Larry Becker - Mentalism for Magicians

Mentalism for Magicians

Mentalism for Magicians

Written by Larry Becker Layout & Design by Lee Earle P.O. Box 6023 • Carefree, AZ 85377

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Mentalism for Magicians

Acknowledgement To my beautiful wife, April, my everlasting appreciation for her love and understanding during the turbulent days of writing and publishing this book. A special thanks to my friend, Lee Earle, the master mentalist and master of the Macintosh. Larry Becker

Copyright © 2004 Lawrence Becker All rights reserved. All manufacturing rights for the material and effects explained in this book are hereby reserved by the author. No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or any information storage and retrieval system now known, or to be invented, without the expressed written consent of the author and publisher. Printed and bound in the United States of America.

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MONTE INFERNO EFFECT The mentalist explains the need for having faith in luck while gambling. Three envelopes are displayed while the performer explains that two are already sealed and contain folded slips of paper. A twenty-dollar bill is now borrowed from a member of the audience. The lender signs his name across the face of the bill. The performer then folds the bill and seals it in the third envelope. All three envelopes are now handed to the participant who loaned the bill. He is instructed to thoroughly mix the envelopes and then freely number them “1,” “2,” and “3” by writing that number on the face of the envelope with a marking pen. The performer now invites anyone in the audience to call out any one of the three numbers. When the number is called aloud, for example, the number “2”, the envelope bearing that number is handed to the mentalist. The participant applies the flame from a lighter to the remaining two envelopes. As the envelopes burn, the performer says, “Keep the faith, of course, if things donʼt work out, donʼt blame me, blame the person who called out the number two!” The mentalist now opens the lone remaining envelope and peers inside. A look of shock and dismay crosses his face. “Iʼm sorry,” he says. Slowly he removes a folded slip of paper from the envelope. Naturally, the audience is laughing at the discomfort of the spectator who loaned the twenty-dollar bill. “Wait a minute,” the performer exclaims, “thereʼs something written on the paper, probably an I.O.U.” The folded slip of paper is handed to the spectator to read aloud. The message printed on the slip is as follows: “Keep the faith and the contents of the envelope that the star is holding.” The envelope held by the mentalist is handed to the spectator who extracts his signed twenty-dollar bill. BACKGROUND This routine is, of course, a variation of the Just Chance or Bank Night routines so prevalent in mentalism. However, the impact of this entertaining routine far exceeds the simple method used to bring it about. If youʼll read the description of the effect again, youʼll note that the climax is designed to produce a good laugh. Thatʼs entertainment. The burning of the two envelopes enables you to use all of the bits of business in the currently available routines of this type. Two I can heartily recommend are Terry Seabrookeʼs hysterical Bill in Envelope and Joe Ridingʼs Bill in Orange. REQUIREMENTS You will need three letter size, self-sealing, opaque white envelopes. Two are sealed after placing 3 by 5 index cards, folded in half, in each. The third envelope is marked on the flap with a pencil dot or by any other method that you prefer. You will also need a metal strainer, 3

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a felt tipped pen, a cigarette lighter, and the card with the message written on it as outlined in the effect. This message card is folded and inserted in the open, marked envelope. PERFORMANCE The routine is performed as outlined in the effect. Borrow a twenty-dollar bill. Have the spectator sign the bill and fold it in half. You should be holding the stack of three envelopes in the left hand with the unsealed envelope on top of the stack. Insert the folded bill into the envelope directly behind the folded message card. Seal the envelope and immediately hand all three envelopes and the pen to the spectator who loaned you the twenty-dollar bill. Have the spectator thoroughly mix the envelopes and then number them “1,” “2,” and “3” on the address side, writing one number on each envelope. Have anyone in the audience call out any one of the three numbers. We will suppose, by way of example, that the number “two” is called. Have the spectator who is holding the envelopes hand you the envelope that he numbered “2.” Look at the flap side of the envelope as you display the numbered side to the audience. If there is no secret mark, take out your lighter and have someone hold the strainer. Set the envelope on fire and drop it into the strainer. If the envelope that is numbered “2” is the marked envelope, place it in full view in the outer breast pocket of your coat. About half of the envelope should be visible. Take the remaining two envelopes and have them burned after asking the spectator to hold the strainer. Letʼs assume that the envelope that was numbered “2” was not marked and was subsequently burned. As the envelope is burning, look at the spectator who loaned you the twenty-dollar bill and use the gag about blaming the person who called out the number “2,” if things donʼt work out. The spectator will still be holding two envelopes, one of which is the marked envelope. Ask the spectator to “give” you one of the envelopes that he is holding. (You must emphasize the word “give”.) If the envelope that he handed you is not the marked envelope, then burn it in the same manner as the first envelope. If it is the marked envelope, asks the spectator, “Did you give me this envelope?” When he replies in the affirmative, you say, “Thank you,” and place the envelope in your outer breast pocket. This will get a chuckle. Now proceed by taking the final envelope and burning it. This subtle form of the well-known Magicianʼs Choice is perfectly natural in the manner that it is used during the routine. No matter what situation you are presented with, the marked envelope is always left for last. Once the two envelopes have been burned, you proceed as described in the effect. The folded index card that you remove from the last envelope will shock the audience. The audience will think that you have failed and it is this subtle bit of business that makes the routine so effective. Feign shock or dismay to get a laugh and then hand the slip to the spectator to read. Once the card is read, have him remove the bill from the envelope and identify it.

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Youʼll be hard pressed to find an easier routine for Bank Night or Just Chance that packs a greater finish. There is nothing so dull as having the spectator simply remove his bill from the final envelope. By combining the Burned Bill in Envelope plot with Bank Night and incorporating the message card into the routine, I believe that Iʼve come up with a routine that makes all the difference in the world. And this is a difference that those who entertain with mental magic will truly appreciate.

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ULTIMATE MATRIX (Authorʼs note: This was the starting point for an endless series of variations that culminated 20 years later in the UTC System that appears elsewhere in this compendium) EFFECT The mentalist places an envelope containing a prediction in full view. Three other envelopes are handed to three spectators. The performer then shows a fan of nine jumbo playing cards, the Ace through Nine of Spades, which he proceeds to mix thoroughly. Each of the three spectators is handed three of the nine cards. Each spectator mixes his cards and places them in the envelope that the mentalist previously provided him with. The envelopes are then mixed and each spectator freely selects one of them. Each spectator freely selects one card from the envelope and calls out its value. The mentalist records the three numbers on a sheet of cardboard. After all nine cards have been recorded as three randomly called three-digit numbers, a fourth spectator totals the figures. When the prediction envelope is opened, it is seen that the mentalist has correctly predicted the total. BACKGROUND The Ultimate Matrix is presented here with the permission of Terry Nosek. Terry has improved upon a Bob Priest idea that evolved from my Thunderbolt, which first saw print in volume one of my World of Super mentalism. PREPARATION The prediction number “1665” is written with a broad tipped felt pen on a piece of cardboard and sealed within an envelope. You will also need the Ace through Nine of Spades from a jumbo deck of cards. The Ace of Spades is marked on the back in the upper left and lower right corners. Arrange the set of nine cards into three sets of three cards each, as follows: Ace- 6 - 8; 2- 4- 9; 3 - 5 - 7 from top down in the face down packet. You will also need three manila booklet envelopes large enough to hold the jumbo cards easily, a broad tipped felt marker, and a piece of cardboard large enough to write the three rows of figures and their total. PERFORMANCE Display the prediction envelope and place it aside in full view. Display the three empty manila envelopes and hand one to each of the three spectators that you have decided should help you in this effect.

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The packet of jumbo cards is now displayed. Turn the packet face down and give it a Charlier False Shuffle to apparently mix them. Fan the cards displaying the faces towards the audience and spot the marked Ace of Spades. Casually cut the packet above the Ace of Spades to bring it to the top of the packet. Hand each of the spectators three cards from the top of the packet. Request that the spectators thoroughly mix their cards and place them in the envelope that you previously provided them with. Have the spectators exchange the envelopes amongst themselves as many times as they wish. (This does not, of course, alter the outcome of the effect, but seems more convincing.) Each spectator is now asked to remove only one of the cards that are within the envelope that they are now holding, and to call out the value of the card that they have removed, in turn. The mentalist records the three numbers with the felt tipped marker in a horizontal row on the card. Have the spectators discard the card that they have named and choose another card from the envelope. Again, they call out the numbers in turn to form a second horizontal row, which is recorded beneath the first. The second set of cards is discarded and the final cards are removed from the envelopes. These are again called out in turn and the numbers recorded in a third horizontal row beneath the first two. The performer hands the card upon which he has been recording the numbers to a fourth spectator, after having drawn a line beneath the three rows of figures. The fourth spectator is requested to add the three rows of figures together to produce a total. When added together, the total will inevitably match the performerʼs predicted number of 1665. All that remains to be done is to show that the sealed prediction is correct. ALTERNATE ROUTINE The Thunderbolt effect, as it first appeared in WORLD OF SUPER MENTALISM BOOK ONE, prompted a rash of variations. The “magic square” idea as applied to the Matrix Force principle is the brainchild of Terry Nosek, as mentioned previously in the “Background” section of this chapter. It is included in this book with his permission. Robert Siepielski further refined the effect using an idea that he credits to Bob Mason. This idea eliminates one set of three numbers and simplifies the addition process for the spectator, down to three two-digit numbers rather than three three-digit numbers. Using this variation changes the final total to a simpler 165, rather than 1665. I then altered the presentation totally to add an element of humor to the routine. To perform this routine, you will need a gold Preslock combination lock, in addition to the props outlined in the previous presentation. You will need to change the predicted number in the sealed envelope to 165; otherwise the props remain the same. The Preslock combination lock has a changeable combination which figures into the presentation quite heavily. The only preparation is to set the lock so that it opens to 1- 6- 5. You set up a confederate in 7

