Bob Cassidy - A Journey Through the Fourth Dimension

Copyrights Copyright © 2009 by Lybrary.com – http://www.lybrary.com All rights reserved. Allowed Usage This ebook is for personal and home use only. Renting or public viewing of this ebook is strictly prohibited. Any other use of this ebook — including reproduction for purposes other than those noted above, modification, distribution, or republication — without the prior written permission of Lybrary.com is strictly prohibited. We have a special arrangement for libraries. Please contact us for details. Disclaimer Lybrary.com used its best efforts in preparing this ebook. However, Lybrary.com makes no representation or warranties (express or implied, including, but not limited to, warranties of title, non-infringement, merchantability or fitness for a particular purpose) with respect to the accuracy, applicability, fitness, or completeness of the contents of this ebook. The information contained in this ebook is strictly for educational purposes. Therefore, if you wish to apply ideas contained in this ebook, you are taking full responsibility for your actions. Crime Watch Please help us to identify criminals. At the end of the day illegal copying will increase ebook prices for you or make such products impossible altogether. If you encounter suspicious activities, please contact us at [email protected] or any of our other email and mailing addresses. We reward any tips and information, which lead to the conviction of illegal copying activity with 50% of the punitive damages placed to our credit. Feedback Please send error corrections to [email protected]. We appreciate if you let us know about any typos, errors, or any other comments you would like to make. Provenance 1st edition 2007 by Bob Cassidy.

A Journey Through the Fourth Dimension

In Memory of my friend, Tony Raven

TABLE OF CONTENTS Introduction ...................................................................................................................4 The Two Eras of Modern Mentalism.........................................................................4 Mentalism and the Fourth Dimension.......................................................................7 The Fourth Dimension – it’s all about time and timing..........................................8 The Basic Effect ..........................................................................................................10 Annemann’s Fourth Dimensional Telepathy..........................................................11 The Transparency Method.........................................................................................11 The “Backwards” One-Ahead Method....................................................................12 Time Out ......................................................................................................................14 Ultimate Fourth Dimensional Telepathy - 1977.....................................................14 THE THREE ENVELOPE TEST - 1982.............................................................18 The Three Envelope Test - 1996.............................................................................23 A Sure-Fire Prediction................................................................................................29 The Pocket Dump - 1988...........................................................................................30 HOW TO MAKE A SHAXON FLAP ENVELOPE: ........................................30 Later Routines and Developments ...................... Error! Bookmark not defined. Bluff Variant and Out - the No Gimmick Approach ............................................33 3

Bob Cassidy

Introduction

The Two Eras of Modern Mentalism

The only real valuable thing is intuition. - Albert Einstein I feel that the magician is quite within his rights in presenting mind reading tricks at this time. If it does no more than to awaken more general interest in and investigation of genuine psychic phenomena, (note I do not say Spiritualistic which is quite a different matter) which undoubtedly exist, he will be fully justified. - Burling Hull, circa 1932 Modern mentalism can be divided into two distinct eras. The first - a theatrical response to the public’s fascination with Spiritualism, Theosophy, hypnotism and early psychical research - began soon after the birth of the American Spiritualist movement in 1848 and continued, roughly, through the late 1920’s. While actual and pseudo exposés of fraudulent mediumship methods were often featured in the programs of popular stage magicians, the primary effects performed by early “mentalists” were the “Second Sight,” and “Question Answering” acts.

In the early days, performers of so-called “psychical” acts didn’t actually call themselves “mentalists”, nor did they refer to their art as “mentalism.” “Thought Reading,” “Thought Transference” and “Mind Reading” were among the more commonly used descriptions of the day. The performers themselves chose titles ranging from the merely descriptive “thought reader” or “mind reader” to more flamboyant titles inspired by Spiritualism and Theosophy, such as “The White Mahatma”, “Last of the White Mahatmas”, and,

4

A Journey Through the Fourth Dimension of course, “The First, Original and ONLY White Mahatma.” (The latter was used by Samri Baldwin, the 19th Century performer often credited with inventing the modern version of the Question Answering Act) “Telepathist” became popular after the word “telepathy” was coined in 1882 by Fredric W. H. Myers, one of the founders of the Society for Psychical Research. In the 19th Century, “mentalism” referred to the philosophy that reality is a subjective creation, rather than an objective perception, of the mind. The term “mentalist” wasn’t in use until the 1920s. Joseph Dunninger claimed to have coined the term and it is possible that he actually did. It’s equally possible that the claim was simply an exercise of ‘showman’s privilege.’

The “Second Sight” act, whose origin is usually credited to the 18th Century magician Chevalier Pinetti, was popularized and refined in the 19th Century by Robert-Houdin and Robert Heller et al. The basic theme of the act – “Two Minds with a Single Thought” remains unchanged to this day. Unlike “Question Answering” or “Q and A,” which at the time was presented with a decidedly occult theme based on the sealed message and billet reading séances of the spirit mediums, the two person act was based on the common belief that thought transference between two closely related individuals was a natural, even if scientifically unexplained, phenomena. Unfortunately, the verbal and physical codes used by the two person teams– which often required many years to master - were eventually exposed in great detail, not only in the popular press, but by magicians out to build reputations and, surprisingly often, by code acts aiming to discredit their competition. (“What they do is trickery. What we do is real.” - a tried and true tactic that has withstood the test of time.) Increasingly sophisticated audiences soon realized that the acts, while still interesting and entertaining due to the obvious skills required to perform them convincingly, were based on clever trickery. The exposure of the two person acts led to the widespread misconception that fake mind readers used partners or assistants. By the time modern mentalism moved into its second era, many practitioners saw the obvious advantage of doing a solo act. If fake mind readers needed partners, those who worked alone obviously possessed a special “gift.” By 1930 the heyday of the Spiritualist movement was over. Science and technology were advancing at a rate unprecedented in human history. Television had already been demonstrated; movies not only talked, but sang and danced as well; almost every major city had its own radio station and two out of five American families owned radios. Albert Einstein’s revolutionary theories of space and time had become largely a part of mainstream science and Einstein himself had achieved public celebrity equivalent to the superstars of today. The feats of cheesecloth turbaned mind readers gazing into crystal balls, answering sealed questions and predicting the future could hardly compare with the scientific marvels of the early twentieth century – it was obvious that it was 20th Century scientists, and not the White Mahatmas, who held the keys that would soon unravel the mysteries of the universe.

5

Bob Cassidy Then, in 1929, Upton Sinclair, the Pulitzer Prize winning author of “The Jungle” and muckraking advocate of social justice and reform, wrote a book which strongly suggested that telepathy, contrary to the superstitious beliefs of earlier generations, was a natural phenomenon that could be taught and learned by almost anyone. And the introduction was written by Professor Einstein himself.

From the Preface to Mental Radio:

I have read the book of Upton Sinclair with great interest and am convinced that the same deserves the most earnest consideration, not only of the laity, but also of the psychologists by profession. The results of the telepathic experiments carefully and plainly set forth in this book stand surely far beyond those which a nature investigator holds to be thinkable. On the other hand, it is out of the question in the case of so conscientious an observer and writer as Upton Sinclair that he is carrying on a conscious deception of the reading world; his good faith and dependability are not to be doubted. So if somehow the facts here set forth rest not upon telepathy, but upon some unconscious hypnotic influence from person to person, this also would be of high psychological interest. In no case should the psychologically interested circles pass over this book heedlessly. A. EINSTEIN May 23, 1930 From the Introduction:

In "Mental Radio," Sinclair describes remarkable experiments, comparing telepathy to radio broadcasting, with one brain sending out a "vibration" and another picking it up. The results convinced Sinclair that telepathy is real, that it is

6

A Journey Through the Fourth Dimension unaffected by distance, that it can be cultivated, trained and most importantly - can be verified and studied scientifically.

