Orpheus by Phedon Bilek

This long awaited release is one of Phedon's best. It dives into more mentalism principles and routines that Phedon uses in the real world.

There are two Forewords: one by Millard Longman and one by Jerome Finley.

Introduction

The whole basis of this book is that all of these routines were inspired by someone else’s work and Phedon took those ideas and made them into miracles. All inspirations are disclosed and permission has been granted by all parties for Phedon to explain his version of their work.

The Cartesian Q&A

Romanos says this is the very best routine Phedon has ever come up with. I can say with certainty that it’s the best pure Q&A I’ve ever seen. This is an entirely propless Q&A routine that looks and feels 100% REAL. Audiences think of questions they would like the answer to, and the performer tells them the answer. It seems like a genuine demonstration of psychic ability, and internally, it feels like there is no explanation other than the performer must be psychic. People could start a cult following with this. It works beautifully one-on-one, but it shines even brighter when there is an audience. When performed for an audience, the performer is seen walking through the crowd touching people on the arm and immediately describing their concerns and providing clarity on how to address those concerns. It really is miraculous.

The presentation perfectly hides the method, and the presentation highlights the fact that you aren’t using traditional “methods,” but instead, you are relying on true clairvoyance. If you are a performer who doesn’t want to be perceived as the “real deal,” then this may not be for you–it’s too powerful. When people see this, they WILL think you have some form of clairvoyance. The best thing about it is that it is dead easy to perform. It takes very little memory work, and the process for the audience is quick, easy, and immediately disregarded as an outdated method (when secretly, this is the very thing that allows you to answer their questions with such clarity.) It is genius in its construction, and the whole routine has a natural hook that will engage anyone and intrigue even the most skeptical.

Francis Girola on The Cartesian Q&A

Francis suggests several ideas including how to introduce the process in a different way, using archetypes, probing the audience, and other ideas. Phedon then provides his thoughts on Francis’s ideas including how to incorporate the archetypes into the system.

Through the Prism of Madison Adams Hagler

Admittedly, it’s odd to comment on my own thoughts within this impressive routine. I consider Phedon a great friend, and I am constantly inspired by his work. I am fortunate enough to have read this particular routine early on in the development of the book, and I provided a few ideas which aren’t necessarily improvements, but rather different paths for it. The first is that this would make a great tool to use in addition to a traditional billet Q&A. It can be used during the Q&A to answer concerns the audience never wrote down, and it could be used after a traditional Q&A to answer concerns from audience members in the back of the audience who didn’t get a billet. I also provided a way to eliminate a little bit of mental work by making an association that directly cues you to the audience’s concern.

Another view from Africa: Warren Thackeray’s Input

Warren offers the idea that this can be performed virtually, and gives an idea to generate more engagement from the audience by having them book an appointment with you to discuss their reading at a later date.

A Neat Idea by Matthew Sims

Matthew suggests using symbolism and increasing the length of the reading.

Appendix 1 (The Cartesian Q&A): REDACTED

Here, Phedon explains the workings of the effect that inspired the Cartesian Q&A (with permission, of course.) I have removed the name of the effect from the title of this chapter just to preserve some secrecy. This is also where the actual explanation of the method of the Cartesian Q&A is explained. Everything up to this point has explained the routine, the script, the nuances, and now this is where the actual method comes into full light. Early in the book, Phedon encourages readers to flip to the appendixes and read through all of them before reading the full routine. I highly encourage the reader to follow this advice.

Appendix 2 (The Cartesian Q&A): Objective Redefinition

This is a tactical idea to employ in any and all of your work if something goes south during the performance. If you try to peek a name but can only make out one letter, or if someone challenges you to do something you can only partly do, etc. It’s a framework to change their expectations rather than deny their request. It can be useful in many scenarios, and it’s great to keep this in mind if you encounter a problem.

Appendix 3 (The Cartesian Q&A): The PRISM

Phedon first introduced this concept in Sibyl in 2019. It’s a way of rendering a reading sure-fire. This was, and is, a huge hit amongst readers, and it is the only way I have ever felt comfortable giving a reading. It allows you to speak freely, create deeply emotional connections to the sitter, and never be worried about being rejected because the very nature of this system makes it impossible for the sitter to deny. It is genius and it’s easy to overlook the genius because of its simplicity. For those who own Sibyl and have seen the reactions this ruse generates, there is no denying its power. In the context of this Q&A, it is a fantastic tool that makes it seem like the reader is able to determine minute details about the sitter. This is a full rundown of this technique. It's very condensed, but everything you need to know (plus some) is here.