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the audience by asking him to help you by playing the role of a forgetful spectator. Thereʼs always a ham just waiting for a starring role . . . I begin by borrowing as expensive a ring as I possibly can from a member of the audience (not the confederate). I now display the open combination lock and have the spectator place his ring onto the hasp and snap the lock shut. I then request that he revolve the three combination dials. The ring is now securely locked on the lock. I then explain that the lock has a changeable combination and prior to the show I had a gentleman in the first row change the combination to a randomly selected sequence of numbers. I call upon my confederate and ask him to confirm that what I have just said is true and accurate, which of course he does. I then state that the new combination is now locked securely into the memory bank of the gentlemanʼs mind. I ask him to confirm my statement. He, of course, states, “No, you didnʼt tell me to remember it!” At this point, I just stare at the spectator like Jack Benny so often did, in shocked disbelief. Slowly, I turn toward the spectator who is guarding the ring on the lock. The audience begins to laugh. I casually suggest that perhaps if he would get a nice chain, it would make a great pendant! I then suggest that since there are only one thousand possibilities, perhaps he had better sit down and get busy trying his luck with them. Shaking my head, I then proceed to perform the Ultimate Matrix effect as described previously, with one exception: After the cards have been mixed and placed in the envelopes, and the envelopes mixed, I have one of the spectators collect all three envelopes. This spectator is then asked to discard any one of the three envelopes by tossing it onto the platform. I then ask him to hand one envelope to each person on either side of him. These two spectators call out the numbers contained in their envelopes as I record them as three two-digit numbers. One of the spectators comes forward and totals the column that, of course, comes to 165. After the prediction has been shown and the applause has subsided, I suddenly turn to the spectator who is trying to open the padlock. I suggest that since the number 165 has been lucky for me, perhaps it will be equally lucky for him. I ask him to set the three dials on the lock to the numbers 1- 6- 5. He does, and the lock opens, releasing his ring for a second round of applause. The addition of a second climax and the humorous touches do a lot to make this routine very commercial. (Authorʼs note: This is another effect that has seen many variations and improvements over the twenty + year period since the publication of Mentalism for Magicians. Ultimately I created an original lock effect that eliminated the force altogether. See my commercially sold version in Marker Mentalism)

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FLIP-FLOP FLUSH Gambling demonstrations almost invariably have an appeal to laymen. The built-in intrigue is one of the main reasons why Iʼve developed so many gambling oriented mental effects. The combination is unbeatable. The Royal Flush production to be described is not only effective for laymen (and magicians too) but it is also simple to execute. More important, though, is my handling of the oftenused and much-abused Hindu Shuffle Force. The basic moves with the Hindu Shuffle first saw print in Ted Annemannʼs publication entitled, Jinx. Since that time, the force utilizing this move has come into great popularity. Iʼve been using my own variation of this basic move for over thirty years and, surprisingly, I havenʼt yet found it in print. It not only has the advantage of being easy, but it also is quite deceptive. Even if you donʼt use the Royal Flush production described belowʼ this utility move can be used in so many ways that I would strongly suggest that you at least give the basic move a tryout. EFFECT The deck of cards is shuffled and cut as the performer explains that he and a spectator will be playing a unique form of Poker in which the spectator will select his hand from the face up deck. The performer turns the deck face up and starts pulling off cards from the face of the deck and dropping them in his left hand. A spectator is invited to stop the shuffling action any time that he sees a card that he wants for his hand. When stopped, the performer flips the spectatorʼs selection face down, drops the remainder of the deck on it, and then turns the whole deck face down. The deck is spread until the performer reaches the spectatorʼs card, which is now face up in the face down deck, apparently in a random position. The spread of cards is split at this point and the spectator is given his selection. The performer states that as the selection was chosen from a random position in the deck, he could not possibly know what card would be next to the spectatorʼs selection. The performer removes the face down card that was immediately below the spectatorʼs selection and places it aside on the table as the first card of his hand. These actions are repeated four more times with the spectator ending up with an excellent face up hand (if he has been wise in his choice of cards), while the performer apparently has five cards chosen totally at random. The clincher comes when the performer slowly turns over his five face down cards to show that he has been given a Royal Flush in Spades! REQUIREMENTS & PREPARATION You will need nothing but a standard deck of fifty-two playing cards to perform this effect. The set-up is easy: You simply place the Royal Flush in Spades on top of the deck and case the deck.

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PERFORMANCE Shuffle the deck without disturbing the five-card stack and then false cut as you patter about playing a unique form of Poker in which the spectator selects his cards from a face up deck. You add that your cards will be chosen entirely at random by the location of the spectatorʼs cards. Turn the deck face up and take it in the right hand in preparation for the Hindu Shuffle. Slowly Hindu Shuffle into the left hand with the face up deck. Instruct the spectator to stop you when he sees a card that he would like for his hand. When he does stop you, make a remark about his good taste (the spectator will usually stop on a King or an Ace). Use the packet of cards in the right hand to flip the spectatorʼs card (which is face up on the packet of cards in the left hand) face down onto the left hand packet. Immediately toss the face up packet in your right hand on top of the packet in the left hand. Turn the deck face down and begin to spread the deck from hand to hand. Stop the spread when you arrive at the spectatorʼs face up selection. Break the deck at that point, leaving the spectatorʼs selection on top of the left hand portion of the deck. With the aid of your left thumb, deal the spectatorʼs selection face up onto the table. State that you will take the next card as yours. Thumb off the first face down card of the left hand section of the deck onto the table. Remark that if the spectator had stopped on another card, your card would have been completely different. Toss the packet in your left hand on top of the right hand packet. Turn the deck face up. You can false shuffle and false cut again, if you wish, before repeating the same series of actions to have the spectatorʼs second card selected, along with one for you. When the two cards are arrived at, place the spectatorʼs second selection next to his first selection, to form a row. You do likewise with the card that the spectator has apparently selected for you. Repeat all of the foregoing actions for the third, fourth, and fifth selections. After the spectator has selected his five cards (which are in a row on the table) your hand will be in a face down row parallel to his. Usually the spectatorʼs hand will be quite respectable and quite often will be a Full House, Straight even four of a kind. The Hindu Shuffle is performed so slowly that the spectator is literally able to select any hand that he wants. Your hand, in turn, is apparently dealt to you at random. This is the concept that makes the repeat of the force so effective; the spectator is concentrating on selecting a great hand for himself. The selection of your cards seems to be based entirely on where the spectator chooses to stop. The climax, of course, comes when you flip over your “randomly” selected cards to show that you have been dealt a Royal Flush in Spades. It does seem impossible! FLIP FLOP FORCE As I mentioned in the introduction to this chapter, I originally developed this force after realizing that the Hindu Shuffle Force is far more perplexing when done with a face up deck. I have used this primarily to force the top card of the deck. To use this strictly as a force, you must either know the top card or place the card that it is necessary to force in the proper position. 10

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I turn the deck face up and Hindu Shuffle as previously described. I tell the spectator that I want him to select a “marker” card that everyone can see. When the spectator stops me, I use the right hand packet to flip over the “marker” card (the top card of the left hand packet) that he randomly chose. After the face card of the left hand packet has been flipped face down, I drop the packet in the right hand on top of the packet in the left hand, and turn the entire deck face down and place it on the table. I mention that the “marker” card has been seen by all of the spectators and it will be used to select a card that has not been seen. I have the spectator run through the deck and stop when he gets to the “marker” card. I then have him deal the next face down card to himself as his selection. Naturally, itʼs the force card.

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FLIP FLOP PREDICTION I have also used the force just described in a simple One Ahead prediction effect. I have the deck shuffled by a spectator and then have it handed back to me. I glance over the faces of the cards, as if in deep thought, while noting the top card of the deck. You could also secretly Glimpse the top card of the deck when it is handed back to you for a slightly different effect. I now write the name of the top card of the deck on a small slip of paper (of which I have two-one will be used later in the effect), fold it, and drop it in a drinking tumbler or a cup. I then follow the method for the force as described previously. The deck is “marked” as indicated by the spectator and I then ask the spectator if he has any idea how many cards are above the “marker” card. Of course, he doesnʼt, so you hand him the deck and have him count them aloud as he deals down to reach the face up “marker” card. You now know what will be written on the next prediction. Ask the spectator if he could possibly know the identity of the card beneath the “marker” card-a card that occupies that position entirely by chance. He must admit that he doesnʼt. You then pick up the second slip of paper and write down the number of cards that the spectator just revealed to you. Fold this slip of paper in a manner that is identical to the way in which you folded the first prediction slip, and drop it into the drinking tumbler. Have the card under the marker turned face up by the spectator. It will be the card that you looked at prior to starting the effect. Pick up the drinking tumbler or cup and spill both predictions onto the table. Have the two predictions opened and read by two other spectators. Both will be correct. It is simple and it is direct, but I have been using this routine for almost thirty years and it has never failed to be effective. All of the actions are covered by logical moves. It works!

