152255182-Kenton-Knepper-Friends-Great-Minds-Think-Alike.pdf

Great Minds Think Alike

Great Minds Think Alike Kenton Knepper and Friends Pablo Amirá Scott Brown Danny Proctor Rob Chapman Newell Unfried Kenton Knepper


The Reason For This Collection Rarely do I put out unrelated collections of my work and even more scarcely do I do so with others. I hardly ever allow out material that are twists on standard work. I am known for breakthrough, entirely unique, premises and ploys that only later seem standard as they become absorbed and used by others. So it is rare when I feel compelled to release a work that contains variations of previous plots or methods, that come from others as well as myself. In this case however, it seems justified. While some performers may be familiar with portions of these ploys, the twists in presentation or rarely used methods make this collection a welcome reference for me, and so I am certain for others. You will surely find original work here as well. Often people tune into my way of thinking and write to tell me of original ideas that are things they have accidentally absorbed from my teachings. At other times people send in fine ideas but which have been thought of before, or at least seem to have been around for a long time, even if few can cite an exacting original reference. Usually I tell such excited innovators that their ideas are quite fine, and that they are so decent that they have been thought of by other names in mystery performance, so I won’t be putting these ideas into print. This collection is an exception. You might recall a few of these methods, perhaps vaguely, maybe with a precision in history that we do not recall, yet these ideas will be noted as of real practical value and far too often forgotten or lost. The performers in this collection independently developed this material due to their working in real world environments. To me, it is only natural then that some would have accidentally invented things other pros created in their working life as performers. What makes these innovations worthy however is not simply their methods, be it entirely original or recreated discoveries, but their intriguing and underused performance plots or strange yet down to earth practicality in application. In plain words, these things are exciting because they work. The plots are worthwhile, the methods unusual or oft forgotten, and the contributions solve important practical issues in classical or Neoclassical effects. I can say this without criticism as included are some derivatives of my own work and principles. I have likewise added a few new notions to classic principles or effects in this collection. All in all, you will find this collection to be of practical benefit, with useful and intriguing methods or plots, even if they are not all as original as their creators first imagined. Perhaps then not everything must be entirely new in concept, but rather sure, solid, entertainment with seldom realized material. Such is the case here, albeit many will find this collection to be entirely new, or highly novel, to be sure. Personally, I treasure some of these effects and methodologies, as I am sure will you. A few bits I have scarcely shared until now.

Kenton Knepper July 2011

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Scott Brownʼs Impromptu Intuitive Beginning with my first exposure to the Gilbreath Principle, I have been fascinated with it and played with every effect and variation I could get my hands on. Unfortunately magicians being my primary audience (I work in a professional magic industry in Las Vegas), I was often called on the method. In my effort to fool magicians, I think I have developed a very practical and entertaining effect that can be done impromptu and with a borrowed deck. Effect The performer proposes a demonstration of intuition and how it may be developed. A deck is borrowed and shuffled. As working with a full deck would take too long, the performer begins to take random groups of cards from the deck. This could be any number of cards but I prefer around eighteen. “I am removing these so your intuition is blind to them.” The cards are shown to be a random assortment. “Now to blind my intuition as well, I would like you to cut the cards and shuffle (riffle) them. Finally to assure everyone that neither of us has any idea as to what or where any of these cards are, please deal them into two equal hands and choose either one for your own use.” The participant does so and decides on a pile. This is a free choice and no force or equivoque is involved. “Using your intuition you must decide whether each card is red or black before turning the next card over in your pile. Let’s see how good your intuition is right this very moment.” The participant does so and achieves moderate success. “As you see, using intuition may be difficult at times, but as you are also about to see, intuition may certainly be developed.” The performer then successfully begins to turn cards correctly one by one from the top of the pile remaining for the performer. After a few tries, and to eliminate the thought of marked cards or stooges, the performer begins to name cards from the bottom of the card pile too. All of this with 100% accuracy. Method The method is what I took from the most practical and favorite of Gilbreath Principle effects combined with an impromptu setup that flies by magicians and floors laymen. It is this simple setup which is my largest contribution I feel. You need a packet of about eighteen cards alternating red, black, red, black, red, black, etc. Here is how to get into it from a shuffled deck.

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Great Minds Think Alike After taking the shuffled, borrowed deck, begin spreading the cards facing you. Start to remove clumps of cards where they naturally alternate red and black. You don’t want to be perfect as you need a couple stragglers so the cards don’t appear to alternate perfectly. When you see your target cards, pull them out and place them face up in a messy pile on the table. Spread these out to show a random selection of cards. About twenty or so cards in all should be in the pile. You may not pull perfect red, black, red, black, in a run. The run might start out as r, b, r, r, b, r and so on. After spreading the cards to show a random assortment, pick them up and spread through the cards facing you once more. Appear to realize that you have too many cards and just casually pluck out one or two apparently random cards to make for a decent number in the pile. In this manner you can show the cards more well mixed, and then openly take out a card or two that is not in the correct red, black, red, black sequence. You are now holding an even number of cards perfectly alternating red and black; or vice versa. You have the cards cut and completed. Cut the packet into two halves, making sure the bottom of each half has a different color card. These two halves are then riffled and pushed together. I have always liked ribbon spreading the two halves next to each other and having the participant push these together. This looks beyond fair and is perhaps better than a riffle shuffle as far as the audience is concerned. This push-together by an audience member appears very scattered, random and just plain messy. It suggests there is no order or control to be had whatsoever. Once pushed into a single pack again these cards are dealt into two equal piles face down by a participant. Either pile can be chosen for use by the participant in this version. They call out what they believe the color of the next top card will be before turning the top card over. As they turn the cards over they place the cards one by one in a row on the table. Help keep track of how many hits they have using their intuition. We are demonstrating their natural intuitive ability and how hard it can be. This is attempted until they have exhausted the cards in their chosen pile. Usually these cards as dealt are left on the table, but you can choose to place them away if you prefer. While all of this appears to be part of the plot of the effect, something more covert is actually happening. Their row of cards now provides your crib! That’s right, the cards in your pile are exactly opposite of what they have dealt onto the table. Because their pile of cards is the secret prompting of what is in your pile you might want to push their cards a bit to the side (or entirely away if you see a pattern you can remember quickly). It is easy for you now to Know the colors of all of your cards in order before they are shown. Let’s not make this obvious. After the first few revelations from the top of the deck, begin to reveal cards from the bottom of the deck, or alternate between the two. You can also appear to get one or two random impressions. “The third card down now I sense is red.”