Appendix 4 (The Cartesian Q&A): The Numbers and Their Meanings

Here, Phedon lists the numerology meaning behind the single digit numbers for you to use in your readings. He provides his method which is just remembering two words for each number, and he also provides a link to each number that will give you more detailed information on the meaning of each number.

Appendix 5 (The Cartesian Q&A): Addressing THE SCAM Categories and Introducing ‘THE BLUFF’

Here, Phedon offers a way to deal with the toughest of THE SCAM categories: Sex. This is a tough category because there are so many different concerns that fall under this category. Phedon eliminates the need to worry when this category comes up, because you will be able to get a hit that is perceived as being as accurate as can be despite it really being a bold ruse.

That ends the section on The Cartesian Q&A. It’s a little over a third of the book dedicated to explaining all of the ins and outs of this incredibly powerful routine. It is dense with a lot of information (as all of Phedon’s writings are,) but I highly encourage the reader to go slowly through this section of the book and stop frequently to allow the information to really be absorbed before going further. This is a fantastic routine, and already, the information explained is worth the price of the book. But there is still much more to be learned. Let’s continue.

The Master Dream Reveal

The concept being discussed here works perfectly in unison with The Cartesian Q&A, but it has a use outside of that routine as well. The concept is that the reader receives snapshots of images when they touch a sitter, they describe those snapshots, and then decipher them for the sitter. Phedon provides a snapshot for each of THE SCAM categories and how he deciphers it. This allows you to confidently answer a sitter’s concern without having to worry about “giving a reading.” The snapshots described may be too mysterious for some, but Phedon encourages the reader to come up with their own as well.

Francis Girola on the ‘Master Dream Reveal’

Francis provides the idea to walk the sitter through an experience of creating their own snapshot and using that to help answer their concerns.

The Universal Vision

This is a Master Dream Reveal that is designed to fit all scenarios and that can be given for any category of THE SCAM with equal relevance. It could be used in The Cartesian Q&A to give a reading to someone who didn’t participate in the full Q&A or you could just use this to give a reading to absolutely anyone who has a concern completely cold. It can also be a safety net if you are trying to give a reading and get stuck. Phedon provides an example of how it relates to a few of THE SCAM categories and offers his favorite way to use it with a billet peek.

Plato Goes to Hollywood

An essay on the power of emotions, narratives, music, and metaphors.

Appendix 6 (Plato Goes to Hollywood): Sacred Chants

As part of the previous essay, Phedon mentions the power of music. Here, he provides links where the readers can listen to some of this music to take a break from reading and experience the power of music for themselves.

Plato Goes to the Movies by Dr. Bill Cushman

Dr. Bill Cushman’s essay argues a counterpoint to Phedon’s previous essay.

Three Questionable Answers

This is Phedon’s take on Bert Reese’s 3-billet trick which was inspired by Rune Casting by Robert Watkins and Kent Axell. It takes us through the evolution of the routine, the inspiration for the change, and 4 things that Phedon is adding that takes this to the next level: 1) His justification for reading the billet. 2) His justification for the order he’s dealing with the participants. 3) The way he reveals the information 4) The involvement of more people to make it interactive. It is a great take on the 3-billet trick and has some clever throw offs that make one-ahead seem to be out of the question. And take special note of the way he reveals the information. This can be used for many one-ahead routines and will transform those routines from cute party tricks to apparent demonstrations of “real” abilities.

Hecate

This is Phedon’s version of Nico Heinrich’s Intuition Monte. It’s essentially a drawing duplication with a psychometry aspect mixed in. The interesting thing here is the peek which happens during the action of the routine, and the way Phedon reveals the drawing; well to be fair, he doesn’t actually reveal the drawing. Instead, he reveals a memory associated with the drawing. It’s a very easy routine to do, and perhaps the most accessible routine in the whole book.

Francis Girola on Hecate

Here a link to a video of Francis is provided. Francis filmed a 14 minute video with his thoughts and a variation on the peek. He also introduces the idea of using a pendulum to find the card with the drawing.

Appendix 7 (Hecate): Nico Heinrich’s Paddle Peek

Phedon explains the peek used in the trick with photos and provides a quick video for you to see the move in action and it truly looks perfect and so deceptive.

Zodiac & Name

This is Phedon’s take on Name and Place with an idea inspired by Nico Heinrich added. It is a beautiful take on the plot and gives you five reveals: Which billet they hold, the participant’s exact date of birth, the gender of the person they have in mind, the environment they chose to picture a person in, and the name of the person. Plus they get a memento of the occasion that they will keep. It’s a very strong piece that is all achieved with a simple switch that happens before the routine has even begun. It’s a great take on a classic that adds a lot to an already strong plot.