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BUCKING THE ODDS I have always taken a great delight in fashioning commercial mental effects from ancient mathematical puzzles. Bucking the Odds is just such a presentation. Walter B. Gibson was the first to use the basic principle of this effect in a card trick. Al Koran had a similar presentation, based on the Gibson idea, but using coins. To me, the use of the large amount of bills really adds audience appeal to the effect. EFFECT The mentalist removes a large packet of dollar bills from an envelope. A spectator is requested to take the bills and cut off a portion, which he hands to the mentalist. The spectator returns the remaining bills to the envelope. The mentalist places the balance of the bills in his pocket. The spectator is asked if he has any idea as to the number of bills that he placed into the envelope. The spectator admits that he has no idea. The mentalist states that he doesnʼt know either. However, he is willing to make a small wager concerning a game of chance that will take place only in the mind of the spectator. The wager is this: The spectator is asked to imagine that he is throwing a pair of dice onto the table. The mentalist states that he will bet the entire contents of the envelope, that the same envelope contains an amount of money equal to the total of the spectatorʼs imaginary dice, plus five more, and enough left over to raise the total showing on the spectatorʼs dice to fifteen. The mentalist removes the bills from the envelope and asks the spectator to call out for the first time, the total showing on the dice, which are only in his mind. By way of example, the spectator may state that the total showing on his imaginary pair of dice is eight. The mentalist counts eight bills on the table. Then the mentalist counts off five more bills, as he originally predicted. Finally, starting his count with the total showing on the imaginary dice (eight), the mentalist counts, “Nine, ten, eleven, twelve, thirteen, fourteen, and fifteen,” placing seven more bills on the table. The prediction has been completed exactly as the performer stated - the imaginary total has been raised to fifteen and there are no more bills left! The mentalist has won the wager, even though there doesnʼt seem to be any way that he could have known how much money was in the envelope or what the total of the spectatorʼs imaginary dice was. REQUIREMENTS & PREPARATION You will need a large letter size manila envelope large enough to hold fifty-one dollar bills. You will also need fifty slightly worn one-dollar bills. These bills should have had about average use so that they wonʼt stick together, permitting a smooth count to be done. Arrange the stack of bills so that they are all oriented in the same direction. Turn the stack so that the lighter side is up, with the narrow side facing you and the “pyramid” pointing to 13

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the left. By using a fine point felt tipped pen, number the bills in sequence from I to 49 with numbers as small as you possibly can write them, within the numeral “1” in the lower right hand corner of the bill. One bill is left unmarked. (Authorʼs note: many years after Mentalism for Magicians was published, Germanyʼs fine mentalist and my good friend, Ted Lesley created the first significant improvement in marked cards using transfer lettering. Obviously, the same material could be used to mark the bills used in Bucking the Odds) When you have finished numbering the forty-nine bills, turn the stack end for end and again number the bills by placing matching numbers in the same place on the opposite end of each bill. In other words, each bill has a number in the upper left and lower right corner as you look at the light green side of the vertical bill. When you have finished numbering the bills, the top bill should be “1.” Place the unmarked bill on top of this and turn over the entire stack of fifty bills. The darker side of the stack is now up. Place the stack of bills into the envelope. PERFORMANCE Remove the stack of bills from the envelope and state that youʼre going to engage one of the spectators in a simple game of chance. However, the only money that will be in jeopardy will be your own. Remove the stack of bills from the envelope and place them on the table with the dark side of the bills facing upwards. Ask the spectator to cut off about half of the stack and hand them to you. (There is only one move in the whole effect and it now takes place: It is simply a very innocent way of glimpsing the number on the stack of bills that the spectator cuts off and hands to you to place in your pocket. To practice the move, cut off approximately half of the stack of bills and fold them in half, as you would normally do before placing them in your pocket. Glance at the lower right hand corner of the outer bill and note the number showing inside the outline of the number “1.” Then place the folded wad of bills in your pocket. The number on the bill reveals exactly how many bills are left in the stack on the table. (If youʼll count the remaining bills youʼll find that this is true.) The move actually takes place under more subtle misdirection: As soon as the stack of bills has been cut off and handed to you, fold them in half, but donʼt look at them Use the folded bills to gesture towards the remaining stack of bills as you ask the spectator to return them to the envelope It is as you make this gesture that you glance at the appropriate corner and glimpse the secret number. This number will, as explained, tell you exactly how many bills the spectator is about to place into the envelope. (Authorʼs note: This was the origin of the marking system I used in formulating Casino Royale and itʼs successor, Casino Light. Both are explained elsewhere in this tome) Using this number, you mentally structure the bet. By way of example, letʼs assume that the spectator placed twenty-seven bills in the envelope. All that you now have to do is to separate that number into two parts. To make it easy to calculate, make it seven and twenty if the number of bills placed into the envelope was twenty-seven. Now, state that you will bet the contents of the envelope that you can penetrate the spectatorʼs innermost thoughts. Tell him 14

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to imagine that he is throwing an imaginary pair of dice on the table and to mentally note the total showing on them. Caution him not to reveal the total of the dice yet, as you want to make a prediction. Appear to concentrate and then state: “The envelope contains an amount equal to the total showing on the dice in your mind, plus seven more, and enough left over to raise the total showing on your imaginary dice to twenty.” (Of course, the numbers that you announce are identical to the amount of bills remaining in the envelope. The statement is always made in the same way and you just fill in the numbers, having split the two digit number as explained previously.) Now, all that remains to be done is to remove the stack of bills from the envelope and win your bet. Ask the spectator to call out the total showing on his imaginary dice. Count down an equal amount of dollar bills. Then count down seven more, as you stated in your prediction. Finally, starting with the number following the amount shown on the spectatorʼs dice, count down the remainder of the stack. When you reach twenty, the stack will be expended and you will not only have proven your prediction correct, but will also have won your bet. The mathematics involved will work as long as the number of bills that are placed into the envelope is larger than the maximum number that the spectator can concentrate on. The imaginary dice idea fits in well as it limits the spectatorʼs choice to a maximum of twelve. Should, by chance, the spectator cut off too many bills and leave less than twelve on the table, simply cut your pile in half and toss the lower half on the tabled bills as you say, “Just a few more for good luck.” (Authorʼs note - 3/26/02: Anyone who owns either or both of my commercial effects, Casino Royale or Casino Light, will have packets of 36 marked $100 or $1000 bills with which to perform the preceding effect, “Bucking the Odds.”)

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THE STRESS TEST & THE BLACK SPOT I first presented the Stress Test and the Black Spot at the Psychic Entertainers Association convention in St. Louis, Missouri in July of 1979. EFFECT The mentalist shows a small cardboard box, approximately six inches square, to contain three white Poker chips. One side of each chip contains a colored dot-one each of red, green, and blue. Three spectators are seated in a row behind the mentalist. The mentalist then holds the box behind his back and removes the lid. One at a time, the three spectators step up behind the mentalist and remove one chip from the box No one but the three spectators know which chip they are holding. The mentalist patters about the lie detector and its modern day counterpart, the voice stress tester. The three spectators are instructed to silently decide who among them is to tell the truth. The remaining two spectators are instructed to lie about the color of the chip that they are holding. The mentalist still has his back turned to the spectators as he asks each to call out the color of the chip that he is holding. By apparently measuring the amount of stress in each of the spectatorʼs voices, the mentalist correctly tells each of the three spectators whether or not they are telling the truth. Remember, the mentalist has his back turned to the three spectators at all times. There are no peeks, forces, or stooges used. REQUIREMENTS & PREPARATION Youʼll need three Poker chips, which measure about one and one-half inches in diameter. Also needed will be three Avery adhesive backed colored spots measuring three quarters of an inch in diameter. These are easily obtainable at most stationary stores. The colors should be red, green and blue. In addition, you will need a very thin steel shim cut in a three-quarters of an inch circle. Glue the circular steel shim to the center of one of the chips. Cover the shim with the red spot and then place one each of the remaining two colored spots (green and blue) on each of the remaining two chips. To complete the props, you will have to obtain a very small and thin “Alnico” magnet and a cardboard box measuring about six inches square, complete with the lid. To prepare, you will have to place the three chips in the box. Place the red chip near one corner of the box and place the magnet under the box at the point where the red chip is located. The steel shim will hold the magnet in place under the box. The other two chips are, of course, placed into the box in any location. Put the box onto your table, so that the corner 16

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with the magnet is off of the edge of the table. From the audienceʼs viewpoint, the box will be lying flat on the table. PERFORMANCE Invite three spectators onto the platform and have them seated in a row behind you. Pick up the box and remove the lid with your right hand. Your left hand should be holding and shielding the corner of the box (which holds the magnet) from the audienceʼs view. Place the lid on the table and remove the chip bearing the red spot. Keep the magnet pressed against the bottom of the box with the left fingers. Display the chip to the audience and replace it in the corner of the box where it will once again be attracted to the magnet. Display the other two chips, one at a time, and return each to the box once you have shown them. Put the lid back on the box and gently move the box back and forth to apparently mix the chips. Actually, only two of the chips will move as the red chip is being held in place in the corner of the box by the magnet. Place the box behind your back and cup your left fingers under the box so that there will be approximately one inch of space between your left fingers and the magnet. (See Figure One.) With your right hand, remove the lid of the box and drop it on the table. Instruct the first spectator (on your extreme right) to step up to you, reach into the box, and remove any one of the three chips that he wishes to. Tell him to hold the chip of his choice tightly clenched in his fist, so that no one can see the color of his chip. Have the second spectator (the one seated in the middle) do likewise. Finally, have the third spectator (the one seated on the extreme left) remove the third and final chip. Due to the magnetic attraction between the magnet and the red chip, the magnet will drop secretly and silently into your hand as soon as this chip is removed from the box. Thus, you will immediately know which of the three spectators is holding the red chip. Surprisingly, that is all of the information that youʼll need to know to complete the Stress Test. Instruct the three spectators to silently decide among themselves which one is to tell the truth. The remaining two spectators are instructed to lie about their colors. In other words, the truthful one will accurately call out the color of his chip while the remaining two spectators are to lie and call out the color of the chip being held by the other lying spectator. Ask the first spectator (the one on your extreme right) to call out the color of his chip. The same procedure is carried out with the remaining two spectators, in order. Now, you can dramatically and correctly tell each spectator whether or not he or she told the truth. The method is diabolical in its simplicity: Since you know which of the three spectators is holding the red chip, you can easily deduce the rest. By way of example, letʼs suppose that the second spectator took the red chip. The three spectators decide amongst themselves that the third spectator will tell the truth. The first spectator calls out “red,” when he actually took the green chip. The second spectator calls out “green” but you know that he holds the red 17

Mentalism for Magicians

chip. The third spectator calls out “blue,” which he is actually holding. Since you know that the second spectator actually holds red but called out “green,” you know that he lied. It then follows that the first spectator (who called out “red”) is also lying and holds the green-each of the lying spectators was asked to call out the color of the other liarʼs chip. Therefore, that leaves the third spectator whom you deduce by simple logic holds the blue chip and is telling the truth. It sounds complicated, but the deductive process is in actuality quite simple once the principle is grasped. Be sure that you communicate your instructions to the three spectators very clearly. The effect is too strong and clean to fail because the spectators did not follow your instructions. To get rid of the magnet, I normally hold it concealed in my hand until the conclusion of the effect. Once the effect is completed, I extend my right hand towards the three spectators and ask them to return the chips to my hand. I then transfer the three chips from my right hand to my left (which is hiding the magnet) and dump all of them, including the magnet, into the box. Replace the lid of the box and youʼre clean.