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Great Minds Think Alike In the end you show how you are able to intuit cards more perfectly by your years of secret practice. The real secret of course is the Gilbreath Principle and my little way of getting into it. This is a very realistic and strong effect. This could certainly be performed blindfolded using a peek during the participant’s dealing and asking how well they are doing. In this way leaving their pile out in full view seems to mean much less to any suspicious audience member. A popular current prop is called “White Star” which is a series of aged photos apparently of passengers on the Titanic. Each photos has “survived” or “died” printed on the back of the photos. Using the described method you can add a very baffling phase to White Star. Other photographs of course could be used rather than cards with this principle and handling. As I continued to perform this for serious magicians in Las Vegas, I found it beneficial to eliminate the open crib stack. I know many will never perform for magicians only, but to those who care about such things, I chose to later use a mnemonic system. I am sure others will have a personal mnemonic system to remember the order of the stack. I find the binary dots and dashes from Morse Code to be sufficient. Converting reds to dots or . and blacks to dash or - it becomes an easy matter to remember a sequence, especially in groups of four. For example, if you have red, red, black, red, black, black, red, black, red it is converted to . . - . - - . - . Perhaps this is running when not needed, but when I perform for performers I try to find ways to memorize or keep out of view the crib pile before I go into the revelation of my packet. If you practice this and do the culling casually, you will find that this is a memorable impromptu effect of seemingly legitimate intuition. While Scott developed this independently based on his work with the Gilbreath Principle our friend Greg Arce let us know that The Mental Mysteries of Hector Chadwick had an effect called “Reds & Blacks” that is very similar. Thus the name of this collection - Great Minds Think Alike. While all contributors to this ebook meant to give completely original material that was new and created by themselves solely, some of this material has been considered before by others, as is the case here. Allen Zingg and Kenton were talking and said that they recalled a similar notion thirty years ago when they were playing with this principle, but they liked the way Scott got into the effect as well as some of his other handling and finer points. This contribution from Scott also led Kenton to reveal something of his that was almost entirely forgotten and never published until now. We will get into the innovations of that next.

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Kentonʼs Three Card Pile Up Kenton’s version of Scott’s handling involves a little more setup (not too much) and a little more in effect. Effect Some cards are taken from a deck, cut into two piles and then shuffled together. Once shuffled by the participant, the participant deals the cards into three piles, face down. The third pile is hidden away or placed into the participant’s pocket. The performer tries to intuit whether the cards are red or black in the first pile on the table. The performer is likely just at or a little below chance. The performer claims this is how one practices tuning in until the correct situation may be perceived. The performer next writes down his impressions for the second pile. The performer does better with this second pile, and while impressive, is incorrect about a few of the cards. “I seem to have missed the third, sixth and last card. I thought those would be black, but they were red. You might think that these are mistakes. That’s what scientists in testing laboratories thought too until they looked at their own control pile, the pile set aside that no one could know...the pile in your pocket. Take those out carefully and do not disturb the original order.” The control pile is removed and examined. Amazingly, this third pile that was always hidden and secured by the participant, turns out to contain the black cards precisely as the performer claimed. These black cards are not “misses” at all, but correct perceptions of the black cards and their positions hidden away in the control pile! A perfect hit by all counts, and a very surprising one at that. Kenton plays this as part showing how he learned to practice intuition and part suggesting indirectly - that he has been scientifically tested for such abilities. Kenton never claims that directly. Rather this claim is made by the phrase, “That’s what scientists in testing laboratories thought too until...” Go back and read Kenton’s phrasing to see this in context again. Kenton’s version uses a red, red, black rotation. Set the stack as red, red, black, red, red, black, red, red, black, etc. You cannot allow the participant to cut the cards in this version, but we don’t feel that the effect suffers any as they still shuffle the cards. You can appear to shuffle by overhand cutting the cards yourself casually as you talk too. When you cut the stack into two piles be sure to cut so two red cards are on the face of one half, and a black card is on the face of the other half. Have the participant shuffle once as in Scott’s original handling, pushing the two piles together.

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Great Minds Think Alike Deal three equal piles. A card is dealt to the left, next one to the center, next card to the right. The fourth card is then dealt on top of the first pile to the left, the fifth card is dealt onto the card in the center, sixth card goes on top of the one at the right, and so on until you get three equal piles. Once all the piles are made the third pile is placed aside or in the participant’s pocket. Be sure that the order is retained by the person wherever they put this third pile. Due to the third pile and the likelihood of a few misses (that will be covered in the end as a finale) the stack of the performer’s prompt pile is much more hidden to onlookers. Even when you know how the original method works, this version usually obscures the prompt stack when compared to the second (participant’s) pile. Use real intuition and guess about the colors in the first pile yourself. This is a sneaky way to get the prompt pile in front of you openly. After that, you subtly use the prompt pile to tell you the colors in the second pile. The second time you will naturally be much better with your “intuition.” However in this variation you may still miss a few cards even with the second pile. Isn’t that a problem? NO. Just point out the exact places you missed such as “I thought that the fourth, sixth and seventh cards would be black but I was wrong about those it would seem...It would SEEM...” Now you prove you did not really miss at all! The black cards you guessed that were not black cards in the second pile are the ONLY BLACK CARDS IN THE THIRD AND HIDDEN PILE. That is, you guessed correctly...in the pile NO ONE knew at all...the control pile hidden away! You called out the black cards of the cards in the pocket, so these become surprise hits to end on...not misses, but a gigantic surprise finale. One more little addition that may come into play here, a prediction. We say, “may” be used as this prediction will only be shown on occasion. The prediction is “CAUGHT RED HANDED!” or “WHO IS TURNING RED NOW?” Set this prediction casually aside and do not mention it. You may not use it, so better to have it keep a low profile. Kenton writes it on the back of a napkin or business card. If someone turns it over, the words make it appear that a trap was set for the curious person turning over the card or napkin. The real reason for this prediction is that sometimes one of the piles will turn out to be ALL RED. When a pile turns out to be all red after the cards were shuffled and dealt by a participant, this prediction makes a solid additional kicker. Use the first pile dealt as your own. The second pile is the participant’s pile or second test pile and the third pile is the “scientific control” pile supposedly used to prove no foul play.