Appendix 8 (Zodiac & Name): The Escalation Ruse

This is a short 4 sentence script that you can add right before you reveal anything to increase the reaction the spectator will give. You can add this into any routine where you reveal a thought. Phedon takes the time to teach not only the words, but the rhythm, belief, persona, and presence to pull it off and make it work.

The Timorous Drawing

This is a drawing duplication where the spectator is able to intuit the performer’s drawing, and the performer is able to intuit feelings and facts about a memory associated with the spectator’s drawing. It uses a very similar handling to Zodiac and Name, but the effect is quite different. The method is simplicity itself which leaves plenty of room for the performance to shine. The subtleties are key here–especially in the way it is revealed which involves failing to actually reveal the drawing.

Appendix 9 (The Timorous Drawing): On Establishing Oneself from the Start and Carefully Choosing One’s Participant

This is a little essay on believing in your abilities and how that transcends to a more powerful performance

The Technology of Failing by Dr. Bill Cushman and Greg Arce

This is a brief essay on how failing ultimately creates a stronger impression of seeing a true psychic than nailing a thought exactly.

The Shift

The Shift is Phedon’s way of subtly cuing the audience that something important is about to occur or be said. I glad Phedon pointed this out, because it can certainly be felt in his performances, but I don’t think it has ever been articulated this clearly. It’s a powerful tool that you should be using in virtually all of your performances if you want to be taken seriously.

Murmur

This is the ebay use of a whisper ploy I’ve ever seen. The sitter gets an incredible experience, but everyone watching gets an even better experience. In essence, the performer whispers some secret into the sitter’s ear, and the continual confirmation and look of shock on their face makes it clear that everything the performer said was correct. Here Phedon teaches the blank piece disconnect which is one of the best excuses for writing something down that has ever been created. It is completely logical, and essential to the routine. This takes a simple name reveal and squeezes it into something that makes the performer look like someone who possesses knowledge far greater than the average human.

Adding a Visual Element to the Q&A

Phedon starts by saying he feels this is unfinished, but he is sharing for those who may want to perform it as is. It is a way to describe the looks of participants with your back turned during a Q&A. Even though Phedon feels it is unfinished, it works perfectly as is. He is just hoping to find a good ending for it. It’s a simple idea, but adds a visual element into a routine that could become stale for always looking the same.

The Alpha and Omega

Phedon discusses how to make a great first impression. It begins with the necessity of looks and smell that the performer should exude to make a good first impression. This is followed by some incredible things you can look to observe on others that will allow you to know intimate details about them that no stranger should know! Things such as what their name means, if they are left handed, and if they suffer from neck pain, back pain, or shoulder pain. It would certainly make you remembered at any event. Phedon also offers how to make a strong second impression by “remembering” details about everyone you meet.

Conclusion

Here Phedon lets us in on some of his inspirations and where he draws inspiration and reminds the reader to be inspired, and believe in the power of your material.

Overall, in Phedon’s usual style, every single detail is meticulously explained so that the reader gains a full understanding of all of the underlying principles at play. No stone is left unturned, and there are nuggets of gold in virtually every single paragraph Phedon writes. Admittedly, this makes the writing dense, but if you take your time and fully digest each bit of information before moving to the next, you’ll walk away dumbfounded by the thinking that goes into each moment of Phedon’s routines and tools. It is a huge reason why his work is, in my opinion, the best work for mentalists being released today. His material is clearly worked and transformed into masterpieces with detailed paint strokes that make the material leap from the page and resonate directly with the spectators emotional feelings which causes the work to surpass logic and feel real.

If this is your intro to Phedon’s writing style, it’s certainly mature and not for the faint of heart. It’s densely packed, but full of humor and heart. The material is always dead easy from a mechanical standpoint, but takes the empathy of a performer who isn’t new to the block, so it’s certainly not for beginners. If you’re a kids magician or comedy performer, you may not find much value in this. But if you’re a serious magician, mentalist, reader, psychic, fortune teller, medium, or supernaturalist, this will make you seem as close to the real thing as humanly possible and it’s all done with minimal props and just the connection between humans. The material connects you to your audience deeply and is sure to stay with them much longer than your average “trick.” I would encourage you to read this, mull over the concepts, and let this thinking infiltrate the rest of your work so that all of your performance can be as meaningful as what is presented here.