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THE BLACK SPOT The same principle used in the Stress Test can be used to accomplish another baffling mental stage effect. You must use a larger cardboard box, which is approximately six inches by eight inches. The box does not have to have a lid. Also needed are five white Poker chips. Leave four of the chips unprepared and gimmick the fifth by gluing the circular metal shim to it, described in the Stress Test, and cover it with a circular black Avery adhesive spot. The box is set up the same as in the Stress Test with the magnet adhering to the underside of the box where the black spotted chip is located. In performance, five spectators are seated in a row behind you. The five chips are, of course, in the shallow white cardboard box. Show the four white chips and then display the chip bearing the black spot. Each chip is replaced after the display. Naturally, the black chip is replaced into the box with the black side downwards against the magnet. Place the box behind your back and ask each of the five spectators (one at a time, in the order that you have mentally numbered them) to step up behind you and remove one of the chips. You will, of course, automatically know which of the spectators has selected the colored chip. Remain with your back turned and ask each of the spectators to quickly examine their chip to see if it is the one with the black spot. They are then to immediately place the chip out of sight in their pocket. Each spectator is cautioned not to let any of the other spectators see which chip they have selected. After all have examined and pocketed their selected chips, you dramatically turn and without asking one question you proceed to announce which of the five spectators has the black spot. Iʼve just described the bare bones of the effect. It is a simple one from your standpoint as all that you have to do is to remember which spectator has the chip. But it is very, very effective. You can build this up into a feature effect. Itʼs up to you!

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KING’S ROW EFFECT The performer displays the four Kings from a jumbo deck of playing cards. These are handed to a spectator to mix. The spectator then places any one of the four Kings aside face down. The mentalist turns his back and instructs the spectator to rearrange the remaining three Kings in any order. He is then asked to memorize the suit of the middle King. When he has completed these actions, the spectator is told to square up the Kings and hold them face down. He is then requested to place the odd King (the one previously placed aside) either on the top or bottom of the packet of three Kings that he is holding. The choice is a free one. The mentalist still has his back turned to the action. Now, the spectator is asked to mentally roll a pair of dice and to move the number of cards corresponding with the number rolled in his mind, from the top of the packet to the bottom (one at a time). As an example, if the spectator mentally rolled an “8,” then he would transfer eight cards, one at a time, from the top of the packet to the bottom. The performer now turns around and retrieves the packet of Kings. The mentalist fans the four Kings toward the spectator and asks him to concentrate on the suit of the King that he previously memorized. The performer immediately and correctly announces which of the four Kings the spectator was concentrating on. BACKGROUND This effect is based upon a principle that has been credited to Gerald Kosky. PREPARATION The backs of the four jumbo Kings are marked so that you can read the suit of each. Any method of marking will do so long as it is clearly visible to you. (Authorʼs Note-3/26/02: Ted Lesleyʼs card marking material is perfect for this.) PERFORMANCE Follow the routine as outlined in the text. After the spectator has mixed the cards and placed one aside, you must note the suit of this card prior to turning your back. Letʼs assume, by way of example, that the card placed aside is the King of Diamonds. Have the spectator shuffle his cards thoroughly and remember the card in the middle. Now have him replace the King that was placed aside, on either the top or the bottom of the packet. The spectator has a free choice of either position and does not inform you of it. Ask the spectator to mentally throw a pair of dice and move one card at a time from the top to the bottom of the packet, as previously described. When he has finished, retrieve the packet of Kings and fan them with the faces toward the spectator. Look at the cards and locate the King of Diamonds (the card that was placed aside by the spectator at the start of the effect). You now determine the identity of the spectatorʼs mentally selected card as follows: If the King of Diamonds is on either end of the fanned Kings, the spectatorʼs card will be the 20

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middle card of the three card group to the left or right of the King of Diamonds. If the King of Diamonds is between two cards, then the spectatorʼs card is not the card on either side of it, but will be the remaining card. Now, simply read the identity of the spectatorʼs card from its back and make your pronouncement.

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HEADS OR TAlLS EFFECT The mentalist predicts whether a coin the spectator tosses in the air will land heads or tails. This is, perhaps, one of the simplest effects that can be performed with the utility envelope that is used to accomplish the effect. REQUIREMENTS AND PREPARATION A gimmicked envelope is used to accomplish the effect. You will need two ordinary letter sized envelopes to make the gimmick. You must first cut off the address panel of one of the envelopes, including the gummed flap. Trim off one eighth of an inch from from the three sides of the envelope and discard what was the back of the envelope. This section is shown in grey in the exploded view. Use an Exacto knife to make a short horizontal slit in the false panel. It should be cut high enough on the panel so when the flap is folded down it will be hidden from view. Once you have done this, insert this false panel back into the complete envelope. Moisten and seal the original envelope flap to the flap of the false panel. Prepare two prediction cards from blank business card stock by boldly printing “Heads” on one card, and “Tails” on the other. Place the “Tails” card vertically into the slit as shown in the drawing. Place the “Heads” card horizontally into the envelope as shown. The flap of the envelope is now tucked into the body of the envelope so that it covers the protruding “Tails” card. PERFORMANCE The method of opening the envelope to allow the spectator to remove the prediction differs with how the freely tossed coin lands. If the coin lands head up, the mentalist opens the envelope by spreading it open for the spectator to reach in and remove the prediction card. If tails lands up, the flap is pulled out of the envelope, which exposes the “Tails” prediction card-the “Heads” card is hidden in the bottom of the envelope. The coin prediction has been used as a simple way of explaining the options open with this envelope. It can, of course, be used to advantage in seemingly more complex effects that, in actuality, have only a two-way outcome. It could, for instance, be used to predict the winning team in a sports event. Another idea would be to use two of these envelopes in combination 22

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with a Himber Wallet for Al Koranʼs Five Star Prediction. You may already have a routine in which this innocent looking device can be used to your advantage.

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MONEY MONTE Here is another example of how the classic Just Chance or Bank Night effect can be twisted to create a new effect. Again, I use a very simple method and a novel presentation to achieve the ultimate effect possible. EFFECT The mentalist hands a spectator three new one-dollar bills and three manila pay envelopes. The mentalist patters that it is a little known fact that George Washington possessed psychic ability. To prove his claim, the mentalist asks the spectator to freely select any one of the bills offered to him and to write the number one on Georgeʼs forehead on that bill. The mentalist retrieves the bill and folds it into a small packet. The spectator is then requested to hand the mentalist any one of the three manila pay envelops that he is holding. The performer places the folded bill into the envelope and seals it. The spectator is then told to write the numeral “2” on any one of the remaining portraits of Washington. Once again, the mentalist folds the bill into a small packet and proceeds to seal it in any of the envelopes indicated by the spectator. The two sealed envelopes are immediately dropped onto the table. The third and final bill is marked with the numeral “3”, folded, and sealed in the remaining envelope. The mentalist turns his back to the spectator and instructs him to thoroughly mix the three envelopes. The mentalist places his left hand behind his back and requests that the spectator hand him any one of the three sealed envelopes. He immediately exclaims that he is receiving a strong vibration from “George” which seems to be the number “ 2.” The mentalist tears open the envelope that heʼs been holding behind his back and allows the spectator to remove the dollar bill. When the bill is unfolded, there on Washing tonʼs forehead is the number “2.” REQUIREMENTS You will only need three new one-dollar bills, a felt pen, and three manila pay envelopes. That is all. No other preparation is necessary. There are no gimmicks, no nail nicks, and no sleights required to perform this effect. PERFORMANCE Follow the routine outlined under “Effect” until the spectator has finished writing the number “1” on the dollar bill. Take the bill from the spectator and fold it in half with the lighter colored side outwards. Fold it in half again, and then fold it in half one more time. Ask the spectator to hand you one of the three pay envelops. You insert the folded bill into the envelope, all of the way in to the bottom. However, as you withdraw your fingers, maintain pres24

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sure against the bill and allow it to be drawn back towards the top of the envelope. When the bill is right under the fold of the flap, leave it there and seal the envelope. Have the spectator mark the second bill as “2.” Retrieve it and fold it in the same manner as previously described. Ask for another envelope, insert this bill halfway down into the envelope and then seal the flap. Follow the same procedure for the third dollar bill, but when you place the bill in the remaining envelope, push it all of the way to the bottom. Again, seal the envelope. Obviously, all that remains to do is to have the spectator mix the envelopes while your back is turned and have him hand you any one of he three envelopes. Tell him to place the other two behind his back. Now, turn towards the spectator. As you do so, itʼs a simple matter to feel the envelope; first to determine which end is which. Feeling for the larger of the two flaps, which will tell you where the top of the envelope is, does this. As soon as you determine where the top flap is, you will immediately know which bill is inside of the envelope. If the bill is near the top, then it is the bill marked “1.” If it is in the middle of the envelope, then itʼs “2.” If the bill is felt at the bottom of the envelope, then it must be “3.” It is extremely easy to determine the location of the bill. Incidentally, donʼt worry about the bill shifting its position within the envelope-it wonʼt. Once youʼve revealed the impression that you have received from “George,” simply tear the envelope in half (if it is envelope “1” or “3”) and have the Spectator remove the bill from the appropriate half. Should the envelope contain “2,” simply tear off the end of the envelope and allow the spectator to remove the bill.