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Great Minds Think Alike Additional Presentations and Nuances Instead of having to slyly look at the prompting pile or memorizing anything Kenton may boldly look at the prompt pile himself openly. He does so in the following manner. “I will look at my pile and see if I can use logic, not intuition, to figure out the color of cards and their order in the next hand. Some people don’t believe in intuitive abilities and think that everything can be explained away with logic. So I will use logic to try to figure out your cards, no matter how illogical that may seem.” At times Kenton appears to be quite good with his “logic” depending on the shuffle that was made. However, at the end, intuition prevails as the “misses” in his logic are shown to be correct in the pile “only a psychic could perceive.” When the prediction gets added in, it obliterates all idea of anything logical, no matter how overtly Kenton has made such a claim. Kenton will try to intuit his own pile. This is a complete throw off. It doesn’t matter to Kenton if he fails utterly in his first intuitions, as this is merely a ruse to turn over the prompt card pile one card at a time and keep the cards out in front of everyone. Kenton claims that he needs to do a warmup exercise to get in synch with the feel of the cards. Kenton then writes out a list of numbers that correspond to the number of cards in each pile. He uses this list to write out predictions based on real impressions of what will be in the first pile. Kenton writes his intuitions on the paper list, and then turns over the next top card of the pile, making note of the ones he gets wrong as he goes along. 1. Black 2. Black * 3. Black 4. Red Making a mark by the misses with real intuition sets up the next phase. In this way Kenton creates a prompt pile in list form. Kenton puts the first pile aside, casually shuffling them as he does so. Kenton now makes a new list. This list is of course simply the opposite of the one he just wrote, keeping the “wrong” colors intact as he makes the second list. You may have to stop and think about this for a moment. It’s sneaky. Really this is simply a written list of the opposites of what was correctly in the first (prompt) pile. No one should know that this is the case, naturally. “I didn’t do so well on that first attempt, but I get better as I go along. Usually I do, anyway. Instead of going by impressions one at a time I feel now that I can predict your entire pile as I am more in tune with the cards and your personal energy in them as you shuffled.”

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Great Minds Think Alike Kenton sets the second list out openly as he crumples up and tosses away or pockets the original list. This way the prompt cards and prompt list are entirely away and Kenton needs not focus on memory to do the effect. At this point it is all presentation. This second list is also very helpful in assuring the third pile finale. Again, Kenton marks or circles the misses on the second list as the participant turns over the cards from the top down in the second pile, one at a time. Any misses Kenton can now remind people are on his list, then claim he did not fail at all, and asks the person to look at the third pile that is hidden away. The colors that seemed to be out of place or “mistakes” are now found to be those very card colors in those exact positions in the third pile. The list written out makes this finale concise and clear for onlookers. It is a true surprise and a real stunner even to those who know of the Gilbreath Principle. As an option to cards Kenton has played with using Male and Female names and photos. A person tries to perceive masculine and feminine energies. Then you prove that with time you can always sense the right mate for you, and sex too, no matter how hidden. The male/female names are less obvious of a stack. Living or Dead tests, Popular or Unpopular Celebrity tests, Prisoner or Government Official (sometimes Prisoner or Politician, where the misses get great laughs, by the way) Healing or Poisoned Item tests, Prude or Sex Fiend and many other plots may be performed using this situation. Just because Kenton mentions the sort of things he has played with doesn’t mean they are ideas to market. We can’t believe we have to say that but it seems that we do. Feel free however to perform any of these as much as you wish! Those who go to the trouble of trying out Kenton’s version once or twice will realize the incredible impact of it. It may be difficult to grasp the sequences and prompts in this version by reading alone. Go through the instructions and tips with cards in hand and all will become clear quite quickly. More than one online company wanted to sell this and the Scott Brown item that led to it for as much or more than you paid for the entire collection contained in this ebook. That should tell you that these routines are worth playing with and performing if you want to make a memorable impression. They surely made an impression on those who want to make money off of marketing great effects and routines, one trick at a time. While in discussions about such effects Kenton brought up another work of his that saw print only in a trick sold by his friend Brother Shadow. For the first time Kenton is tipping this piece outside of the Brother Shadow collection, as it is an independent work that we agreed ought not be lost in history.

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The Emperor Kentonʼs Version in Brother Shadowʼs “The Empress” Effect A collection of illustrations or photos of a variety of items are given to several audience members to shuffle. The photos are shuffled a bit more and given back out to audience members. Perhaps three audience members are given stacks of five or six photos each to look at after all the shuffling. “The subconscious works in visual and symbolic language and it has been said that the doorway to the Universal Consciousness, where we are all connected to one another, is through the subconscious. By using pictures, the language of the subconscious, the items you hold should sink deeply into your subconscious mind until eventually I may have access to your thoughts and images. To make that possible, it is helpful to also add emotion. I would like you to look at all of your photos and imagery now, but don’t say a thing to anyone yet. Let no other person see what is in your hand, eyes and mind alone. Make up a story in your mind about the items you are holding. See how the images interact with one another and might be made into a short movie or are parts of a complete picture. Do this silently, and never say a thing out loud until I ask you for confirmation.” “Interesting. Let’s begin with you first...to my left...yes, you. I see an ocean scene of some kind. I see there is a whale jumping out of the ocean and a sailing boat observing the whale. The people on the boat are not sure if they should flee, take pictures, or try to hunt the whale. No, you are right...no point in hunting the whale...besides the boat is too small, now isn’t it? Oh, you didn’t need to answer that. I will ask you directly for confirmation in a moment! I see some birds overhead looking down for spare fish to eat. I guess this is near a beach as I see a beach scene with someone playing on the beach...I see a beach ball. Now, only you know the scene that was playing in your mind and the images in your hand, but hopefully the story has helped me name your precise imagery...a photo of a WHALE, a SAILBOAT, BIRDS, BEACH BALL and FISH. Did I miss anything? No? Are these the exact images you hold in mind? YES. Then I will take them from your hand. Out of sight, out of mind, out of mind, out of sight...” A similar event takes place with a second participant. The performer seems to get all of these correct too but misses one of the more important images that a third participant has in mind. “Let’s face it. No one is perfect. I was doing so well it was getting to be unbelievable, even for me! What image did I fail to get? A CLOCK? How odd. All the other imagery seems to revolve around that now that you mention it. If I had only known that ahead of time...Wait. You will recall that I had mentioned from the start that I was concerned I might MISS SOME OF THE TIME tonight. I pointed out then that I had a large envelope here in case I happened to miss AT SOME TIME. Let’s see what is inside...Oh, yes, that would be impossible indeed...but let’s see, shall we?”

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The envelope is opened and it is of course an image of a large clock. “Just IN THE NICK OF TIME!” There are NO OUTS and NO PUMPING. You always end correctly. Method This is as direct and as simple as can be. The work is all in the showmanship. You use as many cards with drawings on them, photos, or other images as you wish. Each card needs to have its own unique image. As in the example, the images consisted of a sailboat, a whale, birds, a beach ball and fish, each on their own card. The participant makes a mental story of the images they receive. Kenton feels that doing this effect with three participants is more than enough, placing the big finale of the prediction with the third person. Some people like to involve five or six participants, but just because you can do that, we are not so sure that you should. Three participants make the point clearly without dragging the routine or the pacing down. If you follow Kenton’s presentation and method, create a set of cards with thirty or more images. You want to have more images than what you use with the participants. Three sets of six cards you will put together that create a rather obvious story or relationship between the images, without it appearing entirely arranged. For example, a WHALE, SAILBOAT and FISH are obviously related to the ocean. There is no image of the ocean, but the idea of an ocean is clearly implied. A CLOCK and BIRDS don’t seem to obviously relate to the other images. A BEACH BALL doesn’t directly relate to FISH or a WHALE but obviously a BEACH BALL is used primarily on the BEACH or around water, and so is related in a more indirect way to the images of WHALE, SAILBOAT and FISH. The CLOCK, BIRDS and BEACH BALL then tend to make the relationships less obvious, yet a story still can be made with all of these. The CLOCK may not seem to fit easily, but that is fine as you use it in the prediction and seem to miss it at first yourself. These are suggestions for example only. You can have the images be anything you wish at all. Keep each image simple however, so they can be easily thought about and associated. Create three sets of six images. Each set has its own story. You only have to remember three stories and the images that relate to the stories will come to mind naturally. Kenton’s way is not to have to pump or memorize big stacks of cards. He prefers to be focused on the performance rather than the method in his performance. That’s why the three sets of images he uses are always the same. How does Kenton make sure that the three participants get the proper cards each time? Easy. He gives them the cards he wants them to have. 11


