PseudoMentally Yours

Robert E Cassidy

(originally published in 1977) copyright©2003 by Robert E Cassidy

My picture as it appeared in the original edition.

Taken during a performance on the Holland America Line ship M.S. Rotterdam in 1975. I was 26.

TABLE OF CONTENTS

PRESIDENTIAL PORTRAITS 2 THE 35mm DIE CAN TEST 4 A 35mm TRIPLE TEST 6 THE TELEPATHIC DIARY 7 BEATING THE BOOK TEST 9 PART ONE 9 THE PENCIL POINT PROPHECY 9 PART TWO 10 THE IMPROMPTU IMPRESSION 10 PART THREE 11 THE PHONE BOOK FINALE 11 A BRIEF DIVERSION 13 AN EXPERIMENT WITH TIME 14 ULTIMATE FOURTH DIMENSIONAL TELEPATHY 17 THE SHIRT POCKET MINDREADER 20 AND IN CONCLUSION: 22

PRESIDENTIAL PORTRAITS

This is an effective bit of mentalism which makes a good opening number. It is rather novel since the whole thing appears to be a joke until the very last-moment. EFFECT: The mentalist shows an 8xlO manila envelope in which he says he has placed a drawing of a famous president. A volunteer stands and calls out the name of any president that comes to mind. Opening the envelope, the performer exclaims that the volunteer is correct and that the drawing is of the very president named. "Off course," says the Master Mind, "I'm not the best artist in the world, but I'm sure you can see the resemblance." The audience is shown a primitive, childlike drawing of a face, which is really no more than a circle with two eyes, a nose and a smile.

"You don't recognize the picture? Well it's a good thing that I WROTE HIS NAME ON THE BACKS" Whereupon the performer turns the picture around and shows the selected name printed in black magic marker ink. METHOD: No... .there is no Swami gimmick and the selection is apparently a free one, yet the audience sees exactly what has been described above. Try this - mentally visualize the faces of as many presidents as you can. How many can you ACTUALLY SEE? Not their NAMES... .but their FACES. Now let's narrow it down even more. Visualize a famous TWENTIETH CENTURY president. The word "Famous" should limit you to about six names. And six choices we can cover easily. Don't worry, though, if your volunteer comes up with Harding or Coolidge as there are two ways out in such a case. The volunteer, then, is asked to VISUALIZE the FACE of a famous TWENTIETH CENTURY president. The large manila envelope has six pictures in it, all drawn on tag board. The pictures are the same but each has a different name on the back. They are: KENNEDY, TRUMAN, ROOSEVELT, JOHNSON, WILSON, and EISENHOWER. They cover most of this century and 99% of the time your volunteer will name one of them. Remember, he is asked to VISUALIZE the president, not to merely think of his name. (Quick, describe Warren G. Harding! Also, if you consider that “Roosevelt” covers two possibilities, you can see that the selection of a “force” name is almost foolproof. Of course you can always use a stooge, and occasionally I have, but this isn’t always practical at a private engagement where he might talk afterwards. The first picture, KENNEDY, is just large enough to fit in the envelope. Each of the following pictures is cut about ¼ inch shorter than its predecessor. This makes for easy, fumble—free removal from the envelope. Also, the names are penciled lightly on the exposed portion of each card. The cards are placed in the envelope so they can be removed with the picture side facing the audience. Don’t worry about the envelope never being shown empty. The joke covers that. As soon as the picture is removed and the audience reacts, nonchalantly put the envelope onto your table or into your attache case. Since they think you’ve only been kidding them, they have no reason to suspect the envelope. At the conclusion of the effect it is out of sight, completely forgotten. I mentioned that there were two outs if an odd name was selected. Here they are: If the volunteer gives a name you haven’t covered, ask him to describe the president as best he can. Usually he won’t be sure of himself, so you ask him to think of someone whose face he can actually visualize in his mind’s eye. (If he names Richard Nixon just say, “No sir, a FAMOUS president, please.” — NOT recommended for the Republican Club banquet.) If he persists in describing Warren C. Harding or Calvin Coolidge, just let it go at that and proceed with the gag finish. It will be especially funny after the spectator gives a detailed description and then sees your “portrait”.

Incidentally, I’ve only had to use an out once in three years of performing the effect on almost a weekly basis. I used the joke finish and found that it put the audience effectively off guard for my next effect, which was all the stronger because of it. The other out, for those of you who insist on showing the correct name every time, is as follows. When the volunteer gives the wrong name, point to two or three other people and have them name a president also. One of them will certainly give you a force name. State that in order to prevent the possibility of confederacy or pre—arrangement, you will write each of the selected names on slips of paper and have yet another party select one of them. Write the exact same name on each slip, fold them up, and have one selected. Pocket the remaining slips and finish as described. NOTE: This effect is an extension of Robbins’ ESP PHOTO MIRACLE, a much overlooked bit of business. Back in 1974, while I was performing weekly on the cruise ship Statendam, the German magician Hans Moretti suggested that the effect would be very strong if an actual photo of the person named could be removed from the envelope. I agreed, but didn’t want to sacrifice the laugh because it always served to put the audience at ease for participation in my later effects. PRESIDENTIAL PORTRAITS combines the best of both ideas - it gives the audience a good laugh as well as an effective mystery. And believe me, any mental act is all the better with some occasional humor thrown in. THE 35mm DIE CAN TEST