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THE LITTLE BLACK BOOK EFFECT The performer shows an address book containing names and addresses of several different professional gamblers that he knows. The mentalist then shows a sealed letter that he recently received from one of the gamblers in the address book. The letter is placed on display in a conspicuous position. A deck of playing cards is shown and shuffled. The spectator freely selects any one of the gamblerʼs names from the book. Using the gamblerʼs address, four cards are selected from the deck. When the cards are shown, they prove to be the Two, Three, Five, and Six of Clubs - an incomplete Inside Straight Flush needing just one card to make the hand complete. The spectator then opens the sealed envelope. Inside are a letter and a small pay envelope, which is also sealed. The spectator retains the sealed pay envelope while the performer unfolds the letter and reads it aloud. It proves to be from the selected gambler and mentions that the pay envelope contains a card that will fill the spectatorʼs Inside Straight Flush. The pay envelope is opened and it proves to contain the Four of Clubs - the single card needed to fill the hand that the spectator selected from the deck! REQUIREMENTS & PREPARATION Aside from a normal deck of cards, the letter, and the two envelopes, you will need a small address book in which you have written the twenty-four different names and addresses as listed at the end of this chapter. The names are entered in alphabetical order throughout the book, in their proper positions. This, then, is my adaptation of Dai Vernonʼs clever force used in his Zodiac Card Trick. The deck of cards is set up as follows, from the top down: Indifferent card, Two of Clubs, indifferent card, Three of Clubs, indifferent card, Five of Clubs, indifferent card, Six of Clubs, the remainder of the deck. As you can see, the four Club cards are alternated with indifferent cards, with an indifferent card being the top card of the deck. You can, if you wish, cull the four necessary cards to the top of the deck and then do an In Faro, followed by a false shuffle, but I donʼt bother with it. Just set them up in the recommended way so that you donʼt have to worry about anything going wrong. After you have finished setting up the deck, remove the Four of Clubs and case the deck. Seal the Four of Clubs in the small pay envelope. You now have to type the letter from the imaginary gambler as follows. Dear Larry: Enclosed is an envelope containing a playing card that I feel will be needed to fill an Inside Straight Flush drawn at random by a member of your audience. 26

Mentalism for Magicians

We psychic gamblers have to stick together. Best wishes and warmest personal regards. Your Friend (Unintelligible name) April 22nd, 1981 As you can see from the letter above, the name is purposely unintelligible. The reason for this will be covered later under “Performance.” Fold the letter and place the small pay envelope within it. Seal everything within the letter-sized envelope that you have previously addressed to yourself. Obviously you do not place a return address on the envelope. To add authenticity to the envelope, you might want to mail it to yourself to have the stamp cancelled. Itʼs not strictly necessary, but it is a nice touch. PERFORMANCE Show the address book and tell the spectators that it contains the names and addresses of several professional gamblers that you know. Announce that you will have one of the spectators select a name and its corresponding address from the book in a moment, but first you would like to show the audience a sealed letter that you recently received from one of your gambling friends. Display the letter and then, place it aside in full view. Hand the address book to a spectator and have him leaf through it and verify that absolutely no names or addresses are repeated. As soon as the spectator has checked out the address book, have him settle upon any name, but ask him not to tell you what it is until you ask him. As the spectator is selecting a name from the address book, you remove the deck of cards from its case and casually false shuffle it in any way that you know that is convincing. Only the top stock must remain intact, so you have plenty of leeway here. Once the deck has been shuffled, place it aside momentarily. Ask the spectator if he has settled upon one name and its corresponding address from the book. Again, have the spectator verify that the name and address is not duplicated in any other place in the book. Tell the spectator that you will use the chosen gamblerʼs address to select cards from the deck in a random way. Have the spectator announce the selected name and address. Letʼs assume, by way of example, that the spectator selected Robert Damien, of 7512 East Road, Green Bay, Wisconsin. The first digit of the gamblerʼs address is “7,” so you pick up the deck and deal seven cards off of the top of the deck into a pile on the table. Place the top 27

Mentalism for Magicians

card of the remainder of the deck aside on the table. Place the tabled pile of seven cards back on top of the deck. False cut the deck. Mention that the second digit of the gamblerʼs address was the number “5.” Deal five cards off of the top of the deck into a pile on the table. As before, you take the next card from the top of the deck, and place it aside on the table with the first card placed aside. Pick up the tabled pile of five cards that you dealt off to reach the selection, and replace them on top of the deck. False cut and repeat the dealing procedure for the digit “ 1,” placing the next card with the first two selections. False cut and repeat the dealing procedure for the digit “2,” placing the next card with the other three selections. In all, four cards apparently have been randomly selected by means of the gamblerʼs address. Place the remainder of the deck aside. Ask the spectator to turn over the four selected cards. They will, of course, be the Two, Three, Five, and Six of Clubs. Remark that it would not be a bad hand - an Inside Straight Flush - if one more card could fill it. Direct the spectatorsʼ attention to the sealed letter that is still on display. Have the spectator open the envelope and remove the folded letter and sealed pay envelope. Have the spectator retain the pay envelope and hand you the folded letter. You now open and read the letter. Since you had the spectator who selected the gamblerʼs name and address call out both the name and the address after he selected it, you are in a position to miscall the name of the sender of the letter, filling in the appropriate name. In our example we assumed that the spectator had chosen the name of “Robert Damien.” As you finish reading the letter, you close with, “Your friend Robert, April 22nd, 1981.” You will recall that the signature was deliberately left unintelligible. From the distance of a few feet, no one can read the signature and it appears to the audience that the letter was actually received from the one out of twenty-four gamblers that the spectator freely selected. At this point, all attention is directed to the pay envelope and its contents while you casually fold the letter and place it in your pocket. I have fooled the hell out of magicians who could not figure out how I “forced” the proper gamblerʼs name and address. Itʼs bold, but then thatʼs what makes mentalism so much fun! To get back to the effect: Nothing else really remains to do but to have the spectator open the sealed pay envelope and show that it contains the Four of Clubs - the only card needed to fill the Inside Straight Flush. Following are given the names and addresses of the “gamblers” to be written in alphabetical order within the small address book. Tom Ames 7141 North Argyle Chicago, ILLINOIS

Robert Damien 7512 East Road Green Bay, WISCONSIN

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Michael Baker 1234 South Adams Denver, COLORADO

Bruce Edwards 5641 Primrose Drive Glendale, CALIFORNIA

John Cramer 7531 Nostrand Jamaica, NEW YORK

Kirk Freeman 3452 Kimble Drive Silver Spring, MARYLAND

Andrew Goodall 7342 Pyle Avenue River Ridge, GEORGIA

Kenneth Quinn 5623 Colfax Street Indianapolis, INDIANA

David Hardy 1453 Spring Street Pasadena, CALIFORNIA

Milton Robinson 5353 Barnet Court Allentown, PENNSYLVANIA

Joseph Jansen 5124 Malibu Road Garden City, MICHIGAN

Frank Shields 1631 Portsmouth Avenue Hayward, CALIFORNIA

Jeffrey Keller 1251 South Grant Drive Seattle, WASHINGTON

Ron Smith 5314 Simms Road Edison, NEW JERSEY

Charles Lindsay 3424 Main Street Brooklyn, NEW YORK

Deane Thompson 5152 Woodbine Street St. Louis, MISSOURI

Bruce MacKenzie 3642 West Fifth Chicago, ILLINOIS

Paul Vincent 3134 Berwyn Road Bessemer, ALABAMA

Gene Neville 1414 Delaware Avenue Woodbury, CALIFORNIA

Arnold Warner 7123 Mission Street San Francisco, CALIFORNIA

Roger Ogden 3613 Walgreen Road Suffield, OHIO

Phil York 3151 Seybert Street Charlston, WEST VIRGINIA

Russell Price 1612 Van Dyke Drive Dallas, TEXAS

Allen Zorn 7313 Oak Street Cincinnati, OHIO

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HEADLINER EFFECT A week before your performance, a locked metal box is remanded to the custody of the usual dignitary who has agreed to bring the box to your performance. On the evening of the show, when you are ready to present your headline prediction, the dignitary is invited on stage. The mentalist hands the spectator a key and invites him to open the box. The mentalist states that the box contains five leather coin purses. The dignitary is asked to take the box into the audience and have any four spectators each select one of the purses. The spectators are asked not to open the purses. The dignitary is instructed to bring the remaining coin purse to the mentalist. After demonstrating how to open the purse, the four spectators and the mentalist open the purses and remove the contents, which are folded slips of paper. The mentalist immediately hands his slip of paper to the dignitary. All of the slips held by the spectators are blank. The dignitary is asked to open the slip from the purse that was randomly left for the mentalist. The slip contains a typewritten message that is read aloud. It states that the mentalist knew in advance that the spectators would leave this particular purse for him. In addition, the slip accurately predicts the outcome of a sporting event that occurred within the twenty-four hour period prior to the show. REQUIREMENTS & PREPARATION You will need five of the spring action coin purses described in my WORLD OF SUPER MENTALISM BOOK ONE that are available from any well stocked leather goods store. You will also need a Vernet Thumb Tip, six three inch by four-inch slips of white paper, and a metal cash box with a lock. Fold five of the slips of paper into eighths, by folding them in half, and then repeating the fold twice more. Place one slip in each of the five purses and then place all of the purses into the metal cash box and lock it. Follow the usual procedure for remanding the locked metal box to the custody of a dignitary (preferably a member of the press) a week or so before your show. Instruct the person to bring the locked metal box to your performance. Do not mention anything about a prediction being locked in the box. Simply say that the box will play an important part in an unusual experiment to be conducted during the performance. On the day of the show, prepare a prediction slip by typing, “I knew that this coin purse would be left for me. In addition, I predict that (here you fill in the result of some important sporting event which has occurred during the twenty-four hour period prior to the show) - Signed: (fill in your name).” Fold this prediction slip into eighths, as you did with the other five slips. Place the folded 30

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prediction slip into the Vernet Thumb Tip. The loaded tip is placed into your right hand jacket pocket. PERFORMANCE At the appropriate time during your performance, have the dignitary bring the locked box up to the stage. Recap what transpired prior to the show and have the person confirm that the box has not been out of his possession in the past week. Give the dignitary the key and ask him to open the box as you explain to the audience that the box holds five leather coin purses. Ask the dignitary to take the box to four different members of the audience and have each person that he selects, select one of the coin purses contained in the box. Caution the spectators not to open the purses until they are instructed to do so. While the spectators are selecting their purses, you casually reach into your right hand jacket pocket and insert your thumb into the tip. The curvature of the prediction slip will allow you to correctly enter the tip with your thumb. (Authorʼs tip: after folding the prediction slip, insert it into the thumb tip and secure it to the interior wall that approximates the fleshy part of the thumb, using a paper clip. When itʼs time to insert your thumb into the tip, do so and with the nail of the middle finger, pull the clip free of the thumb tip, allowing it to fall to the bottom of your pocket as your hand is removed from the pocket.) Ask the dignitary to return the sole remaining purse to you. Take the remaining purse and ostensibly demonstrate how the purse is to be opened by holding it in your left hand and squeezing the sides at the top. Reach inside the purse with the right thumb and pull the slip out of the tip and out of the purse. Leave the tip within the purse and immediately hand the slip to the dignitary. Instruct the spectators to remove the contents of their purses in the same manner. Ask the dignitary to open the slip that was in the purse left for you by the spectators. Have the spectators open their slips, which prove to be blank. Now, ask the dignitary to read what is written on the slip heʼs holding. After your applause, be sure to reclaim the purses held by the four spectators.