Here is how to do that so that it goes by unnoticed. Set the three stacks of six cards each on top of the rest of the cards. As you talk to the audience, shuffle only the bottom cards in an overhand type shuffle, making certain never to disturb the eighteen cards on top. “You don’t need to trust ME. Here, I want all of you to shuffle too. You take some of these images, and you take some, and you take some too, and mix them up yourselves. That way we will get everyone involved and you will put your own personal energy into the mix. If you look at the cards, they’ll think you are cheating, or helping me, so just shuffle them without cheating, so everyone else knows we are being fair.” It seems as if you hand random blocks of cards to each of the three audience members. This is not random at all. Each person is given a complete set of a stack or block of story images. The first participant gets the first stack of six images, the next person gets the second stack of images and the last person gets the third stack of images that you know. You don’t worry too much if the audience members do look at the cards as they shuffle, but try to minimize them doing that a little bit. Each participant is now shuffling a complete set of images. It doesn’t matter how they shuffle because the same six images in each set stay in their proper set! You don’t care about the order of the images, only that the three sets stay together. Since the three known sets are handed to three separate people they cannot be mixed together! You are assured that your three sets of six images remain the same. Fairly shuffle the cards/images you have in your hands as you talk. Then gather the rest of the cards once the participants feel their images are well shuffled. If you perform this on stage or in a standup situation, have the people bring the cards back up to you. That’s a sneaky way to get audience members to come up and help in the performance. As you take back the shuffled sets, place them back on top of your pack of cards, keeping the image sets in order and together. You can throw in a little shuffle of the bottom portion after each person returns their set of images to you. If you like or know some card handling moves, use only those that seem casual and natural, not flashy. In the end, you want the three sets of cards back on top of the indifferent card images in your hand. Their images have been mixed around, but the three sets and the images that make up your three known stories are still intact. Do a false shuffle or cut and then spread off the top six cards casually, image side down. If this set is the set that the first person shuffled, give this set to one of the other two people. “Now that you have really mixed these images well, we will try a little experiment in the power of imagination and seeing truly. Each of you will get some random images...”

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Great Minds Think Alike Continue by handing the second set of the six images to the person who did not shuffle the second set, and then hand the last set to the remaining participant, and remember that they are your big finale. To help you remember who has the big ending, give this person the closed prediction so it stands out like a flag to you. “I don’t know about you...I think I may have some trouble with this one...here...hold this. Don’t open it. Yes, I thought so...We shall see about YOU...” This gets a laugh, sets you up for the finale, and reminds you who has the big ending. All that is left to do is to have each person look at their images. “Look at the random sampling of images you have and make up a story using those images in your mind, as best you can. DO NOT SAY ANYTHING until I ask you at the end. Don’t give the slightest hint! Don’t correct me or admit I am correct about the images and story in your mind. Stay silent. I will ask you in the end if I am correct.” Point to the first participant and have them use their imagination to project their story and images to you. “Making a relationship and connection to the images transfers the thoughts into the subconscious, the doorway to the superconscious mind we all share.” Begin to tell the story you created for the first set of cards. At the end, reiterate only the images and then ask if these are the correct images. You never ask if the story is correct! “So from this story I get the images of a MAGNIFYING GLASS, THE SUN, MIRROR, FIRE, TREE, and a BUCKET OF WATER. Please show the images to the rest of us now. Are these correct?” Then point out physically that each image the person holds is indeed the image you named. Continue in a like manner with the second person. With the third person you keep joking that you knew this person was going to be a challenge, that something isn’t right, doesn’t fit, or doesn’t quite make sense. Play it up. Name all the other images but not the predicted image. You have one image that you do not name, the one you know is secretly predicted.

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Great Minds Think Alike “Let’s face it. No one is perfect. I was doing so well that it was getting to be unbelievable, even for me! What image did I fail to get? A CLOCK? How odd. All the other imagery seems to revolve around that now that you mention it. If I had only known that ahead of time...Wait. You will recall that I had mentioned from the start that I was concerned I might MISS SOME OF THE TIME tonight. I pointed out then that I had a large envelope here in case I happened to miss AT SOME TIME. Let’s see what is inside...Oh, yes, that would be impossible indeed...but let’s see, shall we?” Have the envelope opened and go for the big finale. “Just IN THE NICK OF TIME! I can’t always be that perfect...but some TIMES...Your time to stand up here is over as you have all proved you are potent workers of imagination and accurate observation. Thank you for seeing past appearances and into that deeper connection we all share. Give them a round of applause. Weren’t they magnificent? Very creative indeed!” That’s all there is to it. As you take the images back, you place them on top of your set of indifferent images and you are set to perform it again elsewhere. You can have additional stories and set combinations memorized to repeat the effect in certain situations where required. I have performed this on stage, during standup, in walk-around and even as close-up in small groups. I once forced a single set of images on one person close-up and only revealed her images and “story” ending with a predicted miss of one of the images. It played very well, and all I had with me to use at the time was a standard deck of imagery. The method is easy. The focus is entirely on the performance, not on pumping or having to recall anything difficult. All you need to do is find images that you like, make up three stories you will remember easily, and create your own set of cards. If you use photos be sure that these are printed on a stock that can be mixed easily and separated without accidentally dragging two or more images off together. The only work is to be sure that you keep the three stacks intact. I want to thank most deeply my old friend Brother Shadow who asked me to contribute to his original masterpiece known as “The Empress.” Currently this is a difficult item to find, but my hopes are that one day it will again be made available. Brother Shadow’s working is different and he supplied a very special yet simple looking set of drawings on cards with his method. Get it when you can! As you can see, what began in one direction brought out many related ideas that would have been lost in print were it not for Scott Brown’s personal innovation of the Gilbreath Principle. The associated ideas and methods are now reaching a wider audience at last. Performers often discover new ideas or innovate based on what happens to them in performance. The following is such an innovation that Mr. Brown realized might have been influenced from a deep subconscious level during a time of need. We know many will find this notion highly useful, especially in a pinch. 14