William McDougall, at the time Mental Radio was published, was the acknowledged "Dean of American Psychology.” Purportedly, it was Sinclair’s work that inspired McDougall to establish the parapsychology department at Duke University. Two years earlier, Joseph Banks Rhine, a young doctor of Botany from Harvard had had arrived at Duke to work and study under McDougall. It was there that the man who was to become known as the “Father of Parapsychology” began the studies that he hoped would develop parapsychology into a branch of modern science. The second era of mentalism had begun and performers eagerly capitalized on the scientific credibility that offered them the promise of becoming headliners once again. There’s nothing supernatural behind the things I do. My ability to discern your thoughts is based purely on the application of proven scientific and psychological principles Generic 1930’ s style disclaimer

Yesterday they called it Hoodoo. Today they say it’s science. Makes no difference to me, I just go with the flow. Doctor Crow, 1932

Mentalism and the Fourth Dimension

And then, in 1932, one Burling “Volta” Hull, of Long Island City, New York, a former stage mind reader, magician and prolific inventor of innumerable magic and mental effects - released a 22 paged typed and copied manuscript entitled World's greatest mental tests: A collection of super mental feats for mentalists, psychics, mindreaders [sic] The effects included “Dunninger’s Mental Television,” (a cutting edge title, since a television prototype had already been successfully demonstrated by Philo Farnsworth in 1927). The trick employed a palmed reducing mirror to secretly glimpse a drawing made by an audience volunteer. It was, Hull assured his readers, the exact method used by the up and coming “Master Mind of Modern Mystery” Joseph Dunninger- the world’s first “scientific thought reader” and avowed enemy of psychic phonies who stooped to using simple gimmicks (like palmed mirrors, for example) to accomplish their bogus miracles. It is

7

Bob Cassidy doubtful, therefore, that Dunninger contributed the effect to Hull or authorized its publication under his name. But among the assortment of effects included in World’s Greatest Mental Tests was a contribution credited to, and apparently actually written and contributed by, a twenty-five year old card and mental magician named Theodore Annemann. Its title might well have been inspired by Einstein’s recommendation that telepathy be subjected to the same scientific tests as were his own theories of space, motion, and time – The Fourth Dimension. Then again, maybe it wasn’t. But, either way, Annemann’s effect, Fourth Dimensional Telepathy, did the same thing to the classic sealed envelope test that Einstein’s Special Theory of Relativity did to classical notions of space and time – it turned it completely inside out and the result was among Annemann’s greatest contributions to mentalism.

The Fourth Dimension – it’s all about time and timing

I didn’t discover Hull’s peculiar manuscript until the early part of 1973. I was 24 years old and had completed a four year hitch in the Navy on August 10, 1972. Three days later I married my high school sweetheart and spent the next six years finishing college. (For those of you puzzled by the addition, I’d completed my freshman year in 1968 before enlisting in the Navy. I would have stayed in school, but the office of academic affairs advised that the cavalier attitude I exhibited to certain undergraduate traditions – things like studying and attending classes – was a significant indicator that I would probably fail most of my required courses and be requested to leave the university permanently at the end of the academic year. As I contemplated my prospects, I suddenly realized that with my departure from college, I would lose forever the one truly important gift that university life had offered me. Its promise was what motivated me to enter the halls of academia in the first place. It had nothing to do with grades, examinations, or degrees. It was something important. My student deferment. For the first time, I understood that the true significance of a low draft number. I took the only option offered me. The college observed a patriotic policy of granting academic leaves of absence to borderline students who voluntarily enlisted in the military before the end of an academic year. . In other words, if I did four years my readmission was guaranteed if and when I returned to civilian life. Since “when” was far more important to me than “if” I opted for the Navy over the Army and set out to see the world. By now you may be wondering what any of the foregoing has to do with Annemann’s Fourth Dimensional Telepathy. But if things had happened differently, I probably would have missed the beauty and significance of the idea that eventually inspired my own contributions to the effect.

8

A Journey Through the Fourth Dimension Before I entered the service and after I got out, I often worked part-time as a demonstrator at Mecca Magic Studios in East Orange, New Jersey. It was owned by Ted Collins, inventor of the popular Panama Rope Trick described in the Tarbell Course in Magic. Professor Collins, as everyone called him, was the mentor, inspiration and supplier to countless aspiring magicians who spent not only their money, but a good part of their childhoods (and occasionally, their adulthoods) at the quintessential magic shop that was one of the largest and oldest on the East Coast. Like most quintessential magic shops, Mecca Magic had a backroom packed with an enormous, and largely uninventoried, collection of old magic, manuscripts and books acquired by the Professor during many years spent purchasing the magic collections of retired and deceased magicians. A large portion of the stuff was probably originally purchased wholesale for sale at the shop, but, for some reason never made the shelves or just didn’t sell because no one knew what happened to the instruction. The back room was where the treasure was. And once Ted got to know you or you were luck enough to be hired at the shop, you were free to spend hours rooting through that magical heaven. I had been going through the piles of stuff for years before that day in 1973 when I discovered a “deluxe” version, in like-new condition of the Hull manuscript. (It included a box of special props – including the “French-made” reducing mirror needed to perform Dunninger’s Mental Television, a Swami chalk writer, and some chemically treated chalk that gave me a rash shortly after I touched it and would probably qualify as a potential WMA if you tried to sneak a piece through airport security.) I glanced through the manuscript and saw Annemann’s routine. It was described in just a few pages and I quickly decided that it was a brilliant concept – a twist on the oneahead gag that eliminated the primary weakness that had rendered the principle basically useless in its original form. If I had found the manuscript before I entered the service I would have read the Annemann effect – if I bothered to read the manuscript at all - long before I knew anything at all about the presentation of mentalism. I thought I knew everything there was to know about it, of course – I’d followed Barrows Mussey’s advice in “The Amateur Magician’s Handbook” and purchased a copy of Practical Mental Effects. According to Mussey, who I still believe to be among best magic writers and teachers of all time, that famous collection of Annemann’s work was all a magician needed if he wanted to add some mentalism to his act. I was nineteen and had been into magic for FIVE YEARS – since I was a twelve year old kid. I added some mentalism to the magic act I’d worked out in high school, won a talent contest or two, and routinely impressed cute waitresses and girls at the college with some palm reading – you know, basic cold reading and shit. Easy stuff, they just ate it up. I got on local television a couple of times. I was in great demand, at fees ranging up to fifty bucks, - not bad in 1968 - at birthday parties, local Masonic Lodges, Blue and Gold Dinners. Everybody in town knew me as “the magician” and I think I was pretty good. As for mentalism – well sure it’s a tough thing for a twelve year old to present properly, but like Annemann says, it’s an adult form of magic and at 19 I was sure I knew all I needed to put together a mental act and start getting bigger fees.

9

Bob Cassidy There was one thing I’d overlooked. I’d never done an act consisting exclusively of mentalism before an audience of strangers who, convinced by my aggressive advertising that I was a psychic wonder on the cutting edge of mentalism – the adult form of magical entertainment. The fact that Annemann’s statement regarding the “adult” nature of mentalism was based on observations made in New York nearly seventy-five years ago didn’t seem particularly relevant to me. In short, I didn’t know anything at all about mentalism as a performing art. I was in the service when I finally learned enough to put together a passable mental act. I worked it out by doing gigs at officers and enlisted men’s clubs and eventually got to work some of the biggest USO clubs in Europe. After my discharge I got back into school and discovered that there were an awful lot of things to be learned there that could come in handy to a mentalist. A few months later I found the Hull manuscript, read it, and decided that with just a little bit of modernizing and some technical clean-up, the basic effect would be an ideal foundation upon which an entire act could be built. In this Journey through the Fourth Dimension I have included everything I have every written about the effect since I developed my first variation in 1978. Don’t jump to the obvious conclusion that my later versions must be better than the ones I was using in the seventies, eighties, and nineties. They were all created in response to the needs of different times, different places, and different me’s. It’s a fourth dimensional thing.