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MIND BLASTER - STAGE VERSION The original version of Mind Blaster is contained in my WORLD OF SUPER MENTALISM BOOK TWO. However, the version in that book was designed primarily for close-up use. The version that follows has been reworked to allow for stand-up and platform presentation. EFFECT The mentalist displays a sealed envelope that he places on a table in full view of the audience. A jumbo deck of E.S.P. design cards is shown, and mixed by a spectator. The deck is divided in half and the halves are placed face to face. The spectator is now given a free choice of “odd” or “even.” Using a revolving method for randomizing the deal, the mentalist deals an odd or an even number of cards into a pile on the table, depending upon the choice of the spectator. By way of example, letʼs assume that the spectator chooses “odd.” The mentalist then deals nine cards onto the table. The spectator is then asked to mentally select any odd number from one through nine and to deal that number of cards face down on the table. The final card dealt is turned face up and the design is noted. When the sealed envelope is opened, a piece of paper bearing a duplicate of the design on the spectatorʼs freely selected card is withdrawn. REQUIREMENTS & PREPARATION Needed will be a jumbo deck of E.S.P. cards, which is available from most magic dealers. This deck is identical to the regular sized decks of E.S.P. cards, in that it contains five each of the usual circle, cross, wavy lines, square, and star designs. Shuffle the cards thoroughly and then remove a set of five matching cards. By way of example, we will assume that you have removed the five crosses. Stack the five crosses in the seventh through eleventh positions from the top of the face down deck. Prepare a prediction by drawing a cross on a piece of paper and sealing it in an envelope. PERFORMANCE Display the deck face up and show that spreading the cards between your hands quickly and unevenly mixes the designs. The uneven spreading action will prevent the spectators from seeing that the five crosses are stacked together. Place the deck aside for the moment and display the sealed envelope as you mention that it contains a prediction. Place the envelope aside in a prominent position so that it remains in full view of the audience. Pick up the deck of E.S.P. cards and hold it face down. Thumb off six cards and hand them to a spectator. Instruct the spectator to mix the cards well and when he is finished to place them in a pile on the table. While he is doing this, casually push off five more cards. As soon as the spectator is finished with the first packet, hand him the second packet and ask him to mix this group well. This packet will consist of the five crosses. Once the spectator has finished mix32

Mentalism for Magicians

ing these, have him place them on top of the previously mixed tabled packet. Push off about half of the remaining cards in your hand and have the spectator mix these, as before. However, when heʼs finished mixing this latter packet, have him place this group of cards face up in a pile next to the face down pile. Finally, hand the balance of the cards to the spectator for mixing. Once he has finished, he is told to also turn this packet face up and place them on the face up pile on the table. At this point there will be two piles of shuffled cards on the table; one is face up and the other face down. Pick up the face down pile and drop it on top of the face up pile. State that the experiment will now be carried out under “test” conditions. Ask the spectator to call out either “odd” or “even.” Explain that whichever he uses will govern the number of cards that will be used in the experiment. Add that the cards will be dealt using a unique method of dealing developed by the Parapsychology Testing Laboratory in Washington, D.C. to insure a random selection of cards. If the spectator names “odd,” deal a total of nine cards onto the table in the following manner: Deal the top card off as you count “one.” Turn the entire deck over and deal the top card of this side of the faced deck off as you count “two” aloud. Revolve the deck and deal “three” and then continue revolving the deck and dealing as described until nine cards have been dealt onto the table in a face down pile. At this point, the force designs will be in the first, third, fifth, seventh, and ninth positions from the top of the tabled pile. Have the spectator mentally select any odd number from one to nine and to count that many cards into a face down pile on the table. Have the spectator turn over the last card dealt. Naturally, it will be a cross, which will match your sealed prediction. All that remains to be done is to open the sealed prediction and show the match. In the event that the spectator names “even” instead of “odd,” the procedure remains the same: Simply deal a total of ten cards onto the table using the revolving procedure described and have him mentally select any even number from one through ten. The procedure works regardless of whether “odd” or “even” is named.

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Mentalism for Magicians

DYNAMATION I am a firm believer in the use of interesting props to spark up the entertainment value of a performance of mental magic. Props, such as the electric card shuffler used in the very simple effect below, sustain the audience interest and add variety to a performance of mentalism. EFFECT The mentalist shuffles a deck of playing cards and then hands them to a spectator for his thorough shuffling. A battery operated electric card shuffler is shown as the performer talks about the variance in the way that people shuffle. The performer asks the spectator to cut the deck into halves and to place each half, face up, into the proper sections of the battery operated card shuffler. The spectator is invited to turn it on and watch as the machine randomly shuffles the deck. There is no doubt that the deck has been thoroughly mixed. The deck is then removed from the machine and turned face down. The spectator is asked to deal himself a five-card Poker hand from the top of the shuffled face down deck. While he is doing this, the performer patters about card counting and how those wanting to take advantage of the “house” use it in the game of Blackjack. The performer states that he has developed his abilities at card counting to the point where he can tell what five cards are missing. The performer picks up the remainder of the shuffled deck and rapidly runs through it. Within fifteen seconds, the performer is able to name the five cards that the spectator has selected from the shuffled deck. REQUIREMENTS & PREPARATION There are several different types of automatic battery operated card shufflers currently on the market. All of them are basically the same in both style and operation. The card shufflers have two trays, side by side, each of which hold half of a deck of cards. Rubber wheels shuffle the cards as they are pulled into the interior of the machine where they land on a tray. Once the deck has been shuffled, the tray is pulled out and the complete deck is removed. The method is simple: Take any five cards out of the deck that you will be using and memorize them. These five cards are placed face up on the tray of the shuffler and the tray is slid into its compartment. That is all of the preparation that you need. PERFORMANCE The performance of this effect requires nothing but presentation on your part, as it is entirely self-working. Shuffle the deck of cards and then hand it to a spectator to shuffle. Once he has finished shuffling, have him turn the deck face up and cut it into halves. Have him place one half of the deck, face up, into each of the shuffling trays on the sides of the machine. Have the spectator 34

Mentalism for Magicians

flip the switch to turn on the machine. As the cards are being pulled into the machine, have the spectator verify that the cards are being shuffled. Once the deck has been pulled completely into the machine, have the spectator remove the complete deck from the receiving tray. Of course, the five memorized cards will be on the rear of the face up deck. Have the spectator turn the deck face down and deal off five cards for his Poker hand. All that remains to be done is for you to take the remainder of the deck from the spectator and patter about the card counters. Run through the deck as you feign scanning the cards. After about fifteen seconds, announce that you know the five cards in the spectatorʼs Poker hand. Slowly name the five memorized cards and have the spectator turn them over as you take your applause.

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Mentalism for Magicians

IMPROMPTU ESPITOME The original Espitome is to be found in Larry Beckerʼs WORLD OF SUPER MENTALISM BOOK TWO. However, the original version required specially prepared cards. The version described here is designed to allow you to duplicate the same effect using an unprepared deck of cards. Naturally, this effect can be performed with either playing cards, as described here, or E.S.P. design cards. The effect is similar to the Dai Vernon/Arthur Finley plot called Royal Marriages that first appeared in Dai Vernonʼs SELECT SECRETS. A popular version called The Million to One Chance appeared in THE CARD MAGIC OF BROTHER JOHN HAMMAN by Paul LePaul. Other methods have been marketed: C.I.D. by Barry Stevenson, and ZENNERlSM by David Britland. The method presented here has many advantages to recommend it. EFFECT The mentalist flips over the top five cards of the deck and displays the Ace through Five of Clubs. These are laid out in a face up row on the table. The next five cards are turned up and shown to be the Ace through Five of Spades. The latter five cards are turned face down and placed to one side. The mentalist squares the balance of the deck and places it in front of the five face up Clubs. The packet of five face down Spades is placed behind the mentalistʼs back. The mentalist removes one of the cards from the packet that he is holding behind his back and places it face down on top of the tabled deck. He points out that he has placed one card down on the deck first. The spectator is asked to remove any one of the five face up Clubs and to place it down on top of the remainder of the deck. Again, the mentalist places one of the cards that he is holding, face down on top of the deck. The spectator follows through by placing any one of the remaining four Club cards face down on top of the deck. This procedure continues until both the mentalist and the spectator have exhausted their five card packets. The spectator is now requested to pick up the deck and deal five pairs of face down cards on the table. When the spectator turns over the five pairs of cards, it is seen that each is a matched pair. The Ace of Clubs is paired with the Ace of Spades and so on. REQUIREMENTS & PREPARATION All that is needed to perform this effect is a deck of fifty-two playing cards. The top ten cards are arranged in the following order from top down: Ace, Two, Three, Four, and Five of Clubs; Ace, Two, Three, Four, and Five of Spades. PERFORMANCE Hold the deck face down in the left hand and thumb off the top five cards to the right and flip 36