Get The Lead Out Scott Brown Touch Reading is frequently referred to but seldom used in performance. For some time now the impromptu “Just Chance” in Step Two of Corinda’s 13 Steps has been an overlooked favorite effect of mine. On one occasion when I was called upon to perform, I found myself without the beaded bill required for this effect. Fortunately, I was somehow thinking on my feet and requested a few envelopes, pieces of paper, a pencil and a hundred dollar bill. After laughing at the nonchalant attitude with which I asked for the hundred, I explained that a lack of the bill would be no problem. “We can make our own. It will be an I.O.U. should someone else wind up with it.” An assistant is chosen and given the envelopes. Any number of envelopes can be used, but I usually prefer three total. Taking the pencil and paper, I make three identical sheets approximating the size and shape of a bill. Two blanks are given to a participant. An I.O.U. or hundred dollar bill is drawn on the remaining sheet and shown to everyone. “I will owe you a hundred dollars if this fails, that’s why I am putting my personal energy into it.” Meanwhile, while showing the “bill” you drew, secretly break the lead off the pencil with your other hand. This can be made even easier should you be using a mechanical pencil as you can make the lead long and very easy to break. You are now going to show your assistant how to fold the blank papers using the I.O.U. as an example. Secretly clipping the lead between your fingers, fold the I.O.U. in half, folding the lead inside. You then fold the papers into quarters. Allow the lead to slip down into the folded corner of the quartered paper. Keep the lead pinched inside with your fingers on the outside at the folded corner as you give the I.O.U. to a participant to seal in ANY envelope. The reason for pinching the lead as you hold the paper to be taken is to be sure the participant doesn’t accidentally feel the lead piece inside the paper when they get ahold of the paper and take it from you. The participant puts this paper into any envelope and seals the envelope. Next the participant seals the remaining papers into remaining envelopes and mixes all the envelopes together well. After this procedure the participant is to give you any two envelopes. Chances are you are going to be given one of the envelopes with the I.O.U. in it. Equivoque the remaining blank to an audience member and end with your “money” safe in your hands. “Don’t feel bad...it was a fake anyway!”

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Great Minds Think Alike If the participant keeps the envelope with the I.O.U. ask if they want to change their mind. Most of the time, with proper verbal reinforcement, they will do just that. If you cannot get the participant to change their mind, Corinda recommends using his bare hand envelope switch described in Step Four of his book. Should you like this approach I suggest looking into Bob Cassidy’s “Switchwork” too. I however prefer to keep things simple and take advantage of the situation. I hand out to members of the audience the two remaining envelopes and use the envelope kept as my own. I then give the I.O.U. as a thank you to the participant. I think the effect lends itself to simply a magical effect or demonstration of fate. Here is a basic additional presentation outline. Patter about the I.O.U. having vibrations of value or personal loss, while of course the blanks would have none for you. Rather than giving the envelopes out to audience members have the participant fill, seal and mix the envelopes, then lay them out on the table in any order. After feeling for vibrations back and forth over the envelopes, perhaps randomly picking one or two up (while feeling for pencil lead) decide on one. Handing this to the participant explain that whatever is inside this envelope is now theirs. The participant opens the envelope to reveal a blank. After some more dramatics, another envelope is decided upon and given to the participant. Personal taste and style can dictate whether both you and your participant open envelopes at the same time. In the end you could instead keep “my money” and leave the participant with “a mystery” (last blank in an envelope). This effect could lend itself to a presentation based on apparent influence. There are of course great psychometry applications with this as well. I found it interesting that upon rereading the effect in 13 Steps, Corinda suggests using a pencil lead if you don’t have a bead to glue to a bill. Obviously I must have had this pop into my mind subconsciously as I was unaware of this note by Corinda consciously until just recently. Kenton has played with making an indentation with a ballpoint pen on a target business card as he writes. That may be worth more experimentation for you too. Kenton was speaking with Allen Zingg and Allen mentioned that since you can write anything on the papers one might want to have random names written on the papers and the name of someone the participant loves or cares about greatly on another paper. Then using the “power and energy that is behind emotion and desire” the performer or participant (using equivoque) finds the longed for name. This is certainly Kenton’s preferred presentation at the moment. Any way you present it, I do hope you find my experience to be a useful tool in your own performances.

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REMOTE – ACAAN Rob Chapman The Effect The performer starts to talk about remote viewing, its use during the war and how people were able to describe the surfaces of planets before the first photos of the planets were taken. The performer claims we all have such an ability and would like to try an experiment in this area. A participant is selected and asked if they are willing to have a go. A deck of cards is put on the table. The case is opened to show that the cards are wrapped in elastic bands so the cards cannot be fiddled with or altered in any way. The banded cards are placed back into the box. The participant is told to close their eyes, and the performer puts the volunteer into a trance, opening their third eye. The participant is given the box to hold. Opening their eyes the performer asks the participant to name a card. They say the Two of Clubs. Next the performer asks for a number. The participant names the number nineteen. The cards are taken out of the box, and shown to be still wrapped in elastic bands. Another participant unwraps the bands, and counts down to the number named. When the nineteenth card is turned over it is the card the first participant named. Both box and cards can be handed out for examination. The Secret Before I describe the method of this effect let me say this is bloody cheeky! It takes nerve and showmanship. I hope that frightened away the people who are not serious about performing it. The Gimmick For this you will need a pack of cards, and a pack of mini cards. Take a mini card, one with much white area on it. Write the number that you wish the card to be found at on the card. (Fig1)

Fig.1. Mini card cut in V shape to match the corner of card box. 17

Great Minds Think Alike By now the working should be almost obvious. Nuances however matter for the correct performance of this method. Find the corresponding card and place it at your chosen number in the deck of cards. Wrap the cards with elastic bands and put the deck into the box. Now using a little wax or blue tac, stick the mini card to the front of the box of cards. Alternately, you can keep the gimmick in your pocket and hand the box out first, attaching the mini card after examination. So that’s the setup, now for the working. Do not ask for a volunteer. You want to be able to pick the best person. You need someone who is likely to be open to a certain amount of suggestion. Younger people tend to be good for this, students aged sixteen to twenty-one, or women, usually. You will have to wait and see which person in your audience seems best to work with in the moment. If someone is responding well to the rest of your magic or mentalism, then there is a good chance that they are the correct person for this method. You’ll get a sense quickly in real performance who to work with and who to stay away from, given the rest of the working that follows. Performance After talking about remote viewing I focus on the participant. I ask if they are happy to do this, explaining that we will be opening up their third eye and that they will see things no one else can see. I mention that only they will know how they did this and that this is their gift to keep for themselves. Clearly there are multiple meanings of what is said due to the Wonder Words used along these lines. Next I show the box, being careful not to flash the gimmick if it is already on the box. Taking the cards from the box I explain to the participant that they are wrapped so that I cannot interfere with the order without undoing the elastic bands. Putting the cards back into the case I ask again if the participant is happy to go along with me, saying that they just need to do as I say and we will see how the experiment works out. Next the participant is asked to close their eyes. I explain that in a moment I will count backwards from three to one and that they will feel a tickling sensation between their eyes. I place a finger on the forehead between the participant’s eyes to indicate where I mean. I tell the participant that when I have them open their eyes again I will ask two questions. They are to answer those two questions and say nothing else as it is important for them to stay focused. With the participant’s eyes closed I either place the cards with the gimmick facing the participant into their hands so no one else can see the gimmick, or if I am not feeling that brave, I can simply hold the cards myself. I make a few hypnotic passes and tell the participant to breathe in and out a few times, and relax. Then, counting down from three to one, I ask the participant to open their eyes. 18