The Basic Effect In all of the versions described in this e-book, the effect of Fourth Dimensional Telepathy is the same or very nearly so. Only in my first variant, “Ultimate Fourth Dimensional Telepathy” did I adopt a handling was visually different from Annemann’s original and my later variations. A generic description of the effect, as perceived by an astute spectator, would go something like this: One spectator thinks of a name and writes it on a piece of paper. A second volunteer writes down the name of a pet. Both fold their papers and are asked to seal them in pay-type envelopes, and then to hold them up to the light to verify that they cannot see through them. A third spectator is handed a slip of paper and asked to draw a picture. He too folds his slip and seals it in an envelope. The performer collects the envelopes and numbers them 1, 2, 3. They are then given to another audience member for safe-keeping. The performer does his concentrating bit, and writes something on a large pad which is placed face down on the lap of a spectator in the front row. He then asks for envelope number ''1 ,'' tears it open, removes the slip and reads it aloud. The spectator with the pad turns it over showing that the performer's impression was correct. The slip of paper is returned to its owner. 10

A Journey Through the Fourth Dimension The same procedure is followed with the second spectator, but when the performer gets to the third volunteer the procedure is changed. The mentalist takes the third envelope and crumples it up. He puts it in his pocket, without ever opening it, and hands the third volunteer a large pad and a magic marker. The volunteer is asked to draw the same picture he drew before, but much bigger, so that everyone can see. The performer turns his back to the volunteer while this is done and draws a picture on a large pad of his own. The climax is reached when it is shown that the drawings match.

Annemann’s Fourth Dimensional Telepathy

The Transparency Method In the Hull manuscript, Annemann described two different methods to accomplish the effect. One – which he recommended for platform or stage use only – was based on the principle of chemical transparency. The effect followed the basic description with one exception -– the spectators did not fold their cards before sealing them in opaque envelopes. Annemann would “get” the contents of the envelopes while numbering them. He used a transparency method involving a thumb tip with a hold in its tip and a small piece of sponge inside. The sponge was soaked with the popular spot cleaner “Carbona” and the tip loaded on the thumb while the spectators were writing their thoughts. A swipe of the sponge hidden in thumb tip over the face of the envelope would make it temporarily transparent. The numbering of the envelopes was legitimate – in fact Annemann recommended that the performer write the volunteers’ names on the envelopes rather than numbers in - it took just a little bit longer than numbering them and provided excellent cover for the secret application of the solvent. Another unique property of “Carbona” was that it dried quickly without leaving wrinkles on the envelope. Unfortunately, it also made small rooms smell like commercial laundries, since the spot removing solvent in Carbona was used extensively dry cleaners. I tend to avoid methods that require a spectator to insert a card into an envelope in a certain way and in this case it is important that the envelope is held flap side up and the card inserted writing side down. But that was the least of the problems the method presented. While carbon tetrachloride – which is exactly what “Carbona” originally was – provides one of the best methods of obtaining chemical transparency of opaque envelopes, it hasn’t been available in consumer products sold in the United States since 1970. That’s because it had been discovered that repeated exposure to the substance could damage to the central nervous system serious enough to induce coma and death. It also could cause kidney and liver failure as well as various types of cancer.

11

Bob Cassidy Apart from those drawbacks (and the smell, of course ) I am told that carbon tetrachloride did provide excellent transparency. But, apart from the unique use of the thumb tip as a holdout/applicator for the “Carbona,” the method was neither innovative nor practical. On the other hand, the one-ahead variation described in the same manuscript was both.

The “Backwards” One-Ahead Method It’s this version of the effect that is commonly referred to as “Annemann’s Fourth Dimensional Telepathy.” It’s a basically clean and straightforward approach to the effect featuring a backwards version of the one-ahead. (It’s sometimes confusingly referred to as a “one- behind” method, which it definitely is not.) It brilliantly disguised and revitalized a principle which had already become one of the most over-exposed methods in magic and mentalism. A simple comparison should serve to illustrate the improvement. Here are two examples of the one-ahead principle in action – the first is a traditional handling and the second is the Annemann method. THE TRADITIONAL ONE-AHEAD The mentalist secretly learns the contents of one envelope. He picks up an envelope whose contents are unknown and reveals the information secretly obtained. He opens the envelope, ostensibly to verify that he was correct and thus learns the contents of another message. He is now “one-ahead” and reveals the contents of the remaining envelopes in the same way. The original one-ahead, used to work a basic “three envelope test,” goes like this: A simple number total force is used on the first spectator, thus giving the performer the contents of the first envelope before the demonstration seems to have begun.. The second spectator is asked to write down the name of a childhood pet , and the third is instructed to draw a simple picture. Both seal their own cards into envelopes provided by the performer. The mentalist then collects the envelopes and apparently number them in 1,2,3 order. In fact, he misnumbers them 2, 3, and 1. (The first spectator’s envelope is actually marked with a 2, the second spectator’s envelope is actually numbered 3, and the third spectator’s envelope containing a picture is marked with a 1.) The mentalist now gazes at the first spectator and mystically reveals the number he had previously forced upon him. He asks for envelope number 1 (which actually belongs to the second spectator), tears it open and checks to see if his impressions were correct.. He misreads the contents of that envelope as if the force number was written on the paper. Actually he is now looking at the name of the second spectator’s pets and is ready to go through the same bit with him, after which he would know what the third spectator drew, 12

A Journey Through the Fourth Dimension thus enabling him to finish the routine with a picture duplication presented exactly as described previously in “The Basic Effect.” There would be no point in finishing it up, though, since most intelligent spectators will have figured out his method right after the first or second revelation. Doing it a third time would only serve to make things obvious to everyone else in the room. The one-ahead is crude and obvious when used in this manner. It’s not as if the performer was answering sealed questions and then checking to see if his answer had anything to do with the original query. The moment he reveals the first spectators thought, the effect should be over as far as that spectator is concerned. If the performer was a real mind reader, why would it be necessary for him to open the envelope for verification if his revelation has already been acknowledged as correct? It wouldn’t be necessary at all, and that’s the main problem with the traditional version of the one-ahead. Why would the performer need to verify something everyone already knows? There is only one logical answer – to secretly obtain the contents of a misnumbered envelope. Annemann’s approach solves the problem. He saw that there was nothing wrong with the basic set-up – i.e. forcing the first selection and then misnumbering the envelopes 3,1, 2 while collecting them and either placing them in plain view or handing them to a fourth volunteer for safekeeping. Nor did he see anything inherently wrong with the one-ahead. It was the timing that was all wrong. His solution is an excellent illustration of an important rule: Everything a mentalist does in the course of a demonstration must have an apparent logical motivation that is consistent with the effect’s premise. In the traditional approach, the envelope is opened AFTER the performer has already made his revelation. If the spectator already acknowledged the revelation as correct, there would be no logical reason to open the envelope. In Annemann’s presentation, a logical motivation is introduced that permits the mentalist to open the envelope BEFORE his revelation is communicated to the audience: Rather than verbally revealing the first spectator’s number (which the mentalist already knows because he forced it) he picks up a pad and marker while seemingly trying to receive the first spectator’s thought. He claims to have received an impression, but rather than announcing it to the audience he writes something down on the pad, holding it in such a manner so that no one can see what he’s written. The mentalist states that he has received an impression of a number and has committed that impression to writing. He hands the pad - writing side down – to a member of the audience, and asks the person holding the misnumbered envelopes to hand him envelope number one. He tears it open and removes the folded card. He unfolds it and misreads it as the first spectator’s number. He then asks the person holding the pad to turn it 13

Bob Cassidy over and show the audience the impression that was written down BEFORE the envelope was opened and its contents seemingly read aloud to the audience. The procedure simply seems like a dramatic build-up to the revelation of the performer’s written impression. Actually, it is. But he has also successfully and logically put himself one-ahead. and is now prepared to reveal the second spectator’s thought in the same manner after which he will know what the third spectator drew. Properly presented this is an excellent piece of mentalism exactly as it stands.

