it over so that it is pointing a upwards and then draw a circle paper, screw it up and drop it into your pocket. Tell him: ”In the picture, John is
on the middle of the page. Obviously you direct him to the correct page. indeed wearing the Donald mask. knew you’d have no reason to believe me
I

though, so put some confirmation on the reverse. Have a look”. He will turn it
I

If you don’t live in London, then feel free to use an A—Z from your locale. over and see the sticker.

Story for Photo 6 Story for Photo 7


Background details: Background details:
A group of six friends got some drink and drugs along with some Disney masks and You explain that you have a copy of the only known picture of the serial killer
went out into the country to party. They got high on LSD and went a bit crazy, known as the Leather Baby. He killed dozens of people, both men and women. And
setting a bunch of stuff on fire, including their own car! although he was eventuallycaught and is now in a mental institution in upstate
New York, the only thing that he would confirm to the police was the total number
Specifics: of his victims and his Christian name. They found his full name, address, etc. from
It was one specific member of the group called Simon who was the firestarter and his dental records.
little did he realise that their friend Jennie who was wearing a Dumbo mask was
actually asleep in the car. in fact because the car exploded and burnt out Specifics:
completely, everyone including the police thought that Jennie had just wandered The Leather Baby killed over a period of 45 years, which is the second longest
off and was missing. It was two days later when forensics was examining the car criminal career in the US after John Floyd Thomas. The Leather Baby killed in 29
that they realised what had happened. separate states. And had no apparent MO, killing his victims in a variety of ways.
The ending: The ending:
John‘s mask had partly burnt onto his face in the explosion since he was the At the beginning of the story, before the background details are mentioned, the
closest. He was so high at the time that he didn’t even notice, or smell the burning performer asks a participant to just clear his mind and think of a man’s name. The
flesh! He’s currently sewing life in jail, with his disfigurement as a daily reminder of participant writes this down and it is hidden without anyone else seeing it. When
what he did. But which mask is John wearing? A participant picks one of the five the photo is turned over, Leather Baby’ 5 first name is the same as the name that
figures in the photo and the mask that the figure is wearing is the same character came into the participant’s mind.
as the brightly coloured sticker on the rear of the photo.
Method:
Method: Simplicity: A peek and a nailwriter! use either my Spypad
I

The photo has a coloured sticker of Donald Duck on the back. The bigger the (http://elsdon.blogspot.co.uk/2014/05/spvpad.html) or a Stealth Assassin wallet.
better! So you just need to force Donald on the front! Again there are multiple But any peek wallet or imp pad that you are comfortable with is fine. You have
options. My favourite is Phill Smith's Quinta force, which i am not at liberty to plenty time to write the name on the back of the photo as you are holding it and
explain here since it is a marketed item. It’s brilliant, and you should definitely buy telling the story. Nailwriter, Epic Writer, a band writer, again whatever is
Phill’s book though! Whilst you’re waiting for that to arrive, use a very simple comfortable for you.
equivoque: write the numbers one through five in a row on a piece of paper.
Explaining that you need him to give genuinely random responses (a meaningless
requestl), say to the participant: ”Odd or even?” Whatever he says, cross out the
14 15
Story 8 for ALL the photos

Background details:
This is perfect for anyone who has heard you tell one of the other 7 stories.
You explain that you have a fascination with old creepy photos and the stories that
go along with them.

Specifics:
Each of the photos is of either a killer or people who died. You recount a few
details about each of the stories (using the previous specifics) and lay all the photos
on the table.

The ending:
The participant chooses a photo. You turn over the envelope that the photos were
in to show the number 39 written boldly on it. You explain that this is the number
of victims of the most prolific killer here. They turn over all the photos and see
different (and all lower) numbers. Finally they turn over the one they picked, the
Leather Baby, and see the number 39.

Method:
All of the photos have numbers written on the back. Some of them already have
other information too, but don't worry about that. Just make certain that 39 is the
highest number and that it is on the back of Leather Baby. And again use the PATEO
force, or equivoque or the simple cross-cut force, whichever you prefer. If you want
to justify the PATEO, explains that you are both playing killers, alternately bumping
off killers and victims alike! Since 7 is an odd number you would go first.

Closing Words
I
hope you have as much fun with these stories as have! carry one of the photos
I I

folded up in my wallet at all times. Although the subject matter is quite dark, find
I

that there are still plenty of opportunities to tell these stories. People love them.
I

hope that you find the same.

16

Похожие интересы