Great Minds Think Alike “You have before you a deck of cards, fifty-two cards in unknown places. As you look now one card becomes apparent to you, it is as though you can see it, there before you (pause). What is the card that you can see? (The participant names card.) Moving forward, you have selected a card, now there is a number attached to that card. That number tells you where we will find the card in the deck. Again it as though you can see the number before you, like it is there. What is the number that you can see? (The participant names the number.)” I recap the number and the card. I have the participant close their eyes again and relax a little more. I pretend to bring the participant back from their trance after a moment of breathing by counting forward from one to three. I have them open their eyes and “feel refreshed” after I count to three. During the count to three, or when the participant counts out the cards, I secretly remove the gimmick. It should just slide off easily where I can either lap it or slip it into a pocket unnoticed. I open the box removing the cards, or get the participant to do so. They unwrap the cards and count down to their number. The card counted to is put to one side as the rest of the cards are shown to be all different. The box can also be handed out. All that remains is to reveal that the participant has correctly named a card at any number. As Kenton would say to the participant in the end “Don’t tell them how you do it...you are remarkable! Excellent visualizing!” Notes You might have a voice in your head that thinks that this will never work. It does work, and not just with lay people but with performers too. I have had great results with performers as well as lay people. The audience goes away thinking that the participant has divined the card; the participant goes away thinking that they have been in some sort of trance and they saw the card that way. Removing the gimmick means that the participant will never be sure. This of course is one of Kenton’s many trance-illusion and dual reality concepts that I have applied independently. The surprise on a participant’s face when they see the ungimmicked box afterward is beautiful. You can see the mind of the participant starting to doubt itself. I know that this is as bold as they come and it is probably the cheekiest effect I do. It matters not, as the response by all who see it is memorable and stunning. Remember to watch your angles. Ideally you want your audience in front of you. Since I first wrote this I have developed my abilities with hypnosis and quick trance induction and have used this effect with great response within hypnotic demonstrations. To help with the ideas of suggestion I would recommend Luke Jermay’s Building Blocks. For a good get started book on hypnotism I would recommend Anthony Jaquin’s Reality is Plastic or Manchurian Approach DVD. The forerunner to much of these is Kentonism and Kenton’s Trance Illusion works. See Kenton and his School’s book “Ultimately Under” for how to seem to do real hypnotic inductions without the worry of actually needing to do them at all. Kenton of course has taught a great deal about prompting as done in this effect in his works “Q” and “X” among other manuscripts. Feel free to contact me and let me know how you get on with it.

With Thanks To Rowena – the real magic in my life. Rob Chapman [email protected] www.robchapman.weebly.com

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Any Card at Any Number Newell Unfried and Kenton Here is another way to handle ACAAN using a very different approach to prompting. This was originally published in Kenton’s “The Sorcerer Series” and belongs here due to the previous effect. We’ll let Kenton teach you this in his own words. You ought to know who Newell Unfried is, but in case you do not, this will give you a clue as to his work. You can find Newell at Hollywood Magic when he isn’t swamped performing. Newell is a retired CEO and long time student of Eugene Burger. I met Newell many years ago in Chicago. His thinking impressed me then, as it does now. Newell has completely knocked out some of the best card guys in magic with this particular effect and method. Many have been waiting to see exactly how Newell has pulled off what seems a complete impossibility. Newell would not tip this method before, but we will here. I say, “we” as Newell was kind enough to ask me to work on this with him, after he had already put in much work of his own. This trick is based on Wonder Words, my own “Southwest Miracle” and some work by Docc Hilford as well. It took a couple of years, but I finally added my finishing touches to Newell’s applications, and the result has startled many. I am very pleased that Newell asked me to play along on this one. Newell still performs this effect. So do other names you are likely to know very well. They won’t say where they got the method. Now you will know. Here it is for your own use. Effect The performer brings two participants on stage. One will serve as a psychic. The other participant serves as an impartial referee to the proceedings. A blue deck is removed from its case and shown to be thoroughly mixed. All fifty-two cards are present. It is placed back in the blue box and never again touched by the performer. A red deck is shown. All fifty-two cards are present and displayed to the audience, and the referee. The referee, the psychic participant, or any other member of the audience may shuffle the red deck. The psychic is told that she will be asked to choose both a card and a number from one to fifty-two. Any one of the fifty-two cards in the red deck may be chosen as they are clearly displayed in a face up fan. The psychic participant states to the referee the name of the card she has removed. There is no force. No rough and smooth, Svengali deck, etc. She is then asked which number she chose. She states for example, the number fourteen. The referee removes the cards from the blue card case and counts to the fourteenth card. It is the participant’s freely chosen card. Anyone in the audience may serve as a referee or psychic. No card force is used. Each time the effect is performed a different number and card may be named. Preparation You will need two new decks. Newell uses a red and blue Bicycle deck. Place the blue deck in a memorized stack sequence. While this is not entirely necessary, it is a good safeguard, as you will see shortly. This assures that when the “psychic participant” names a card, you already know the card’s number in the stack. You know this way that the number stated during the routine is indeed the correct one, before opening the blue deck as a climax. It’s simply a double-check. 20

Great Minds Think Alike Place the red deck in the same stack sequence as the blue one. At the bottom on the face of each red card write, “You chose the number____.” Fill in this blank with the number that matches this card’s position in the blue deck. Do this with each card.