Time Out On paper the effect seems fine. It seems clean and direct in both presentation and method. But unfortunately, as I pointed out earlier, performances don’t happen on paper. They happen live on stage before audiences of real people who are often unpredictable. In that world, notions of what is “clean and direct” must be measured against audience type, nature of the venue and occasion, and the number of things that can possibly go wrong given the mentalist’s relative strengths and weakness as a performer. For example: Imagine you are performing the effect before a real audience (that would be members of the paying public waiting to be entertained and/or impressed.) What will you do if the first spectator can’t add and writes down a number other than the one you forced? You know it will happen sooner or later. Why not use an impression device? You’d know what he wrote even if he wrote the wrong thing. You could even forget the force entirely and let him write anything all. Fine, but what if he or she is a particularly light-handed writer and you can’t read the impression? How will you handle the misread.? Wouldn’t it be better if you could do away with forces and impression devices completely and find a way to secretly peek at the first volunteer’s actual writing? And what about returning the papers to each volunteer? Is there a clean way to do that and still do the routine without forces, pre-show work, or impressions? The foregoing questions and others prompted the various versions of Fourth Dimensional Telepathy that I developed over the years. . _____________________________________________________________

Ultimate Fourth Dimensional Telepathy - 1977 From Pseudomentally Yours (1977)( Supplement # 2 to Invocation)

14

A Journey Through the Fourth Dimension For those who are interested in his sort of thing, Supplement #1 was Tony Shiels's The Shiels Effect.

For a long time Annemann's “Fourth Dimensional Telepathy” was one of my favorite program items. Developed by Annemann close to fifty years ago, it was the best camouflage of the one ahead concept that I'd ever come across. Later Al Koran improved the effect by doing away with the necessity of a number force for the first selection. Instead, he substituted an NCR pad, which innocently took an impression of what the first spectator wrote. Unfortunately, the NCR pads currently available are not of the best quality, so it's a hit and miss proposition as far as the impression goes. Eventually, while trying to solve the problem of the poor impressions, I did away with the one ahead entirely and worked out a method where each message would actually be in the envelope it was supposed to be in. Since I like to disturb the fellows in the audience who have entered the ever growing legion of amateur magicians, the routine proceeds exactly as if a one-ahead was being used. The wise ones, who are busily explaining the effect to their girl friends while I'm working, are completely embarrassed when I allow an audience member to open each envelope for verification. And by that time all of the dirty work is done and they don't have a chance to redeem themselves. (By the way, despite rumors to the contrary, there is no such thing as a magician's code of ethics. Today's mass of magicos is all too willing to explain everything another performer does to their friends and anyone else who will listen. Fortunately audiences generally recognize them for the boors they are.) EFFECT: Three persons are given a slip of paper and are asked to write a bit of information known only to them. I get a kick out of asking them to write the names of childhood pets or old friends they haven't seen or thought of for years. This is the sort of thing that audiences remember and is 100% more effective than having them write a number between one and a million. I usually ask the last person to write something associated with his hobby or business. Stocks are good if you have a broker for a volunteer. Each of the volunteers is given an opaque check-mailer. envelope to seal their paper in. The envelopes are numbered one, two and three with a crayon, to correspond to the volunteers as they stand from left to right. They are handed to a fourth person for safekeeping. Gazing at the first volunteer, the mentalist writes something on his pad with a magic marker or crayon. The pad is placed face down and the performer asks for envelope number one. (Aha, thinks the skeptic, he is about to get the one-ahead The envelope is opened and the contents read aloud. The paper and envelope are then handed to the volunteer for verification. The same procedure is followed with the second spectator, but this time the performer doesn't even bother to touch the envelope - he lets the volunteer open it himself and read aloud. For the last spectator, the envelope isn't opened at all. The mentalist just concentrates, writes something down and gives his pad to a member of the audience. The 15

Bob Cassidy third volunteer just calls out what he had written. The person holding the pad shows it to the rest of the audience and the effect is concluded. Once again the mentalist has succeeded. METHOD: Use the lined check mailer envelopes that measure 31/2x61/2 inches. Also, you'll need a 3x5 inch piece of Magic Slate as used earlier in IMPROMPTU IMPRESSION. (Although the piece used there was somewhat smaller.) Put a heavy piece of cardboard into one envelope and seal it. Stick the magic slate to the face of this envelope. Be sure the gimmick is only stuck to the envelope at one end. (Use Scotch Tape.) Seal another envelope and slit it on its flap side, about one inch from the end - the slit runs parallel to that end. Slide this envelope onto the gimmick, the gimmick going into the slit and coming against the inside face of the slit envelope. These two prepared envelopes are placed on top of a pile of about ten unprepared envelopes. The bottom five are turned over so that the face of an envelope shows on either side of the pile. Pencil dot the prepared side. Place the whole lot into the envelope box they came in originally. If you're a perfectionist you might like to leave the price tag on the box. PRESENTATION: As described in 'Effect". As you approach the three spectators who are to participate, remove from your pocket some slips of paper and a ball point pen. Don't use a pad of paper - otherwise there would be no logical reason for using the stack of envelopes as a writing rest. Give each volunteer one of the slips and draw an oval on each one. The first spectator's oval goes on the upper third of his slip, the second spectator's in the middle, and the last spectator's on the bottom third of his slip. Go back td your briefcase and remove the box of envelopes. Take one off the bottom of the stack and hold it open as you explain that they are made so no one can see through the paper to read the contents. Replace the envelope onto the bottom of the stack and go to the first volunteer. Take his slip and place it onto the prepared side of the stack. Tell him to visualize his mother's maiden name or the name of a childhood friend printed in block letters in the oval. Hand him the ball point pen. Turn your back on the volunteer and place the stack, which is held in the right hand - the right forefinger holding his slip in place, over your left shoulder. This is a natural way to offer the volunteer a writing surface and, as in the book test, it is obvious to the audience that you cannot see what the man is writing. When he is finished writing his thought in the oval, tell him to remove the paper and fold it up. When he's done that, turn around bringing your right hand back to the front. You will have automatically turned the stack over so the unprepared side is on top. Hand him the top envelope and have him seal his paper in it. Follow the same procedure with the other spectators. The spacing of the ovals insures that the impressions won't overlap on the gimmick. Return to the front and casually drop the envelopes back into your briefcase, at the same time pulling off the envelope which covers the gimmick. The impression is now staring you in the face. Take your pad and magic marker from the case and you have plenty of time to read the impressions without being obvious about it. Number each of the envelopes with the marker and conclude the effect as described. 16

A Journey Through the Fourth Dimension

NOTE: Sometimes I don't even bother to read the impressions as soon as the envelopes are in the briefcase. Instead I just quickly grab the marker, go out and number the envelopes and give them to someone to hold. THEN I go back to the briefcase for my pad and read the impressions. It was Bob Nelson who first came up with the idea of using the briefcase (or attach‚ case) as a means of secretly reading impressions. In this routine the concept is a perfectly natural one. Believe it or not, the gimmick as described, cornbined with the use of a ball point pen and your back as a writing rest, makes a perfect impression which can be read in even dim light. If, by chance, one of the impressions is an illegible scrawl, which it won't be if you tell them to print, just take a guess at what the spectator wrote. If you're right, as you often will be, you may start to believe in your own powers. If not, don't worry about it. Missing one envelope can be very impressive as it make the whole thing more believable. After you've played with this awhile, you'll make an interesting discovery. When the spectator writes in the over-the-shoulder position, the fact that the paper is very close to your left ear will enable you to hear the writing. Admittedly, it is very difficult to sound read a word, but, with a little practice, numbers and simple designs present no problem at all. This discovery led me into a search for a method whereby the basic effect could be performed any time and at any place with no bad angles to worry about. The attaché case method is fine for large audiences where no one has a direct view into the case. But in the intimate, impromptu situation where reputations are made or broken, a different approach is required. The following is my solution to the problem. At the risk of seeming immodest I think you'll find it to be one of the best means of obtaining information written by a spectator under virtually any conditions. I call it,