The mentalist shows a 35mm film can and demonstrates its complete opacity and innocence. A die is also brought forth and handed to a spectator. The spectator puts the die and can behind his back, drops the die inside and affixes the lid. The can is brought forward and shaken by several persons. No one can possibly know which number faces upward. Under these conditions the mentalist is able to cor-rectly divine the hidden number. All of the props may be closely examined and no secret preparation will be found. PROPS: Two dice are required. They are ¾ inch wooden cubes with rounded corners. (This allows them to turn freely in the can.)

A small carpet tack with a large head is hammered flush into one of the dice. Done neatly, and with a little paint to touch up the work, the preparation isn’t noticeable. In any case, the audience won’t have much of an opportunity to inspect this die closely. Also needed is a small, easily palmed magnet. Or, use an Emerson & West “Cling Ring”, which has the magnet built right in. A plastic or aluminum 35mm film canister completes the list of props. SET UP: Place the unprepared die into the left pocket. The Cling Ring is on the right hand. If you’re using a magnet instead, it is palmed between the bases of the middle and ring fingers. The film can, lid, and prepared die are on the table. OPERATION The film can is freely shown and seen to be the same light tight can that all standard 35mm photographic film cans are. The prepared die is given to a spectator who verifies that it has all of its spots. He is then asked to place it behind his back and to roll it around in his hand. Taking the can behind him also, the spectator drops the die inside and puts the lid on. Several people shake the can and the die is heard to tumble happily about. You then take the can and place it in your right hand, directly over the magnet or Cling Ring. With the right thumb on top of the can, give it a few more shakes. The very moment the die ceases to make noise, the shaking must be stopped. The tack head is now stuck to the magnet and the opposite side of the die faces upward. (Of course you have remembered the number on that side.) While all of this is going on, secretly finger palm the regular die from your left pocket. The number is dramatically revealed and the can is opened to prove that you are correct. At this point comes a Chop Cup type switch. With the magnet still held against the bottom of the can, the can is turned over onto the left palm, which simultaneously brings the regular die into view. The gimmicked die, naturally, clings magnetically to the inside bottom of the can. The unprepared die is tossed to the table. As the audience examines it your hands come together, the magnet is released, and the gimmicked die falls secretly into your left hand. The can is then put on the table and also may be examined. METHOD NUMBER TWO: To repeat the effect immediately you might like this idea. Get an extra lid for the can and stick a piece of mirror finish mylar to its inside surface. After presenting the effect as described, it is no problem to secretly switch caps. Pick up the open can in the right hand, holding it horizontally with the open end toward the spectators. Turn your head away and ask a spectator to place the die into the can and note the number facing him. Meanwhile, you are holding the prepared lid in the left

hand. Turn back your head and place the lid on the can, being careful to keep the open-ing facing away from you at all times, lest you be suspected of peeking. (1) The shiner in the lid gives you a glimpse of the number and once again you can exhibit your psychic talent. Once you’ve mastered this, try the following routine and you’ll find that you have a real closeup show stopper on your hands. A 35mm TRIPLE TEST

These film canisters are very handy and give “test conditions” type atmosphere to your act. This time we use three of them for an elaboration of the previous effect. The die goes into the first can. Using either the magnet or shiner, you know the uppermost number. The can is placed on the table unopened. A pack of ESP cards is shown and held behind your back where a second spectator selects one. He rolls the card up and places it into the second can. Since the deck was stacked, you know the identity of the card. Use a haymow shuffle or a few straight cuts prior to the .selection. A third spectator removes a dollar bill from his wallet and folds it up. It is openly placed into the third can and the lid placed on. You now reveal the number on the die... .the selected ESP symbol... .and the serial number of the bill! Any bill switch accomplishes the last test, but here is the method I use - the third can already has a folded bill in it, along with a Vernet Thumb Tip. (The bill is alongside of the tip, not in it.) When the can is closed it can be freely handled and the contents won’t rattle. Take the folded bill from the spectator, open the can yourself and place the bill inside. Keep the top of the can tilted slightly towards your body. The bill comes right back out again in the thumb tip and the can is given to the spectator to close. Since he sees the bill inside, he has no reason to suspect anything. Later, the audience will probably think that they actually placed everything into the cans themselves. So there it is - a clean, to the point test, employing three subtle methods that will keep the shrewdest observers off balance. NOTE: For those who don’t know how to stack ESP cards, the standard sequence is: Circle, Cross, Wavy Lines, Square, and Star. (One line, two lines, three lines, four lines,