Write with a red Sharpie marker on the black card faces and use a black Sharpie on the red card faces. This provides important contrast, enabling the participant to see the written number on the card without hesitation. Take an Exacto knife and make a small scratch mark on the back of cards. Place your mark consistently at the top outer end of the card opposite from the printed information on the face. Now you know the orientation of the cards from the back. This will be important in displaying the cards in a fan as randomly mixed, without revealing the secret writing at the bottom of each card. Method Two randomly selected participants are brought on stage. Newell uses numbered paper balls over the head to get two random participants. A brief opening statement is made which sets the participant to be aware that he or she is in on something later. Newell’s phrase is similar to my Southwest Miracle wording. As the participants come forward to help we say “They’re not going to believe what is about to happen.” The blue deck is opened and then false shuffled. Newell does an Elmsley false overhand shuffle or his own fine standup in-the-hands false riffle shuffle. If you feel bold, you could do a deck switch after the referee legitimately shuffles this blue deck instead. It is important here to do some sort of convincing false shuffle. Without it, the participant being cued is likely to consider that she is just a stooge. Properly applying my dual reality ploy, both words and actions need to make sense to everyone involved. The deck being apparently shuffled, the participant is likely to think later that she chose a card with a number by her own doing, and that matched the way that I shuffled the cards before her choice. It is as if I made a prediction by controlling the cards in my hands as I shuffled. This will be viewed as consummate skill at the least, whether the participant believes it is telekinesis or not. From this participant’s viewpoint, they are observing a very unusual effect, one that should gain more prominence in magic and mentalism. It could be argued that what this participant sees is a better effect than what the audience at large perceives. Both effects are quite strong of course. 21

Great Minds Think Alike The point is that the performer must appear to mix or shuffle the first deck to make the dual reality ploy work in this situation. These seemingly shuffled cards are now displayed to the referee who confirms they are in a mixed state. The referee returns the cards to the blue box, is asked to hold on to them, and is told to never let these cards out of his or her sight. The red deck is next removed and is shuffled by the referee. “We need your energy and focus on this deck too.” The word “too” suggests that the participant had something to do with the mixing of the first deck. It is likely that the audience will recall later that the participant shuffled both decks. The words make sense in the current moment as well, for the participant has been told to keep their eye on the previous deck. You’ll need to think about this carefully perhaps to realize how sneaky and useful the wording is here. While the participant may shuffle this second (gimmicked) deck thoroughly, the orientation of all the cards must remain proper. The shuffled cards are displayed to the participants and audience via a fan. The cards appear to be in a random order. It is important that the marked end is up when the cards are fanned, to avoid exposing the writing at the bottom to the audience at large. The second participant is told that they will choose “...both a card AND a number.” To everyone else who hears this statement it is assumed that each will be selected randomly and separately. However, the participant will soon realize they are doing exactly as described. The participant is about to choose a card and a number at the same time. No one else will know that the number is prewritten on the card. The deck is reversed and fanned exposing the numbers on the cards as they are shown to the second participant only. “You will freely chose both a card and a number — any one you wish. They are all different, as you can see, yes?” The word “they” seems to indicate the cards to the audience, but to the participant this suggests that the cards and the numbers are all different. I am also subtly asking if the participant can see everything well. They usually affirm that they can see fine, and that are all different. “Good, then choose a card and a number, it matters not if I see the card.” Again, the words spoken to the participant make sense to their experience, and seems to indicate that a card only is being chosen from the rest of the audience’s point of view. “Go ahead, take out any one, your free choice - can you do that? Excellent. But some people might say you are playing along. So I ask again, was this your FREE choice? Do you wish to choose another instead? You may change if you wish. Are you certain? I don’t want to influence you! I do want to be clear that you are not just playing along, that we did not set this up in advance and that you have a totally free choice of your card and a number. Are you satisfied with that? Great.”

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Great Minds Think Alike You will note that this is a fine way to address any secret assistant assumptions by skeptical audience members. This little banter also helps convince the participant that they are not in on it at all. Yes, I make the person insist that they are not in on anything with me during this exchange. This works as it is done in a very non-threatening way. The participant assumes I am just being dramatic. Their focus is on the selection of a card, and whether I forced them to take it. The participant must admit this is all their own doing, and that everything is fair. In this manner the participant also convinces themselves. I continue right along with this fair deception. “You have freely selected a card, and...a number too? You have a card now and a number. What is the name of the card there? Good. What is the number you have? You are holding a card and a number now in your mind - in all of our minds. Yet, could I have known your freely chosen card, or where it would be in the other deck well in advance? Let us see if I have succeeded in accomplishing one of the greatest challenges of all time. Referee, please open your box carefully!” The words do so much more than provide mere drama. I restate that if I succeed in this, I am nearly a god. I stop just short of being that blatant, so it goes by as theatre. My words tell the participants and the audience just what they assume, and reinforces all points of view. My words link the card and the number so firmly together that the participant cannot help but go with the number written on the card. The last remarks help the participant to assume that the number on the card was a written prediction prepared well in advance! At this point, no one feels they are in on anything but rather that they are all part of determining what has happened. It is the perfect setup, by all meanings of that term. I take the red backed card and put it away with the rest of that deck. The referee removes the blue deck and counts down to the card at the number called out. I restate the impossibility of what is about to occur. When the referee turns the card over and shows that this is the correct card to the rest of the audience, stunned silence turns to screams and applause. When you do this, you will be considered among the most skilled performers of our age, without doing much at all physically. Now isn’t that a fine way to work! Presentational Setup “During the past century, there have been several feats that have baffled the best minds in our art. Much has been written regarding the miracle that you are about to witness. However, no one until now has performed it under the rigorous test conditions that I will impose. For this, I need a volunteer that will be selected at random. To do that, I have five paper balls that are numbered one through five. I will throw them over my back. You sir, will you name a number one, two, three, four or five. Will the participant holding the ball with that number stand and join me on stage. And you sir, will you stand and join me now please as well.”

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Great Minds Think Alike Seat the participant who named the number as the referee, and the randomly selected participant as the person who chooses the card and number. You need not use seating. However, there should be a simple table to allow the referee to count the cards later. Continue as previously detailed. Newell and I hope you will see that the real work here is the use of deceptive words, dual reality, and not at all the usual instant stooge situation when performed correctly. If this were a typical instant stooging situation, other professionals would have discovered our secret long ago. Our peers have had no clue - until this revelation. My great thanks to Newell for allowing us to share his brilliance and this true wonder. I am happy to have played a part.

Change of Taste Danny Proctor This effect is one I perform all the time. It is perfect because it takes up almost no space and makes you look like a real Mind Reader or suggestionist. This whole performance came from my mind and my favorite book that Kenton put out called “Twists and Trances” which is available on his website. In Kenton’s book there is a section that shows different ways to apparently make the audience think that the person on stage is hypnotized when they are not. One of the pieces Kenton teaches deals with changing the flavor of a candy while someone is eating it. From that idea and brilliant book the following routine was born. The Effect “Who wants candy?” This being said, you raise your hand as if in reply, so the audience will follow your motion (visual education - Kenton). It is important to see which people in the audience actually want candy and you can avoid anyone who doesn’t. There are possible health problems with candy for some people and you may run into others who dislike the use of sugar, so it’s best to see who wants to eat candy from the start. Just note who is willing to have some candy, but don’t call anyone up to help yet. This should look like a nearly rhetorical and offhanded remark, but it serves a secret purpose for you. “Do you remember when you were five years old, going to the store and passing the candy aisle? I mean, at that age candy reigned supreme. Think back to that age when candy was what life was all about. The grape or the lemon ones that made your mouth water (pause for a second to let the mouths of the audience water) and the sour kind that made your mouth pucker...the chocolate candies too with colors on them, saving your favorite colors until the end, even though they all tasted the same...”