THE SHIRT POCKET MINDREADER (In the interest of giving credit where it is due, the basic concept of hiding a magic slate in an envelope to get impressions was Bob Nelson's. The method of preparing the envelopes to allow for easy access to the impression is, as far as I know, original with me. In this effect the basic concept is refined beyond recognition.) EFFECT: A spectator writes something on a slip of paper which is sealed in an envelope. While working entirely surrounded and at close quarters, the mentalist correctly divines the spectators thought. There are no suspicious moves whatsoever. PREPARATION: Instead of using standard size envelopes as in the preceding effect, prepare a stack of pay envelopes in the same manner. The stack must easily fit into your shirt pocket. The best envelopes I've found for the effect are made by "PEN-TAB." (#147) they are absolutely opaque. Pencil dot the writing surface of the gimmicked envelope on the upper left hand corner. (The end where the gimmick is fastened to the second envelope with scotch tape.) 17

Bob Cassidy Put a slip of paper into each unprepared envelope and place the whole stack (about ten) into your shirt pocket along with a ball point pen. ROUTINE: Remove the envelopes from your pocket. Take one off the stack and remove the paper slip. Place the empty envelope back onto the stack - on the ungimmicked side, of course. As you select a participant, secretly turn the stack over by casually dropping your hand to your side. Place the slip onto the "hot" side of the stack, the pencil dot at the LOWER RIGHT corner. (i.e. - the gimmick inside is upside down.) Hold the slip in place with your right forefinger. Do the over-the-shoulder move while turning your back to the spectator. The spectator writes his word and removes the slip. After you tell him to fold it up, turn around, reversing the stack as you bring it in front of you. Hand him the unprepared envelope now on top Return the stack of envelopes to your shirt pocket, the pencil dot at the lower right corner, the gimmicked envelope facing your body. You now request that the volunteer write his name across the face of his envelope. As you say this, pull the pencil-dotted slit envelope out of your pocket and free of the gimmick, which now remains uncovered in the pocket. Immediately turn the envelope so the slit doesn't show and point to the face of it, as if illustrating where the spectator is to write his name. During this entire sequence do not look at your hands, and make no attempt to read the impression. Return the slit envelope to your pocket, but this time on the outside of the stack, opposite the gimmick. Still do not watch your hand or the envelope - keep your eyes on the spectator. After he's finished writing his name, tell him to put the envelope in his pocket. Hold out your hand for the return of your pen - most times the spectator will give it to you without your asking. Just don't make a thing out of it. You take the pen and return it to your shirt pocket. Since you're using a clip-type pen, it is natural to look down at your pocket as you attach the pen. NOW you read the impression. Your angles are perfect unless someone is standing on your head and looking down.(!?) The important thing is to be in no rush to see the impression. I usually start trying to divine the word before I look at the gimmick. Apparently experiencing trouble with a letter, I ask for my pen and jot a few letters on a handy scrap of paper, asking the volunteer if they are correct. Whatever his answer, I tell him to concentrate harder. THEN I put the pen back in my pocket and get the information.

THE THREE ENVELOPE TEST - 1982 First described in The Art of Mentalism This is a feature routine for the mental act. While few of the component principles are new, the routining has eliminated most of the drawbacks of the underlying one-ahead principle.

18

A Journey Through the Fourth Dimension EFFECT: One spectator thinks of a name and writes it on a piece of paper. A second volunteer writes down the name of a pet. Both fold their papers and are asked to seal them in pay-type envelopes, and then to hold them up to the light to verify that they cannot see through them. A third spectator is handed a slip of paper and asked to draw a picture. He too folds his slip and seals it in an envelope. The performer collects the envelopes and numbers them 1, 2, 3. They are then given to another audience member for safekeeping. The performer does his concentrating bit, and writes something on a large pad which is placed face down on the lap of a spectator in the front row. He then asks for envelope number ''1 ,'' tears it open, removes the slip and reads it aloud. The spectator with the pad turns it over showing that the performer's impression was correct. The slip of paper is returned to its owner. The same procedure is followed with the second spectator, but when the performer gets to the third volunteer the procedure is changed. The mentalist takes the third envelope and crumples it up. He puts it in his pocket, without ever opening it, and hands the third volunteer a large pad and a magic marker. The volunteer is asked to draw the same picture he drew before, but much bigger, so that everyone can see. The performer turns his back to the volunteer while this is done and draws a picture on a large pad of his own. The climax is reached when it is shown that the drawings match. Note the strong points in the routine-there are no forces, no pre-show work with the spectators, no impression devices, no window envelopes, and the slips can be returned to the volunteers after each revelation, thereby eliminating the idea of a one-ahead.

PREPARATION AND PERFORMANCE Five pay envelopes are required. The size is not critical. One is prepared as a billet hold-out as follows: Seam is partially opened using an xActo knife or razor blade. Don't cut the paper, just separate the seam from the glue. (a)Fold a billet in standard Annemann 19

Bob Cassidy fashion, i.e., in half, then in quarters and then once more, and place the slip in the envelope. (b)Place this envelope, seam side up, on the table in front of you. On top of it place an unprepared envelope containing a blank, pre-folded billet. On top of that, but under the flap, place a flapless envelope(in preparation for a flapless envelope switch in the routine).Finally, put two unprepared envelopes on top of the stack. (c)Paperclip the stack together and place it in your right outside jacket pocket. Put two pre-folded billets in your left inside jacket pocket, and put some pencils in your left outside jacket pocket. Have two large drawing pads and two magic markers handy. You are now ready to perform.

PERFORMANCE: Tell the first volunteer to think of the name of a friend or relative and to imagine that name being projected onto a motion picture screen. With your right hand, reach into your inside left jacket pocket and remove a blank billet. Unfold it and tell the spectator to imagine that the slip of paper is the movie screen and to visualize the name on it. Refold the slip and hand it to him along with a pencil, telling him to print the name and to refold the paper. While the first volunteer is thus occupied, select another spectator and ask him to think of the name of a pet he once owned or knew. Use the same motion picture screen approach as you remove another blank billet and pencil. Again unfold the billet, telling him it is the imaginary screen. Refold and give it to him with a pencil. THIS IS IMPORTANTYou are conditioning the audience to your opening the slips to illustrate the movie screen concept. Later you will open a slip and secretly read it right in front of them. The first spectator should now be finished writing and folding.