and five points). The sequence repeats itself throughout the pack of twenty— five cards. The haymow false shuffle is described in most of the basic card texts. The important thing, regardless of the shuffle used, is that the cards are handled nonchalantly. THE TELEPATHIC DIARY A while back mentalist Sandy Kross came up with an interesting premise for an effect. The performer was to ask a total stranger the date of his birth and hand him a pocket diary with a sealed envelope. The spectator would notice that each entry in the diary had a different playing card name written in it. Finding the card entered on his birthdate, the volunteer would open the envelope and find the very card which represented his birthday contained therein. Each of us came up with different solutions. Mine originally appeared in MUM, the journal of the Society of American Magicians. unfortunately, and I take full blame for it, the effect wasn’t described as clearly as it might have been. Don’t be put off by the preparation involved as the effect is well worth the effort. Two pocket diaries are required. preferably, use the ones which have four entries on the left hand page and three on the right. (The fourth space on that page being labeled “memoranda”) One diary is used if the spectator was born on an ODD numbered day, the other for EVEN birth-dates. Also required are four manila pay envelopes large enough to contain a playing card each. Due to the manner in which the diaries are prepared, only one of four cards can represent any possible birthday, and yet the dairy appears to contain random entries of all fifty two cards repeated haphazardly to fill out 365 days. TO PREPARE: The four cards used are the ace of clubs, the two of hearts, the three of spades, and the four of diamonds. (Standard CHSD sequence) . If you like you can use Tarot cards, in which case your suit sequence would be wands, cups, swords and pentacles. In the “ODD” diary write in “ace of clubs” (or wands) on the first of January. The second entry is any card at random, as are all of the remaining EVEN dates. On the third write “two of hearts”, on the fifth “three of spades”, and on the seventh “four of diamonds”. On the ninth you begin the sequence again with “ace of clubs”. Continue filling in the rest of the month as described — the force cards going in sequence on the ODD numbered days. Because each two page spread shows only seven entries, no duplications will be noticeable. You’ll find that the diary will stand pretty close examination due to the

disguising factor of the random cards on the even dates. If any duplication is noticed, you merely point out that it is necessary to duplicate entries to fill in 365 dates. Be sure that you begin the first of each month with “ace of clubs’. In other words, don’t go blindly on filling in the entries on alternate dates and pass into another month without noticing it. (As I did the first time I made a set.) The “EVEN” diary is filled out the same way except you start with the “ace of clubs” on the second” of the month. The first, and all of the remaining odd numbered dates, contain random entries. After you’ve finished preparing the diaries, which is a good evening’s work, take the four cards and seal them up, one to an envelope. Keep the envelopes in sequence or, better yet, mark them so you know which one contains which card. Sandwich the envelopes between the two diaries and put everything into your inside jacket pocket. The working should now be clear. Just ask the volunteer for his birthday, reach into your pocket and remove the correct diary with the proper envelope. You may well ask at this point, “How do I know which card is entered on any given date without going through the entire sequence mentally?” No problem. A simple formula takes care of that. Just divide the date by four if it is an even number. If it divides evenly, the card entered on that date is the “four of diamonds”. If not, just divide the remainder by two. The result will be either one, two or three, and that is the name of the proper card. If the date is odd, just add one, making it even, and use the same formula. Be sure to remove the proper diary (odd or even) with the proper envelope. The effect is really simple to perform. You have only four envelopes in your pocket, so there should be no problem in picking out the right one without fumbling. Of course you could have one envelope in each of four pockets, (body index) in which case the envelope would not come out of the same pocket as the diary, but I think it’s cleaner if they come out together. Besides, you may need your other pockets for different effects. PRESENTATION: Generally, I start out by asking the birthday of the spectator and then inquire if he knows his astrological sign. Most people do. I go on to say that I’ve developed a new form of fortune telling which combines astrology with cartomancy, and that in this system each day of the year is represented by a playing, or Tarot, card. The spectator is then asked if he knows which card represents his birthday. Naturally he doesn’t, as this system of fortune telling is completely fictitious. By this time you should have figured out which diary and envelope you’ll have to remove from your pocket. Take them out and toss them on the table. Don’t mention the envelope. Again ask the spectator for his birthdate - as if you forgot. This is an important point, since later the audience will think that the envelope had been on the table BEFORE the birthdate was known.

And... .that’s it! He finds the entry and you give him a brief cold reading - something short and snappy out of the newspaper astrological column. For the climax point out that the envelope has been in full view throughout. Let the volunteer open it as you pocket the diary. NOTE: To prevent the possibility that the spectator may wish to examine the diary AFTER the effect is completed, be sure to have him verify that it is filled with random entries BEFORE he looks up his date. Also, although I use the word “he” throughout this book to represent the spectator, chauvinist that I am, I always do this effect with a lady if possible. BEATING THE BOOK TEST

Here are three approaches to a classic of mentalism. Presented in sequence they create the illusion that the mentalist can divine thought of words under any conditions. While the methods employed in each variation are different, the general procedure remains the same throughout — except for the last test, which is in a class by itself and makes an incredible finale. Like Dr. Hooker’s legendary rising cards, the sequence will not only fool the lay audience, but will confound the magic buffs that pop up among them, as any clues to possible trickery are systematically destroyed as the routine progresses. No answer re-mains except the one offered by the mentalist — pure telepathy.