Mentalism for Magicians

them face up. Spread them widely to show that they are the Ace through Five of Clubs. Place them face up in a row on the table. The Ace of Clubs should be to your left. Spread the next five cards and flip them face up on top of the deck to show that they are the Ace through Five of Spades. As you spread and name the cards, spread past the Five of Spades and get a left little finger break under the first face down card beneath the Five. Retain this break as you push the five Spade cards off of the top of the deck and turn them face down on top of the deck. Immediately push off the top six cards, as the packet of five and place them in a squared packet on the table. Place the remainder of the deck in front of the face up row of five face up Club cards. Pick up the packet of six cards and place them behind your back. Remove the bottom card of the packet that is behind your back and place it face down on top of the pack. Tell the spectator that you have randomly selected one of the five cards and placed it on the deck first. Now ask the spectator to choose any one of the five face up Club cards and place it face down on top of the deck, on top of your card. Since the five cards that you are holding behind your back are now in Ace through Five order, it is a simple matter to locate the mate of the card that has been placed on top of the deck by the spectator. Remove the mate of the card that the spectator has just selected and place it face down on top of the deck as you state that once again you will place one of your cards down first. Have the spectator select one of the remaining four face up Club cards and place it face down on top of the deck. Once again, the four cards that you are holding behind your back are in the same order as the cards on the table, which makes it easy for you to locate the mate of the card just selected by the spectator. Continue as described previously, until there is only one Club card face up on the table. You will be holding two cards behind your back, although the spectator thinks that you are holding just one. Place the mate of the previous card selected by the spectator under the other card that youʼre holding behind your back. Square the two cards and bring them out perfectly aligned as one card and drop them on top of the deck. Ask the spectator to pick up the final face up Club card, from the table, and have him place it on top of the deck. Have the spectator pick up the deck and deal the top ten cards off of the deck in pairs, placing five pairs around the table, face down. Now relax and watch the spectatorʼs expression as he turns the five pairs face up and discovers that every pair matches! (Authorʼs note: Over the years I have primarily performed this effect using E.S.P. cards as opposed to playing cards.)

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Mentalism for Magicians

THE CONVERSION PRINCIPLE Soon after I became familiar with a Terry LeGerauld concept known as the Countdown Force, my mind began to crank out one variation after another. LeGerauldʼs original idea involved counting backwards through ten cards on top of a full deck, to force the eleventh card from the top. I felt that the use of just ten cards when there were fifty-two at hand weakened the logic of the procedure. This eventually led to what I call the Conversion Principle. However, before explaining that, letʼs examine my first variation of LeGerauldʼs Countdown Force. COUNTDOWN PREDICTION You will need a deck of playing cards, an adhesive backed circular white Avery label, and a pen. Have the spectator shuffle the deck of cards. Retrieve the deck as you state that you will only need ten cards for this effect. Actually, you remove eleven, which is a simple thing to do at this early stage of the demonstration - the spectator has no reason to doubt your word. Hand the eleven-card packet to the spectator, face down, and request that he give them a good mixing. When the spectator is satisfied that the cards have been thoroughly mixed, have him hand them back to you. When you receive the cards, turn the top card of the packet face up on top of it. At the same time, grasp the packet by the inner short end with the right fingers on top of the packet and the thumb beneath and turn the top of the packet towards the spectator so that the reversed card is facing him. Look directly into the spectatorʼs eyes as you complete this action and state that you will write a prediction on the face of the top card. Accentuate this statement by nodding towards it. As you are doing this, memorize the bottom card of the packet, which will be facing you. It is this card that you will predict. Hand the spectator the adhesive backed label and ask him to remove the protective backing. Instruct the spectator to affix the label to the center of the face of the face up card. Drop the packet into your left palm so that the face up card is on top of the packet resting in your palm. Rotate the left hand inwards at the wrist, so that the top card of the packet is tilted upwards, out of the spectatorʼs view. The left palm should be covering most of the face of the card on the bottom of the packet. (Itʼs important that the spectator not be able to see the identity of the bottom card of the packet.) Write the name of the predicted card on the adhesive label. Immediately flip the top card face down and place the pen to one side. Hold the squared packet of cards face down in your left hand and state that you are now going to attempt to travel back in time to a thought that you had a few minutes before. Tell the spectators that as you count back in time, aloud, you will transfer one card from the top of the packet to the bottom for each digit that you call out. In addition, you instruct the spectator to call “Stop” at any time he wishes during the count. 38

Mentalism for Magicians

Begin to count backwards “ 10-9-8-7-6-5-4-3-2-1” as you transfer cards, until the spectator calls “Stop.” Assume, for example, that the spectator stopped you on the number “6.” You would immediately hand the spectator the packet of cards and request that he deal five cards from the top of the packet into a face down pile on the table, and place the sixth and final card to one side. As soon as this has been done, pick up the dealt off packet of five cards on the table and retrieve the balance of the packet from the spectator. Remind the audience that the spectator freely shuffled the packet of cards. In addition, he freely selected the number used to arrive at the randomly selected card that has been placed aside. As you are recapping what has transpired, casually give the packet a complete cut and drop it on the table to one side. Have the spectator turn over his freely selected card. Have another spectator remove your written prediction card from the packet. The prediction matches the selected card. TEN CARDS ONLY If only ten cards had been used instead of eleven, the countdown procedure would have forced the top card of the packet rather than the bottom one. If the cards have been secretly marked so that they can be identified from their backs, you can have the spectator shuffle the deck and remove any ten cards, which he may also shuffle. After the spectator has finished shuffling, you note the identity of the top card of the packet by reading the secret mark. Predict this card on another piece of paper and then proceed through the Countdown Force. The top card of the packet will ultimately be revealed as the prediction. MILLIONAIRE’S RUMMY In this effect using the Countdown Force, the mentalist shows a prize list and explains that there are ten playing cards on the list and there is a prize adjacent to each of the cards on the list. Ten jumbo playing cards, as noted on the list, are shown and handed to a spectator for shuffling. The spectator freely selects one card. When the prize list is read, it is seen that nine of the prizes listed are fabulous, however, the prize next to the card selected by the spectator entitles him to just one round of applause from the audience. Itʼs a cute and effective ending. To do this routine, you will need ten jumbo playing cards. The values of the cards do not matter, and it is best that the cards be of mixed values and suits. Mark the upper left and lower right hand corners of the back of just one of the jumbo cards. You will have to make up a “Prize List” listing all ten of the jumbo cards that you will be using. Next to each card noted on the list youʼll name a prize such as a mink coat, a trip to Hawaii, a Rolls Royce, etc. However, next to the name of the card that you have marked, you place the name of the prize to be awarded as “Applause.” 39

Mentalism for Magicians

To perform, you explain that you will play the game of “Millionaireʼs Rummy” in which valuable prizes are awarded. Show the prize list briefly and read off a few of the valuable prizes, but not the cards next to them. Of course, you donʼt mention the “Applause” prize at all. Have the spectator mix the cards thoroughly. Take them back and fan them between your hands with the faces towards the spectators. Note where the marked card lies and separate the fan so that all of the cards above the marked card are taken in the right hand and all of the cards below and including the marked card are taken in the left hand. Close up the fan, placing all of the cards in the right hand below the cards in the left hand, which will serve to bring the marked card to the top of the packet in a casual gesture. Use the Countdown Force as described previously, by counting backwards from ten to one, moving one card at a time from the top of the packet to the bottom, until the spectator stops you at any point. Do the second counting procedure, as described previously to force the marked card. Have the spectator show the card to the audience and have another spectator consult the prize list and call out the name of the prize indicated by the spectatorʼs chosen card. It will, of course, be “Applause,” which should guarantee you and the spectator a warm hand. HEADLINE COUNTDOWN If you restrict this principle to just playing cards, youʼre limiting yourself. The Countdown Force can be applied to many other objects. A magician by the name of Collins advertised a mental effect several years ago that utilized reproductions of newspaper front pages. The newspaper pages featured such famous historical events as the burning of the Hindenburg, election results, and assassinations. I believe that the Collins effect has not been on the market for many years and I have no idea as to the method that he employed. The Countdown Force works particularly well in combination with the Collins concept. Many quality bookstores stock a book with the title of FAMOUS FRONT PAGES. This book is a collection of reproductions of several front pages of newspapers concerning important historical events. Select ten pages concerning well-known historical events and mount them on heavy poster or art board. On the back of one of these boards, in the upper right and lower left corners, place a small pencil dot. The headline on this board will be the one that you will predict. Write this prediction on a piece of paper and seal it in an envelope. Place the envelope in full view of the audience. Display the ten boards and make appropriate comments on the story contained on each of them. As Mr. Collins noted in his advertisement, the stories lend themselves to a dramatic 40

Mentalism for Magicians

presentation as well as a dramatic revelation at the conclusion of the effect. Hand the ten boards to a spectator for mixing. Retrieve the boards and fan them with the faces towards the audience as you mention that they have been well mixed. Note the location of the pencil dotted board as you do so. Separate the packet so that the dotted board is the top card of those held fanned in the left hand. The key to this action is to do it casually. As you finish the statement about the boards being well mixed, bring both hands together again, depositing the cards in the left hand on top of those in me right hand. Explain that you will now begin the countdown in time. Explain that the spectator is to stop you at any point during this countdown. Begin to count backwards, until the spectator stops you. As you count, you, of course, move one card for each digit from the top of the packet to the face. When you are stopped, hand the spectator the cards and have him deal down to the selected number by removing the cards from the top of the packet and placing them on the table. Naturally, the last card dealt will match the headline prediction that is removed from the sealed envelope and read to the audience. OTHER SUGGESTIONS Obviously, using other objects can change the presentation of the effect. Ten photographs of movie stars or other types of celebrities could be used. You could use postcards, travel folders, colors, numbers, or E.S.P. designs. Any one of these suggestions could lead to a presentation that you could make your own. The effects are only limited by your imagination. MORE CONVERSION PRINCIPLE IDEAS Working on effects such as those Iʼve just described led to the creation of the Conversion Principle. It was the ambiguity in the Countdown Force procedure that led me to probe deeper. As Iʼve said previously in this chapter if a layman were to logically analyze the procedure used, it would seem a bit strange that the backward count has to be followed by a forward count. Most experienced performers know that if a convincing enough reason is given for an illogical process, then the spectator will not take the effort to question the logic of the process involved. While this is undoubtedly true, I was not satisfied with this rationale. By applying this thinking to the Countdown Force, the Conversion Principle was born. As two counts are necessary for the force to work, a more logical rationale for the second counting procedure had to be developed. It occurred to me that the ideal way to do this would be to convert letters into numbers - an idea used by Al Koran, and in some old number gags. This is a logical progression that disguises the need for two counts in order to affect the force. The effect Counterspy, which is detailed below, is an effective and logical handling of the Conversion Principle. COUNTERSPY 41