20

A Journey Through the Fourth Dimension Approach him, removing the stack of envelopes from your right side jacket pocket. Toss the paper clip aside. Hold the stack in your left hand, flap sides up, just as you would hold a deck of cards. With your right hand, slide the bottom envelope halfway out to the right. Put your right thumb on top of the exposed billet, pull it into fingerpalm position-that is, lengthwise between the first and third joints of the middle finger. (Obviously, you must keep the stack tilted toward your body while doing this move.) Square the stack and transfer it to your right hand, again holding it as you would a pack of cards. The palmed billet is now concealed beneath the stack. This sequence takes only two or three seconds, and takes place while you are speaking about how the spectators should be concentrating on their thoughts. Now comes a completely invisible billet switch: Take the first spectator's folded billet from him, holding it between the tips of your left first and second fingers. Hold it high, pointing out that it is impossible to see through the paper. Place the envelopes into the crotch of your left thumb, once again as if they were a pack of cards in dealing position, retaining the palmed billet in the right hand. Grasp the spectator's billet between the middle finger and thumb of the right hand, and drop the hand to waist level. Bring the left hand stack of envelopes to your mouth and open the top envelope by blowing into it. AT THE SAME TIME perform the classic billet switch with the right hand. (Ref: Practical Mental Effects.) The misdirection of blowing into the envelope is so strong that it’s easy to do the move without it being detected. Now place the dummy into the opened envelope on top of the stack and place the stack into your right hand as before, covering the spectator's billet. Hand the envelope containing the dummy to spectator number one and have him seal it. Hand the next envelope to spectator number two and ask him to seal his folded billet inside. Now ask for a third volunteer-someone with artistic ability. Have the person stand and ask her to visualize a picture of something that she could draw. Tell her to see it on her mental movie screen and tell her you have a slip of paper for her, too. Put the envelopes into your left hand, retaining the hidden billet in your right, and put your hand into your inside jacket pocket, as if to get another slip. Come right out with the slip that was palmed and unfold it, telling her to imagine that the slip is the movie screen. This is the exact procedure, from the audience's point of view, that you followed with the other volunteers. Except now you are looking at what the first spectator wrote. Casually refold the slip and put it into the flapless envelope. Remove a pencil from your pocket, perform the flapless envelope switch and hand her the envelope with the blank slip in it. While the thirds spectator is drawing her picture, you put the remaining envelopes into your right jacket pocket. In your pocket you buckle them, causing spectator number one's billet to fall into your pocket. You then remove the envelopes from your pocket and put them in your inside jacket pocket. This leaves you with nothing in your right jacket pocket except for the stolen billet. This sequence, done while you are talking about E.S.P., should look like you’re just casually looking for an empty pocket to put the leftover envelopes in. You must make this look totally unconscious. Now's the time for the E.S.P. patter to cover the time she takes to draw her picture. (Refer to "Presentation," which follows.) When she is done, have her seal the envelope and

21

Bob Cassidy collect all three of them. State that you will number them, but instead of numbering them 1,2, 3, you misnumber them 3, 1, 2. Having collected and misnumbered the envelopes you now take your pad and write number one's thought on it. Place it on someone's lap and ask for envelope number one. Tear the top off of the envelope and remove the billet. Open it and misread it as spectator number one's thought. As you are misreading, your right hand puts the torn-off top of the envelope into the right jacket pocket and palms the slip that is there.

Ask the spectator with the pad to turn it over to reveal what you wrote. AS HE DOES SO, remove your right hand from your pocket, bring it to your left and refold the billet you just read. Switch them in the process and dump the switched-out billet and the remainder of the envelope into your right pocket. This is all covered because the spectators are busy looking at what you wrote on the pad. Now you are able to return spectator's number one's original billet to him. Follow the same procedure with spectator number two, but this time don't worry about returning the billet. I act like I just got a brainstorm about how to change the procedure with the third spectator. Of course you know what number 3 drew when you opened the contents of envelope number 2 and misread them as the second spectator's thought. Finish as described under "Effect." The above routine reads long and seems complicated. It is not. Every single move has a reason behind it and all of the secret work is perfectly covered provided you have some ability as an actor. And if you don't, you are in the wrong business.

22

A Journey Through the Fourth Dimension

The Three Envelope Test - 1996 From The Art of Mentalism, Part 2 “The Three Envelope Test,” or "Fourth Dimensional Telepathy" as it was dubbed by Annemann, is, to my mind, the most effective piece of mentalism I've ever performed. Readers of my previous works will note the way the effect has evolved over the years. From forcing the first selection, as Annemann did, and through various impression devices and billet switches, I finally arrived at a method that involved no forcing, no impression and no risk. Nonetheless, I have never seen another performer use my methodology. Perhaps that's because the method appears to be very complicated. Trust me, it's not. It just reads that way. But as a further incentive for you to try this out, I offer you here a way to do the effect without finger switches and without the use of your pockets. You could perform this variation naked if you were so inclined. But even if you prefer to remain clothed, you should appreciate the fact that this approach leaves room in your pockets for all the other stuff that's used in the show. Neither will you ever be accused of playing pocket pool. Since by now you should have the feel of the presentational approach of the act, and because I have already given a verbatim transcript of my presentation in previous writings, I give you here a nuts and bolts description of the effect and method without the extensive patter I've been providing. (I will, however, leave in the good jokes.) PRESENTATION: "What's your name, please?" asks the mentalist of a female spectator. "Mary... I knew that. It's a talent I have. [old line, always works] I want you, Mary, to concentrate on someone you haven't thought of in years, perhaps a relative or a childhood friend. "Do you have a name in mind? Good. Picture that persons face on your mental screen and imagine the persons name printed underneath it." While he is speaking, the mentalist has picked up a small packet of manila coin envelopes and has removed a folded index card from on of them. He unfolds it and draws the card to the spectator’s attention. "Mary, look at this index card. Pretend it is the movie screen and imagine that you can see the persons name printed on it. I want you to take this card and print the name on it. When you're done, fold it up and hold on to it. I won't touch that card at any time. The only reason you're printing the name is to further fix it in your mind and to prevent you from changing your mind later and making me look stupid."

23

Bob Cassidy The performer hands her the card and a pencil. While she is printing the name, he turns to address another spectator in a different area of the room. He requests this spectator to think of the name of a pet he or a relative owned during his childhood. Pointing out that there would be no way for anyone to possibly know that name, and in the meantime having removed another card from an envelope in the stack, the mentalist requests this second spectator to print the name and fold his card just as Mary did. While this spectator is complying, the performer returns to Mary and asks her to hold her folded card to the light to verify that the writing doesn't show through. He continues, "Mary, just slide your card into the envelope. I don't want to touch it. Good, now stick out your tongue." The performer has proffered the stack to Mary and she has inserted her card into the uppermost envelope. When he requests her to stick out her tongue, he holds the stack in front of her face in such a manner so that she may lick the flap of the envelope containing her card. "Just lick the flap. [she does so] Look at that," says the performer to the rest of the audience, "She must think I'm Colonel Sanders. She just licked my fingers." Handing her the envelope, the mentalists requests that she seal the flap shut. "Just hold on to the envelope, I don't want to touch it." The performer now approaches the second spectator and hands him an empty envelope in which he is told to seal his folded card. He also retains his envelope. Returning to the front, the mentalist requests a third volunteer. "Someone with a good imagination who likes to do things a bit differently. An artist perhaps.” An attractive woman is selected and requested to visualize a picture of somethingsomething she feels capable of drawing. Removing a folded card from another envelope, the performer unfolds the card while explaining to the woman that she is to draw her picture thereon, refold it, and seal it in the envelope. The performer illustrates by refolding the card, putting it into the envelope, and handing it to her along with a pencil. A fourth spectator is selected and handed a pencil. She is told to collect the envelopes and to number them from one to three, number one designating the first spectator selected, number two the second, etc. "And when you're done doing that, just hand them to this gentleman over here who will act as our judge. You look like a credible judge sir." The performer has selected the least credible looking person in the room for this role, thus garnering yet another cheap laugh at an unwary spectator's expense. (Another parenthetical is called for- at least I can't resist it. The above description is absolutely accurate. The performer has not touched any of the cards. He even had someone else collect and number the envelopes. Yet he is nonetheless prepared to dramatically reveal the contents of each. Stop reading here and try to work this out. I've provided enough details of the handling to lead you to the solution. If you are familiar with my previous versions of