PART ONE

THE PENCIL POINT PROPHECY This require no more than a paperback book and a pencil point which has been secretly broken off a pencil and is concealed between the fingers of the right hand. While flipping through the pages of the book, which should be borrowed, if possible, drop the pencil point into the binding somewhere near the middle of the book and note

the general content of the first lines of the left and right hand pages. Place the book aside for a moment and select a volunteer. Place the book behind your back and ask the volunteer to stand in back of you. Tell him that you will flip through the book and stop anywhere he desires. The point in the binding acts just like a short card in the well known card force. As the spectator says “Stop!” you contrive to hit the break caused by the bit of lead sandwiched in the book’s binding. He reads the top line of either page, remembers a word, and you close the book. The pencil point falls unnoticed to the floor. Hand the spectator a slip of paper on which to write his word for future verification. Along with it hand him the book to act as a rest for writing. Now walk away from him - as far as you can. Don’t look at him or cone anywhere near him. You’re about to lead the skeptics and magicos down the garden path. Anyone who has ever heard of getting impressions will think you’re trying to get one now. Why else have the word written down? They are shortly to be surprised when you reveal the spectators thought without approaching him, the slip of paper, or the book. Just a little pumping as you attempt to read his mind will tell you which line he is thinking of and then the proper word. Your initial uncertainty will only add to the effect. Since the variation to follow DOES use an impression, the suspicious ones will be looking for something else (like a short page maybe) while you’re busy using the book as a writing rest.

PART TWO

THE IMPROMPTU IMPRESSION As you probably already know, any paperback book with a shiny cover will take an impression which can be read when the book is tilted so the light strikes it right. While the method is a good one when the light is sufficient to insure a fumble free glimpse of the impression, most working mentalists will know that one cannot depend on the adeq-uacy of lighting conditions. An impression device must be as foolproof as possible and work under virtually any conditions. This second test very closely approximates the actions of the first, except here the spectator, preferably a different one, thinks of ANY word on the page at which he has stopped the performer. The preparation is simple, and the gimmick may be carried in your pocket at all times. It is merely a 3”x3” piece of a childs “Magic Slate” (a self-erasing plastic writing board available in toy stores) . When you place the book behind your back, you simply remove the gimmick from your back pocket and shove it under the front cover. (Incidentally, whenever a magic slate is used for impressions, you must remove the upper clear

plastic covering — it is unnecessary unless you plan to use the slate as the manufacturer originally intended.) The spectator steps behind you as before, and you flip through the pages of the book, being careful not to expose the gimmick under the front cover. He stops you anywhere and this time you ask him to think of ~y word appearing on the pages facing him. This will really bother those who think you have somehow memorized certain lines on certain pages. Close the book. Hand the volunteer a slip of paper as before, but then immediately take it back from him, place it on the cover of the book and hold it there with your right forefinger. Put the whole thing over your left shoulder, which acts as a further convenience for his writing and, more importantly, keeps him from handling the book. He writes the word on the slip and you then tell him to remove the paper, fold it up and go back to his seat. As you reiterate the strict precautions which have been taken to assure the free choice of any word, of which there are thousands, casually flip through the pages of the book and secretly glimpse the impression. Watch your angles here. Put the book into your inside jacket pocket. Later, when you remove it, the gimmick will fall out and remain behind. There is no need to pump for the information this tine, but it is nonetheless important to make a great show of difficulty in revealing the word. A few false starts greatly enhance the effect.

PART THREE

THE PHONE BOOK FINALE The last effect in this sequence is a variation of an experiment made famous by Dunninger. The original version depended on the use of a phone book which had two complete pages filled with the same name. Those not living in big cities, however, would be forced to use an out-of-town directory, or worse yet, settle for common names like Brown or Smith which would give the whole thing away. This variation allows the use of any phone book that is available and the selected name can be rather obscure. Pick up any phone book and you will find that there are innumerable inconspicuous names which fill most of the LAST column on the left hand page and the first column of the right hand page. The rest of the two page spread is, obviously, filled with several other names beginning with the same letter. Break the binding at your selected page.