Mentalism for Magicians

In-this effect, the performer removes ten face up cards from a small I.D. case and fans them. The spectators see that all ten cards are the King of Clubs. The cards are handed to a spectator who is requested to shuffle them face up. The cards are retrieved from the spectator and the performer once again fans the cards out with the faces towards the spectator. The performer explains that while the cards all look alike, one is actually the notorious “counterspy” 003 1/2 - sort of a half-baked James Bond. The performer squares up the packet of cards and hands the face up packet to the spectator. The spectator is instructed to spell the word “counterspy” aloud, while simultaneously moving one card at a time from the top of the packet to the bottom for each letter spelled. The spectator is told that he can stop the deal on any letter that he wishes. When the spectator stops (and we will assume, by way of example, that he has stopped on the letter “S”) the performer opens the I.D. case that has been in full view on the table and removes a card bearing a “secret code.” This code consists of the letters in the word “counterspy,” jumbled up. Beneath each letter is a numerical value for that letter. The fact that no two letters or numbers are alike is pointed out to the audience. To use our example, the value of the letter stopped on (the “S”) when checked against the code is “3.” The spectator is instructed to count three cards onto the table, placing the last card dealt to one side. The performer takes the remaining cards from the spectator and turns them face down, spreading them on the table. All of these cards have red backs. The performer states that somehow the spectator has broken the secret code and located the notorious counterspy 003 1/2. With that, the spectator is invited to turn over the card that he randomly selected. It has a blue back! Everything can now be examined, as there is nothing to be found. To perform this effect you will need nine red-backed King of Clubs and one blue backed King of Clubs. The cards should be from decks with a matching back pattern. Also needed will be the “code card” which looks like this: SECRET CODE T 6

P 2

N 7

C 10

U 8

R 4

Y 1

S 3

E 5

O 9

You can photocopy the list above and paste it onto a piece of card to make your “code card.” The effect is performed as outlined, as it is almost self-working. Only one action need be done by the performer after the spectator has shuffled the cards and returned them to him: The cards are fanned with the faces towards the spectators and the backs towards yourself. Split the fan so that the blue backed card is on the face of the spread in the right hand and the cards below it are held in the left, as you are pattering. Then casually close the fan by placing the cards in the right hand in front of the cards in the left, so that the blue backed card becomes the face card of the packet. Incidentally, place the blue backed card on the face of 42

Mentalism for Magicians

the packet when you are setting up this effect. This will allow you to take out the packet and casually display the backs in a loose spread by keeping the last few cards together, just before handing them to the spectator for the face up shuffle. This can be done again just after closing the fan. In this case, close up the fan and turn it face down for just an instant. In this instant, spread the cards between your hands casually (holding the last few cards together) and then close the fan and turn it face up. This is all done while pattering about the fact that while the cards all look the same, one is in fact the infamous counterspy 003 1/2. Hand the face up packet to the spectator and have him proceed as previously described. Once the code is deciphered, have the spectator turn over the selected card to show that he has located the only blue card in the red packet. The jumbled code is a great throw-off to the simple mathematics used to accomplish the force. If you unscramble the “secret code,” the Countdown Principle is immediately apparent: C 10

O 9

U 8

N 7

T 6

E 5

R 4

S 3

P 2

Y 1

In addition, the spy patter theme in combination with the “secret code” makes the whole effect as logical as a magic effect can get. Whenever I have performed this version for laymen, it has never failed to produce an audible gasp of amazement when the odd card is flipped over - the selection process seems so fair and aboveboard. There are many other theme possibilities that are adaptable to the Conversion Principle. Now that you understand the basis of the principle, you can easily construct a “code” during an impromptu situation without having to resort to memory. Just jot down the appropriate code on the back of a borrowed business card and youʼre ready to perform. Instead of using an odd colored back, you can simply draw an “X” on the face of one of ten playing cards and proceed to perform with the cards face down, instead of face up. With a little thought, you can produce great patter stories to enhance the presentation of the effects that you work out with this flexible principle. Some alternative presentations and words will be outlined to complete this chapter. MIND PROBE The mentalist may wish to use the words “mind probe.” The code card will look like this: MIND PROBE D 6

B 2

R 4

I 8

E 1

M 9

N 7

O 3

P 5

This suggested version could utilize nine E.S.P. design cards. Simply predict one of the designs that you have previously pencil dotted on the back. Force the card using the Conversion Principle procedure that I have previously outlined. 43

Mentalism for Magicians

PERSONALITY TEST An alternative for the mentalist who specializes in readings and numerology is to spell the word “personality.” T he code for this word would look like this: PERSONALITY N 6

S 8

O 7

P 11

I 3

Y 1

R 9

L 4

E 10

A 5

T 2

For the effect, you would use eleven blank faced cards upon which you write the names of eleven different people in your audience. Glimpse the top card after the spectator has shuffled them. If you are not capable of this move, then simply glimpse the bottom card and shuffle it to the top with an Overhand Shuffle. Follow through with the procedure that has already been outlined, by having the spectator spell “personality” and stopping on any letter. Consult the chart, which you have labeled “Personality Test” and obtain the numerical value of the letter stopped on. This could be interpreted as the spectatorʼs “lucky number.” Have the spectator count down to that position and have the card placed aside. You can now give a cold reading to the person whose name you know is on the selected card (the card that you glimpsed at the beginning of the effect). For the climax, have the selected card turned over after youʼve revealed the forced name. This is one of the most entertaining and powerful close-up mental effects that you can perform. The method is well cloaked in the terminology of a horoscope pitch and utilizes the names of the people in your audience - factors which make this effect a powerhouse, particularly with women. THE MAGIC SPELL For the close-up worker, the word to spell is “duplicates.” The code card will be laid out as follows: DUPLICATES A 4

U 9

E 2

D 10

S 1

P 8

C 5

L 7

T 3

I 6

The code card is entitled “Magic Spell.” You will also need five red cards of any value, five black cards of any value, and two double-backed cards that match the backs of the cards that you will be using in this effect. Arrange the eleven cards as follows: The five red cards face up; a double-backed card; the five black cards face down. The remaining double-backed card is placed away in your wallet with the code card. 44

Mentalism for Magicians

The second principle used in this effect is one that I will call the “Invisible Card Principle.” I have been unable to discover who is the originator of this idea. It is related to the Henry Christ 203rd Force, and ideas related to the one used in this effect have been used by Martin Gardner and Lynn Searles. The principle is used in this effect in this way: If the packet of cards is fanned so that the face down cards are held closely together, while the face up cards are fanned out more, the fan will seem to consist of five face up cards followed by several face down cards. When the packet is turned over and fanned, it again seems to consist of five face up cards followed by some face down cards. The reason for keeping the spread of face down cards tight is so that the spectators will not be able to see that there are six face down cards, each time you spread the packet, instead of five, as there should be. You can also hold the final two cards together as one each time you display a side of the packet, to show that only ten cards are being used. In this way, the double backed card is always passed off as one of the face down cards. To introduce the effect, remove your wallet and take out the “Magic Spell” card that is placed face down on the table. Next, remove the double-backed card from your wallet and state that it is a duplicate of only one of the cards in the packet that you will show. Place it on the table without exposing the fact that it is a double-backed card. The packet of cards is now shown by fanning one side and holding the last two cards as one to show five face up red cards and five face down cards. Close up the packet and openly turn it over and fan it out to show five face up black cards and (again, holding the last two cards as one) five face down cards that are supposedly the red cards. As far as the spectators are concerned, you have openly shown five red and five black cards that are back to back. Ask one of the spectators which of the colors he wishes to shuffle - the red or the black. Whichever color he chooses, turn the packet over so that his chosen color is face up and hand him the five cards of his choice. You apparently shuffle the five (actually six) remaining cards. In the shuffle, bring the double-backed card to the bottom of the packet and keep it there while you shuffle the others freely. Once the spectator has finished shuffling his cards, retrieve them and drop them face down on top of your face down packet. Remind the spectator that one of the cards that you are holding is a duplicate of the card previously placed on the table. Spell the word “duplicates” using the countdown procedure, moving one card at a time from the top to the bottom of the packet for each letter. Wherever the spectator stops you, consult the “Magic Spell” card to determine the numerical value of the letter that you stopped on. Hand the packet of cards to the spectator and have him count the appropriate number of cards into a pile on the table. Have him turn the final card dealt face up. Act surprised when you see that the card has “two backs.” An appropriate line here would be, “Whoʼs been fooling with the cards?” You will certainly get a laugh as the effect will seem to have gone sour. State that you were sure that the card randomly selected by the spectator would match the one on the table. Suddenly snap your fingers over the tabled card and have someone turn it 45

Mentalism for Magicians

over. With a relieved expression tell the spectators that it is a good thing that you really are a magician. Youʼll get a nice response when they see that the tabled card also has two backs. Some magicians may not want to use this as they may feel that showing a double-backed card is exposing. It is not, in this case, as it is treated simply as a gag card, much the same as a Fourteen of Spades or the Three and a Half of Clubs might be. The sudden appearance of the double backed card comes as a real surprise and its appearance really packs a wallop. ADDITIONAL IDEAS As you have seen, the Conversion Principle is a versatile weapon in the arsenal of any magician or mentalist. The effects that can be created once the principle is understood are limitless. Just to stimulate thought on the principle, Iʼ11 give you two more code words that Iʼve played with. One is “Lucretia” which fits in well with a poison theme, and the code word “Goldmine” which could well be used with an effect with a treasure hunt theme. Iʼm sure that youʼll create many other variations of your own.

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