24

A Journey Through the Fourth Dimension the effect you've probably worked out most of it. But I'll bet you're bothered by that business of having a fourth spectator collect the envelopes and hand them to the `judge.") The performer now reveals the spectators thoughts as follows. He picks up his pad and a magic marker and asks the first spectator to come to the stage. As she approaches, the mentalist, feigning great concentration, writes something on the pad. When the volunteer arrives at the performer’s side, she is told to hold the pad with the writing side against her body. "Don't peek," cautions the mindreader, "and make sure to rub the marker ink well into your blouse." Turning to the judge, the performer requests the first envelope. "That's the one with the one' on it, sir." Opening the envelope and extracting the card, the performer reads its contents aloud. The onstage volunteer is now asked to peek at what the performer previously wrote, and then to show the pad to the audience. The mentalist, of course, has correctly written the thought of name. Applauding his volunteer, the mentalist dismisses her from the stage and requests the writer of the pet's name to approach. Again, the performer writes his impressions as the spectator approaches. The same procedure is followed as before, the judge handing up the envelope numbered "two" after the performer has given the pad to the volunteer. Once more the performer is seen to be correct. The procedure is varied with the revelation of the picture. The artist is called forward and asked to retrieve her envelope from the judge on her way to the stage. The mentalist takes the envelope from her, crumples it up and discards it. He then hands the volunteer a large pad and marker and asks her to stand back to back with him. The mentalist also holds a pad and marker. "Now hold the pad so no one can see what you're about to draw. I want you, when I say `go,' to draw the same picture you've been thinking of, but this time you'll do it nice and big so everyone can see it later. I'll draw at the same time and see if I can catch your thoughts. "Ready, go!" "Are you done yet?" queries the performer. "Good. Hold the pad close to your body and turn to face the front." The performer does likewise and says to the volunteer in a state whisper, "If you show me yours, I'll show you mine. They peek at one another drawings and the performer directs the volunteer to turn her pad around and show hers to the audience. The performer exhibits his drawing and they are seen to be virtually identical. To resounding applause and gasps seemingly heralding an impending rapture, the volunteer is dismissed with the mentalist's thanks.

25

Bob Cassidy

ANALYSIS AND METHODOLOGY:

As you all should know, the effect is simply a presentation of the ancient one-ahead principle. Having obtained knowledge of the contents of the first envelope, the performer is able to determine the contents of the other two merely by opening the second envelope first and the third envelope second, misreading the contents aloud each time while secretly noting the information to be revealed on each subsequent revelation. It is necessary, therefore, that when the envelopes are collected they be misnumbered as follows- the first volunteer's envelope is numbered "3", the second volunteer's "one," and the third volunteer's "two." If the performer collects the envelopes himself, as in my previous versions, he casually misnumbers them during the collection and mixes them around a bit before handing them to the judge. If, on the other hand, the mentalist’s wife or girlfriend is in the audience, he simply asks her to collect the envelopes for him. In the above presentation she was the fourth spectator. This, I believe, is one of the most effective ways of using an assistant. She appears to be nothing more than a "gofer," and thus her actions go virtually unnoticed. By misnumbering the envelopes for the performer, the illusion of the performer never touching, or even coming near, the envelopes is solidly reinforced. Of course, the performer working alone can dispense with this assistance when it is unavailable, but on those occasions where it is, the technique is guaranteed to confound the most analytical spectator.

Look closely at this picture of Denise’s hand holding the misnumbered envelopes. She never forgets how to misnumber the envelopes.

26

A Journey Through the Fourth Dimension

That leaves us with the problem of obtaining the contents of the first envelope. In order to do this, a stack of coin envelopes is prepared as follows: (Those familiar with my previous versions are advised to read this carefully, the set up is similar to, but NOT the same as, those I devised earlier. The set up has been changed to allow the performer to work without the use of his pockets. All necessary props can either be carried on the performer’s person or set out on a table or stool.) Five # 3 coin envelopes are required. (Unless you decide to use a Shaxon flap, in which case you will require six.) Slightly larger sizes will work, but anything smaller is unsatisfactory. I suggest, though, that you avoid the larger envelopes since they make the removal of the folded billets more difficult. Also needed is a supply of blank three by five index cards. If you prefer, you may cut these cards in half so they are identical to the cards used in the Name/Place routine. In the interest of consistency this is the procedure I follow. Extraction of the billets from the envelopes, however, is easier with the larger cards and the minor inconsistency is not critical. Prepare one of the envelopes by licking its flap and folding it into the envelope. Flapless envelopes prepared this way, instead of by simply removing the flaps, are much easier to work with as they make insertion of billets easier. (This is unless you are using a Shaxon Flap Envelope, aka Al Mann's “Circean Vessel”. If you decide to use this type of envelope it is preferable that the flapless portion be prepared by actually removing the flap. The only reason for using this type of envelope is to allow the volunteer to insert the billet herself, rather than having the performer put it into the envelope before handing same to the volunteer for sealing. It is, therefore, not essential that this type of envelope be used. For that reason, the remainder of the preparation instructions will presume that the reader is using a standard flapless envelope.) Fold three billets into quarters and insert each of them into a separate, unprepared, envelope. Leave the flaps of all three envelopes turned up and place them on top of each other to form a stack, seam sides up. Place a fourth folded billet into the flapless envelope and put this one on top of the stack, again with the seam side up. Paper clip the stack together and you are ready to begin. While the performer is instructing the first volunteer to think of the name of a childhood friend, he picks of the stack of envelopes, removes the clip and tosses it aside. The packet of envelopes is held in his left hand. Still while speaking to the volunteer, he casually removes the folded billet from the flapless envelope, unfolds it and hands it to her along with a pencil. When he is speaking to the second volunteer, instructing him to think of the name of a pet, he casually transfers a regular envelope from the bottom to the top of the stack. He removes the billet from this envelope, unfolds it, and gives it and a pencil to the volunteer. 27

Bob Cassidy While returning to the first spectator, he returns this now empty upper envelope to the bottom of the stack. At this point, the envelopes in the left hand would be in the following order: Top envelope is flapless and empty; the second envelope down is unprepared and contains a billet, as is the third envelope from the top; the bottom envelope is unprepared and empty. The first spectators billet goes into the flapless envelope, and the standard flapless envelope switch is performed- i.e. after insertion of the billet, the performer grasps the flap of the second envelope and pulls it from the stack. It is this second envelope whose flap is presented to the volunteer's tongue for sealing. Since it contains a folded (albeit blank) billet, everything appears to be as it should. If she peeks into the envelope before sealing it, she will merely see what she presumes to be her folded card. Do not, however, walk away from this volunteer until she has sealed the envelope. The misdirection (although little is needed) for the switch comes when the spectator is asked to stick out her tongue. Being a rather unusual and funny request, it provides perfect cover for the move. Walking back to the second spectator (and please take note of all the things I get away with in the act by walking all over the place- man, with all the walking around I do, I think I could nail write the Declaration of Independence without being noticed!), the mentalist removes the empty bottom envelope from the stack and hands it to the volunteer so that he may seal his billet inside. It is at this point that the performer starts reiterating how he never touches the billets. (But don't, for God's sake, call them billets. Audiences do not speak or understand Mentalese.) The envelope situation is now as follows: The flapless envelope is on top of the stack and contains the first spectator’s folded billet. The next two envelopes contain blank folded cards. Returning to the front the mentalist selects and addresses the third volunteer- the artist. While illustrating to her how she is to visualize her picture before drawing it, the performer pantomimes what he wants her to do by removing the billet from the flapless envelope. He opens it casually and notes the name written on it while he mimes drawing a picture. He then refolds it and returns it to the flapless envelope. While walking to the artist he withdraws the second envelope, once again, from the stack and hands it to her along with a pencil which he has either removed from his pocket or picked up from his table. "Here's your envelope and card. Draw your picture, refold the card and seal it into the envelope," he instructs her. And that's it. All that remains is for the envelopes to be collected, misnumbered, 3, 1, 2, and handed to the judge. NOTES: You may have noticed that you are left over with an extra envelope containing a blank billet, along with the flapless envelope. The extra card isn't strictly necessary, but the flap on the remaining unprepared envelope creates a consistency of appearance if anyone should be paying attention to the stack. (Which they shouldn't be). The only reason it has a card in it is to sooth my paranoia about the stack somehow getting mixed up prior to the