To present the effect, exhibit the book and explain that this time you will attempt to predict a spectator’s thought. In large letters, print the name on your pad or on a piece of white cardboard, and place it off to the side with the writing side hidden. Your volunteer is asked to remain seated. Approach him with the book, casually flipping through it. Give it to him and ask him to open it. If he opens at the break, fine. If not, just turn pages right in front of him, pointing out that hundreds of names appear on each page. Stop when you’ve reached your force page — this is easy due to the broken binding. (The spectator is holding the book on his lap.) Once the book is open to the right spot, walk away from the volunteer and ask him if he is left handed or right handed. Tell him to hold that hand up and to spread the fingers wide. You illustrate. Now say something like this, “Sir, don’t look at the book, just look straight into my eyes and place your left hand (or right, if that’s the one he’s holding up) squarely down onto the left hand page, keeping your fingers spread.” Be sure to use find that your hand will be pretty much centered on the word “squarely”. Try this yourself and you will the page. It is the word “squarely” which subconciously causes the spectator to do the same thing. You will also see that the thumb will be resting on the column of force names. (The column nearest the binding.) Continue — “Now sir, don’t move your hand, but look down at the page and tell us how many names you think are there. About four hundred? Fine. Now neither you nor I could have known what page you were going to select or where you would put your hand down on that page. The entry just above the tip of your thumb is the one we’re interested in, but just so the audience can appreciate the vast number of names that could have been chosen, would you please read us the name appearing over your pinkie? Over your forefinger? Thank you. And now will you please spell the name appearing over your thumbtip? B-R-E-E-N, Breen, thank you. Read us the address and phone number also. Now spell the name once again.” He does as you ask and you dramatically open your prediction which reads “BREEN’. Of course, as in the Dunninger version the address and phone number bit is just red herring. Later the audience will think that you predicted a name, address and phone number, thus giving you credit for performing the impossible. The repeated spelling assures that all the audience knows what the name is prior to seeing your prediction. The improvements on the original version are obvious. There is no need to worry about the volunteer noticing that all the names on both pages are the same. In fact, you have stressed the fact that they are all different, and by reading the names appearing over his other fingers, the volunteer has himself verified that very point. More important, any

phone book will suit your purpose — a borrowed one can be set up in a minute. And finally, none of the directness of the original has been sacrificed. This completes the three part test. Of course, any one of the tests may be presented individually, but done as a routine they are especially suitable for a somewhat skeptical audience. NOTE: In the first test you could also break the binding to arrive at the correct page, thus doing away with the pencil point. But that, I think, would be a mistake. A broken spine in a borrowed paperback is apt to be noticed if the book is handled later by the audience, whereas in the phone book test the break will cause no suspicion because of the manner in which the volunteer had the book spread open on his lap. The major concept set forth in the second variation is the idea of the removable impression gimmick. This is a potent weapon worthy of further thought and development.

A BRIEF DIVERSION This is as good a place as any to tell you of a book test I witnessed at a recent Society of American Magicians meeting. The method was subtle, the performer’s personal appearance imposing. One thing was missing though. While the volunteers were busy carrying out their instructions — writing the words and folding the papers — the mentalist just stood there with his arms folded. He started to lose his audience, and an audience of magic buffs is pretty hard to lose - they’ll watch almost anything intently. And when he failed to have the participants call their thoughts out loud before revealing his prediction, only about half of the audience appreciated what had happened. The applause was minimal and the performer was quickly forgotten. The performer made a mistake common to amateurs - he left gaps in his performance during which the audience had nothing to see and nothing to hear. That is why mentalism is such a difficult thing to teach and is also responsible for the magicians common criticism that mentalism is boring. Always remember that — standing alone, your effects are nothing. It is YOU the audience is paying to see, so don’t just stand there - DO SOMETHING! Emphasize that the volunteers must concentrate intently as they write their words — explain that you will imagine a blank television screen, or something, on which you will visualize their thoughts. Keep up an interesting stream of talk consistent with your role as a mentalist. And don’t be afraid to get excited as an effect is brought to a successful conclusion. If you act bored with the whole thing you will certainly lose your audience. Remember — when you bomb, it’s nobody’s fault but your own!

AN EXPERIMENT WITH TIME

This routine was inspired by Un Geller’S apparent ability to affect watches merely by touching them. EFFECT: As many members of the audience as possible remove their watches and synchronize them. They are collected in a paper lunch bag and given to a spectator for safekeeping. Later, the watches are removed from the bag and all are found to have been influenced by some unknown force. They no longer tell the right time, some being off by as much as several hours. METHOD: There’s really nothing to this, but it is impossible looking when presented properly. The routine is designed so that the audience doesn’t have any idea of what you’re doing until it is too late. Look for watches that have their stems on the side at the three o’clock position. Some have the stem at the four o’clock position, and while the necessary manipulation is still possible, it is not quite as easy. Don’t worry about that though, just try to be sure that most of the watches you actually handle during the routine are of the standard variety. The necessary manipulation is as follows: Hold the watch by the band between the thumb and first finger of the right hand right next to the twelve on the face, the thumb on the outside part of the band. The middle finger rests on the back of the watch. In this position the finger nail of the third finger can easily pull out the stem, which is given a turn by the side of the same finger and then pushed in. Everything is done with the third finger and is covered by the action of placing the watch on the table or into the bag. Done properly, the entire move takes less than a second. You’ll find that you can easily move the hands just a few minutes or up to several hours. ROUTINE: “I’m often asked how it is possible for a person to develop his mental powers. Well the first thing you must do is strengthen your powers of observation. Until you are aware of the vast amount of detailed information constantly bombarding the mind, it is almost impossible to try to decipher extra—sensory signals. Here’s an example. How many of you are wearing wristwatches? Would you please remove them? Now sir, let me borrow your watch so we can all synchronize to it.” Borrow a watch from someone seated near the front. Be sure that it is the right kind for the move.