28

A Journey Through the Fourth Dimension performance. This way all I have to remember is that the flapless envelope goes on top, and that all of the envelopes contain billets. As in my original version of this effect, it is possible to return the billets to the first two volunteers after they are "read." This, however, does require the use of the side jacket pocket. This is accomplished by placing the stack in that pocket after giving the third volunteer her envelope. Once in the pocket, the right hand buckles the flapless envelope open and allows the billet to drop out. The envelopes are immediately removed from the pocket and placed in the left hand which in turn drops them in the left jacket pocket. Done casually, it should just seem like you're fumbling around while putting them away. In ten years I have never been called on it. After misreading the contents of envelope number 1, the performer tells the volunteer to turn the pad around. At that point, all eyes are on the pad as the performer refolds the billet, puts it in his right pocket, and comes out with the actual number 1 billet. This is given to the spectator as she leaves the stage, along with the sheet from the large pad upon which the performer had written. Thus, the second billet is now in the right jacket pocket to be later given to the second spectator, if so desired. The third spectator's envelope is discarded, and after the revelation of the drawings, the large sheets from both pads are given to her. ________________________________________________________

A Sure-Fire Prediction

Sooner or later, somebody, unversed in the history of this effect since Annemann's original appeared in 1932 is going to reinvent the wheel by forcing the first spectator’s selection, thereby "simplifying" the working. It was, however, a realization that a reliable force could not offer anywhere near the effect of using something only a spectator could know that led to the subsequent variations. Further, if the spectator wrote something other than what was forced on him, or if the force failed, the entire effect would collapse. Impression devices presented similar problems if, for some reason, the impression was illegible- a far too common occurrence. I suggest, therefore, that you try the effect as written before trying to improve it. If you can eliminate the envelopes and billets, and merely let the spectators hold the thoughts in their minds, please let me know.

29

Bob Cassidy

The Pocket Dump - 1988 From my Lecture notes 1998 - 2002 The envelopes are stacked like this: A Shaxon flap envelope is on top, flap side up. This contains a folded dummy billet- index card type. Underneath is another regular envelope, flap side up. Below that is a regular envelope, flap down. And below that is a pair of envelopes set for a flapless envelope switch. The regular of these two contains a folded blank billet. The flapless envelope is on the face of the stack. Pencil dot the Shaxon set so you know which side is up.

HOW TO MAKE A SHAXON FLAP ENVELOPE:

Start with two envelopes and cut the flap from one of them as shown here.

Glue the extra flap onto the flap of the whole envelope as shown in this photo.

30

A Journey Through the Fourth Dimension

Take a regular flapless envelope, as shown on the left in this photo.

Slide it onto the Shaxon envelope right onto the little flap -. Placed on the top of an envelope stack, this looks like a single envelope. The switch is the same as done with a standard flapless envelope, but the spectator may actually slide his or her own billet into the envelope. (While you are holding the stack) Thanks to the flap, the illusion that the flap of the second envelope is really attached to the flapless envelope is perfect.

The key to making the dump work is to belly both of the flapless envelopes out before you prepare the stack. Handling: Two spectators write thoughts on billets. Their billets are sealed in envelopes. The first spectator's billet is switched via the Shaxon envelope, which she seals and holds onto.. The second spectator is given the now second envelope down- a crude second deal. She seals up her billet herself, you don't touch it.

31

Bob Cassidy The performer returns to the front and asks for a third volunteer. At the same time he puts the stack of envelopes into his right jacket pocket, mouths down. He buckles it open and the first spectator's billet dumps out. He comes right back out with the stack and puts it into his left jacket pocket. This is all done very casually and just looks like you don't know what to do with them. The performer reaches into his right pocket and removes the stolen billet. He opens it while explaining to the third volunteer that she is to draw a picture and then to refold her slip. It looks like the performer is simply showing the volunteer what to do. He is actually reading spectator #1's billet. He retrieves the stack of envelopes and sticks it into the regular flapless envelope on the face of the stack. He pulls on the flap and switches for the envelope containing the remaining blank billet. The envelopes are later collected and misnumbered 3, 1, 2, thus setting up the oneahead.

4dt Swami - 1006

The first volunteer, instead of a name, is instructed to concentrate on any three or four digit number, preferably one that has some personal significance. He folds it into quarters himself and slides it into the envelope resting on top of the stack the performer is holding in his left hand. (Actually the spectator’s billet is switched out as the previous versions. The second volunteer writes his pets name and the third draws a picture as in the original. The envelopes are collected and misnumbered 3 1 2 as in the original. In this cute variant – that can be effectively used if there are magicians in the audience, the mentalist employs a nail writer. After writing his impression on the pad which is now resting face down on a spectator’s lap, he asks for envelope #1, removes the billet, unfolds it as if he is about to read the contents aloud. He remembers the name of the second spectator’s pet and then turns the billet over as if he had opened it backwards. He’s now looking at the blank side of the card and squints at it a bit as if he can’t make out the first spectator’s writing. He walks over to the judge while secretly nail writing spectator one’s number on the blank side of the card. The mentalist shows it to the judge and asks him to read it out loud. The fact that the judge reads the number aloud is an absolute convincer. It quietly “proves” that no switches could have been possible. The performer must simply be careful to keep the writing on the other side of the card covered at all times. He doesn’t hand the card to the judge; he simply shows it to him and asks that he read it aloud.

32

A Journey Through the Fourth Dimension If you use this variation there is no need to return any of the cards as in the other versions since you have already achieved the goal of ruling out switches.

Bluff Variant and Out - the No Gimmick Approach

This is what I do when I can't make out the first spectator’s handwriting and thus have no idea what the contents of any of the envelopes are. (Obviously, you can do it this way on purpose if you’re working impromptu with borrowed envelopes, etc.) The envelopes are misnumbered and collected as in previous methods and handed to the “Judge.” I ask the first spectator to concentrate on the name of his or her childhood friend. Since I really have no idea what the name is, I play around a bit, possibly pumping out the sex of the individual or a letter in the name. It doesn’t matter if I’m right or wrong. I then go for the gold and write an obvious name – my best given the spectator’s approximate age and any other information I may have correctly pumped. For example, if spectator #1 is somewhere in his or her fifties or sixties and is concentrating on the first name of a female friend from high school, I’d take a shot at a name like Linda, MaryAnn, Barbara or Susan – any first name that was popular among girls around forty years ago. (I collect, review, and memorize these kind of demographics as a regular part of my business as a mentalist. It’s handy stuff to have at your fingertips.) Having handed the pad – on which I have written my guess- to an audience member who as instructed to hold it writing side down until I ask her to turn it over and show it to the audience, I ask the judge for envelope number one. I remove the card, unfold it and secretly note the name of spectator #2’s pet which I’ll be getting to later. I act as if I am having trouble reading what is written on the card, blaming it either on my eyes, or a glare from a spotlight etc. I take the card directly to spectator number one and apparently show it to him, asking “I can’t read this, what’s this name?” Since I’m holding the open card right in front of his face, the audience assumes I’m showing him his own card and asking him what he wrote. Actually, I’m showing him spectator two’s card but I’ve covered the writing with my thumb and spectator #1 actually can’t see anything. But he doesn’t need to see anything; he already knows what he wrote and simply says the name he had written down earlier.

33

Bob Cassidy I then ask the person with the pad to show the audience what I wrote. I’m pretty close more often than you would imagine, but if I’m wrong – say I wrote “Linda” and the name was “Barbara”, I’ll says something like, “Ok, but who was Linda, that was the name I picked up from you, who was she? This usually turns the tables and the spectator remembers who Linda was. (I guarantee you he knew a few girls with that name.) But even if you end up being totally wrong, it’s no big deal. It’s obvious to everyone that you legitimately tried to get the name he was thinking of. Since you now know what the second spectator’s pet’s name is, you are back on track to a successful revelation and then the picture duplication. I noted earlier that some kinds of mentalism can only be learned through the experiences gained in performances before live audiences. The bluff variant just described is an excellent example. Remember always - It’s not what you actually do that counts, it’s what they THINK you’ve done that matters.

GOOD THOUGHTS. . . Bob Cassidy February 2007 Seattle, Washington

34