“All right, your watch says exactly ten minutes after nine, is that right? If the rest of you aren’t set at the exact same time, please adjust your watches. After you’ve done that, place your watches face down onto your hands, so you can’t see their faces, and I’ll ask you a few questions to test your ability to observe. All of you have just looked at the faces of your watches to check the time, but how many of you can tell me, without looking, if your watch has a Roman numeral six, just a line, or a regular six? Now check and see if you’re right.” Amazingly enough, many of them will have guessed wrong. As a matter of fact, many watches don’t have any six, that space being filled with a small dial for the second hand. Instead of having the audience verify their own guesses, you might ask the question to a few spectators individually and then check them yourself, pointing out to the audience the number of people who were incorrect. You will recall, that as all of this is being done, you still have one watch in your hand — the one originally borrowed to synchronize with. While the audience is busy testing their powers of observation, you have used the basic move to reset this watch ahead or behind about three minutes. Once it is reset, casually place it on the table in full view. “Now let’s try another test. All of you take a good look at your watches once again. Now turn them face down.” At this point you have picked up the paper bag and are approaching the spectators. “Please place your watches into the bag so we can find out how well you can describe them when they are not in your possession. Don’t worry, you’ll get them back in perfect condition.” Collect the watches. If you are holding the bag in your left hand, let the spectators on your left put their watches into the bag themselves. Meanwhile be helpful and collect watches on your right with your right hand and place them, don’t drop them, into the bag. Do the move on every watch you touch as it goes into the bag. If the stem is sticky, don’t fumble with it. The watches are all three minutes off anyway. Remember you reset the watch they synchronized to? As you are collecting watches ask questions like, “What make of watch do you have?... .How many jewels... .do you remember? Is it waterproof and anti-magnetic? Oh, you didn’t pay attention to the back? Well the watch has been laying face down on your hand. We all look but sometimes we just don’t see.” Carry on like this until the watches are all collected. Twist the bag shut and give it to someone to hold. As you go back to the front, start to emphasize that they all placed their watches into the bag themselves and that you’d like to know how well they can describe them. Ask for one or two descriptions. They should be pretty accurate by this time. “So you see, when we concentrate on what we are seeing, only then can we truly analyze the input into our minds. Once we have done this we can go on to do the impossible. Let’s try. You’ve all put your watches into the bag. Concentrate your

attention on that bag. In your mind’s eye visualize the hands. Imagine them turning. See it in your mind. Now they are turning faster, they no longer tell the correct time. Some of them are even going backwards. You must imagine this, you must believe that it is really happening.” Pause for a mental count of three. Ask for the man who lent you his watch to come forward. “Now sir, we used your watch to synchronize all of the others. Since then I have not touched your watch — it has remained in full view on the table. Please look at it and tell us how much time has elapsed since we began our test.” He does so. Of course he’s off by about three minutes, but no one will notice that. The idea now is to convince the audience that THEIR watches have changed. “Seven minutes ago? That means that it is now seventeen minutes after nine by your watch and by all of the watches in the bag which were synchronized to yours. But is it possible that our minds have actually influenced the movement of physical objects?” Address the spectator holding the bag -“Remove a watch sir. Does it have the same time as this one? How many minutes is it off?” If he picked a good one which is off by about an hour, you will get an audible gasp from the audience. If not, say, “Well that’s only off by a few minutes. I know some of you imagined the hands moving farther than that. Can you find a watch in the bag that is off by a half hour or more?... .Yes? An hour and a half? Incredible!” If you’re any kind of showman at all you should have them convinced that a miracle has taken place. Grab the bag and start taking out watches. You are almost frantic with excitement at this point. “Look! Whose is this? It is off by several minutes! This one is an hour ahead!” Be sure that the spectators near you can see the faces of the watches as you remove them. Keep moving around, though, so no one gets to see more than one or two. Don’t call out the times on the watches unless they are way off, instead just say they are several minutes off. You don’t want anyone to notice that many of them are set at the same time, each being exactly three minutes off the time on the borrowed watch. “Yes, ALL of the watches have changed. This is the best success I’ve ever had on this type of experiment!” While you are ranting thusly, you are returning the watches to their owners. Get back to the front and thank the spectator who lent you his watch. “Thank you very much ladies and gentlemen, and remember — never underestimate the powers of the human mind.” NOTE: Handle this routine sincerely and it is dynamite. Watch your place of performance and take advantage of any opportunity that comes along. If, for example, you are in a private room with a wall clock, you might, after the watches are in the bag and the borrowed watch is in the hands of its owner, ask that the lights be turned out to aid in concentration. The moment the lights go out move the hands on the wall clock. Later, when you are returning the watches, suddenly notice that the wall clock is off also.

If you work with an assistant, or if your wife or girl friend is with you, have her walk around the house and change a few other clocks while you’re busy entertaining everyone else. The host and guests will notice them later. Besides being eerie, the effect is quite funny — no one will be sure what time it is. A FINAL TIP: If you want to get fancy, you might put an industrial magnet in your side jacket pocket. If you collect any digital watches, just drop them to your side for a moment before you place them into the bag. Since most of the better digitals are set by magnets, passing them through the magnetic field will reset them by a few hours. ULTIMATE FOURTH DIMENSIONAL TELEPATHY For a long time Annemann’s FOURTH DIMENSIONAL TELEPATHY was one of my favorite program items. Developed by Annemann close to fifty years ago, it was the best camouflage of the one ahead concept that I’d ever come across. Later Al Koran improved the effect by doing away with the necessity of a number force for the first selection. Instead, he substituted an NCR pad, which innocently took an impression of what the first spectator wrote. Unfortunately, the NCR pads currently available are not of the best quality, so it’s a hit and miss proposition as far as the impression goes. Eventually, while trying to solve the problem of the poor impressions, I did away with the one ahead entirely and worked out a method where each message would actually be in the envelope it was supposed to be in. Since I like to disturb the fellows in the audience who have entered the ever growing legion of amateur magicians, the routine proceeds exactly as if a one ahead was being used. The wise ones, who are busily explaining the effect to their girl friends while I’m working, are completely embarrassed when I allow an audience member to open each envelope for verification. And by that time all of the dirty work is done and they don’t have a chance to redeem themselves. (By the way, despite rumors to the contrary, there is no such thing as a magician’s code of ethics. Today’s mass of magicos is all too willing to explain everything another performer does to their friends and anyone else who will listen. Fortunately audiences generally recognize them for the boors they are.) EFFECT: Three persons are given a slip of paper and are asked to write a bit of information known only to them. I get a kick out of asking them to write the names of childhood pets or old friends they haven’t seen or thought of for years. This is the sort of thing that audiences remember and is 100% more effective than having them write a number between one and a million. I usually ask the last person to write something

associated with his hobby or business. Stocks are good if you have a broker for a volunteer. Each of the volunteers is given an opaque check-mailer. envelope to seal their paper in. The envelopes are numbered one, two and three with a crayon, to correspond to the volunteers as they stand from left to right. They are handed to a fourth person for safekeeping. Gazing at the first volunteer, the mentalist writes something on his pad with a magic marker or crayon. The pad is placed face down and the performer asks for envelope number one. (Aha, thinks the skeptic, he is about to get the one aheadfl The envelope is opened and the contents read aloud. The paper and envelope are then handed to the volunteer for verification. The same procedure is followed with the second spectator, but this time the performer doesn’t even bother to touch the envelope — he lets the volunteer open it himself and read aloud. For the last spectator, the envelope isn’t opened at all. The mentalist just concentrates, writes something down and gives his pad to a member of the audience. The third volunteer just calls out what he had written. The person holding the pad shows it to the rest of the audience and the effect is concluded. Once again the mentalist has succeeded. METHOD: Use the lined check mailer envelopes that measure 3½x6½ inches. Also, you’ll need a 3x5 inch piece of Magic Slate as used earlier in IMPROMPTU IMPRESSION. (Although the piece used there was somewhat smaller.) Put a heavy piece of cardboard into one envelope and seal it. Stick the magic slate to the face of this envelope. Be sure the gimmick is only stuck to the envelope at one end. (Use Scotch Tape.) Seal another envelope and slit it on its flap side, about one inch from the end — the slit runs parallel to that end. Slide this envelope onto the gimmick, the gimmick going into the slit and coming against the inside face of the slit envelope. These two prepared envelopes are placed on top of a pile of about ten unprepared envelopes. The bottom five are turned over so that the face of an envelope shows on either side of the pile. Pencil dot the prepared side. Place the whole lot into the envelope box they came in originally. If you’re a perfectionist you might like to leave the price tag on the box. PRESENTATION: As described in ‘Effect”. As you approach the three spectators who are to participate, remove from your pocket some slips of paper and a ball point pen. Don’t use a pad of paper — otherwise there would be no logical reason for using the stack of envelopes as a writing rest. Give each volunteer one of the slips and draw an

oval on each one. The first spectator’s oval goes on the upper third of his slip, the second spectator’s in the middle, and the last spectator’s on the bottom third of his slip. Go back td your briefcase and remove the box of envelopes. Take one off the bottom of the stack and hold it open as you explain that they are made so no one can see through the paper to read the contents. Replace the envelope onto the bottom of the stack and go to the first volunteer. Take his slip and place it onto the prepared side of the stack. Tell him to visualize his mother’s maiden name or the name of a childhood friend printed in block letters in the oval. Hand him the ball point pen. Turn your back on the volunteer and place the stack, which is held in the right hand — the right forefinger holding his slip in place, over your left shoulder. This is a natural way to offer the volunteer a writing surface and, as in the book test, it is obvious to the audience that you cannot see what the man is writing. When he is finished writing his thought in the oval, tell him to remove the paper and fold it up. When he’s done that, turn around bringing your right hand back to the front. You will have automatically turned the stack over so the unprepared side is on top. Hand him the top envelope and have him seal his paper in it. Follow the same procedure with the other spectators. The spacing of the ovals insure that the impressions won’t overlap on the gimmick. Return to the front and casually drop the envelopes back into your briefcase, at the same time pulling off the envelope which covers the gimmick. The impression is now staring you in the face. Take your pad and magic marker from the case and you have plenty of time to read the impressions without being obvious about it. Number each of the envelopes with the marker and conclude the effect as described. NOTE: Sometimes I don’t even bother to read the impressions as soon as the envelopes are in the briefcase. Instead I just quickly grab the marker, go out and number the envelopes and give them to someone to hold. THEN I go back to the briefcase for my pad and read the impressions. It was Bob Nelson who first came up with the idea of using the briefcase (or attache case) as a means of secretly reading impressions. In this routine the concept is a perfectly natural one. Believe it or not, the gimmick as described, cornbined with the use of a ball point pen and your back as a writing rest, makes a perfect impression which can be read in even dim light. If, by chance, one of the impressions is an illegible scrawl, which it won’t be if you tell them to print, just take a guess at what the spectator wrote. If you’re right, as you often will be, you may start to believe in your own powers. If not, don’t worry about it. Missing one envelope can be very impressive as it make the whole thing more belie-vable.

After you’ve played with this awhile, you’ll make an interesting discovery. When the spectator writes in the over-the-shoulder position, the fact that the paper is very close to your left ear will enable you to hear the writing. Admittedly, it is very difficult to sound read a word, but, with a little practice, numbers and simple designs present no problem at all. This discovery led me into a search for a method whereby the basic effect could be performed any time and at any place with no bad angles to worry about. The attache case method is fine for large audiences where no one has a direct view into the case. But in the intimate, impromptu situation where reputations are made or broken, a different approach is required. The following is my solution to the problem. At the risk of seeming immodest I think you’ll find it to be one of the best means of obtaining information written by a spectator under virtually any conditions. I call it,

THE SHIRT POCKET MINDREADER (In the interest of giving credit where it is due, the basic concept of hiding a magic slate in an envelope to get impressions was Bob Nelson’s. The method of preparing the envelopes to allow for easy access to the impression is, as far as I know, original with me. In this effect the basic concept is refined beyond recognition.) EFFECT: A spectator writes something on a slip of paper which is sealed in an envelope. While working entirely surrounded and at close quarters, the men— talist correctly divines the spectators thought. There are no suspicious moves whatsoever. PREPARATION: Instead of using standard size envelopes as in the preceding effect, prepare a stack of pay envelopes in the same manner. The stack must easily fit into your shirt pocket. The best envelopes I’ve found for the effect are made by “PEN-TAB.” (#147) they are absolutely opaque. Pencil dot the writing surface of the gimmicked envelope on the upper left hand corner. (The end where the gimmick is fastened to the second envelope with scotch tape.) Put a slip of paper into each unprepared envelope and place the whole stack (about ten) into your shirt pocket along with a ball point pen. ROUTINE: Remove the envelopes from your pocket. Take one off the stack and remove the paper slip. Place the empty envelope back onto the stack — on the ungimmicked side, of course.

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

AND IN CONCLUSION: There are two distinct views on how mentalism should be presented. One holds it to be regrettable that so many mentalists don’t admit to using trickery. The other extreme is the “anything goes” philosophy - anything at all, as long as it is done well. I’ve had my periods of agreement with both views. Since so many people are going to believe you’re psychic anyway, human nature being what it is, it doesn’t pay at all to come out and say that what you are doing is no more than a series of conjuring tricks. You would only succeed in destroying the mystique which has distinguished mentalism from common conjuring. On the other hand, if you insist too strongly that what you do is genuine, you can get into some pretty difficult, and occasionally embarrassing sit-uations. Lately, I’ve been taking a path somewhat in the middle. I don’t bother anymore with the long winded parapsychological lecture which traditionally begins a mindreading act. Sure, it gives an air of authenticity to what you do, but how many of the so-called “real” psychics have you seen who pretend to have any understanding at all of what they do? It just happens, and they leave it to the scientists to tack on the fancy words. It’s also a very cagey dodge. You don’t have to claim anything, but you can imply all you like. A good portion of the public have a good enough background in parapsychology to enable them to fill in the blanks. Let them make claims for you, but confirm or deny nothing. “As far as I’m concerned, I DON’T know why the things I do work, they just do. Whether the solution is natural or supernatural is of no concern to me at all. I am an entertainer, and my sole purpose is to entertain.” This is the line I give to those who persist in trying to get me to commit myself, and it serves to satisfy both the believers and the skeptics It is of utmost importance, though, that you realize that your purpose as a mentalist is to ENTERTAIN. As long as that’s ALL you’re doing, it’s nobody’s business what you claim, magicians included. I think you’ll find that the effects in this book are very effective professional mentalism. I’m confident that you have the ability to put them across as such and I wish you every success. Tony Raven’s infamous “Backword” as it appeared in the original edition of the book:

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