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Great Minds Think Alike Look at an audience member, gesture towards them and say “Red, right.” This is said in casual manner, but most likely red was one of the colors a person saved when they saved colored candies. It’s a little addition to the effect. You don’t worry about whether this comment hits or not. If it does hit though it gets a great laugh and sometimes the reactions are crazy like a big hit of Mind Reading. If not, your comment seems a casual aside. “This all got me thinking about how interesting it is that our tastes get more refined...(looking at someone) I mean sir, you wouldn’t sit down and eat a whole bowl of candy often now would you?” Laughing, continue saying “I remember sneaking into my grandmother’s purse and taking candies quite a bit...its funny how grandparents always have caramels or hard candy with them isn’t it?” Go into the audience and look at three people whom you noted previously liked candy. I generally work with two women and one man. As you walk through the audience say “Does anyone here have a sweet tooth?” Bring the three people to the stage with a round of applause. A bowl of candy is off to one side of the stage. Grab three candies and toss them to the table, center stage. While you look away the man is to grab the candies and pass them to the other two women. Once each has a candy they all place their candy into their mouths, and hide the wrappers in their pocket or purse. This way you have no clue who has which candy. “Taste that candy now and notice the flavors filing your mouth. I want the audience to play along with me and try to pick up on what the people here are tasting.” The three participants on stage stand in a row with the man in the center. You can reveal the flavors however you want for the two women. I usually write the two flavors on a large sign or board and stand behind the women. I hold the sign over their heads and ask them to name what they are tasting. The audience hears their answers and freaks out when they realize what I wrote is what the participants are tasting. “Now you sir obviously have the raspberry because the other two had the grape and mint candies, so I want to try something a little different with you.”

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Great Minds Think Alike I’m sure you will see Kenton’s Wonder Words at work here. You start to write the word “GARLIC” so that the man cannot see it, still having him face the audience. You lift up the sign behind him so the audience can see, but the man still cannot as you say “As you are chewing, now, notice the flavor of the raspberry start to change and morph into something else...and when you do notice something, some change, be sure to let us know!” The participant then says GARLIC or “It tastes really nasty!” Give the man a glass of water and send him back to his seat to thunderous applause, along with the other two helpers. This appears to be telepathic influence or telepathic hypnosis, the sort of Kentonism thing, in which a written thought is felt by a participant. That’s the basic look and performance. Now for the rest of the secrets. Method Again, this is strictly based on a trick from “Twists and Trances” by Kenton. The two methods that are used are simply a so-called “Gypsy Peek” and a flavor changing candy. The original effect was that a candy changed flavor based on your hypnotic influence. Kenton has greatly influenced my thinking as I am sure you will see in this routine. The effect gets incredible audience reactions because people become involved as you talk about the days when candy was so important that it was what many of us related to most. This generates great rapport right away. More rapport occurs as the audience raises their hands. Then too the mention of the lemon and sour candy get people in the audience to swallow because their mouth is watering. Kenton says that it is best if you imagine eating this sour candy as you speak about it yourself, and pause to allow the audience to react to this suggestion as you do too. After that I occasionally talk about the trap I’m caught in because I hate lemon but love the banana flavor and candy companies make lemon and banana the same color so I just never get to taste banana anymore. It’s not worth the horrible surprise of getting a lemon taste when I wanted something sweet. You might add your own personal experience here instead. There are three candies used for the effect. The bowl is filled with a large variety of candies and colored wrappers. The three candies I know I will use for the effect are placed on top of the rest of the candy in the bowl together, so I can grab these easily when needed. Grab these from the bowl like it’s nothing important, as if you’re just grabbing candies carelessly. There is a special candy used in this effect, as suggested by Kenton. This is a novelty candy that you can get at joke and novelty shops. Kenton worked in a novelty and magic shop in his teens and he was around this sort of thing a great deal. When he got bored of being in the shop, he’d figure out how to turn the jokes into real stuff for his act. This candy is sold as “Fish Candy” “Soap Candy” “Garlic Candy” and the like. At first this candy tastes normal enough, but slowly it turns nasty tasting. It may be difficult for a person to discern precisely what the nasty taste is when it happens, but when you hold up the GARLIC sign and the person starts to frown and say that the candy tastes horrible, that’s really all you need to sell the effect strongly. 26

Great Minds Think Alike These days you can find candy that changes flavors that does not come from novelty shops. They change from grape to cherry flavor, or cherry to lemon, and so forth. These can work too. The women get the good tasting candy and the man gets the piece that changes taste. I incorporate a blindfolded type equivoque to make this happen so that the candy selection appears entirely random. It must appear random for the rest of the Mind Reading to be convincing. After putting the three candies on the table, tell the man helping to grab one of the candies. You have him do this as you are looking away. In truth you do a Gypsy Peek. If you do not know what that is, essentially you place your thumb over one of your eyes letting your fingers rest over your other eye while it stays open and you can peek over to the side. Kenton approaches this a little differently and has some fine touches to this peek. Kenton first closes both eyes, then places his thumb on his left eye, followed by his other fingers against his right eye. The fingers hold the eyelids down. Kenton says that in this way when he tries to open his right eye his fingers hold most of the eyelid down but his right eye can still see. It doesn’t take much of the eyelid opening to see what you need. You’ll probably feel like you can see too much and that it is obvious that your eye is open, but it isn’t. You look down and to one side with the right eye and you can see the table and candy clearly. Kenton also turns to the side somewhat, as if he is turning his back or turning away. This isn’t a complete turn, but audiences figure that Kenton can’t see so how would he know he isn’t turned away entirely? Practice this, because it really is convincing. I have also done this blindfolded using a classic downward peek or Kenton’s Duct Tape Blindfold as I stared at the floor from far away, to be sure I could not see anything. That’s what the audience thinks, anyway. If you have Kenton’s Duct Tape Blindfold method, you know what I mean. Now for the equivoque part. Equivoque is like a classic force in that it is more convincing and easier to get by with doing when people think you can’t see anything. When you secretly see the man grab the candy that changes flavor, tell him to take it for himself. Then invite one of the women to do the same as you peek her candy. At this point you know what the last candy is so you can legitimately close your eyes as the last woman takes her candy. If the man grabs a normal candy first just remember which one it is saying “OK, do you have it? Great pass it to (Lady One).” Then see which candy he grabs next. If the second candy is the other normal candy, then note the flavor again and tell him to pass it to Lady Two and the last candy is his. You get the point. Basic Magician’s Choice or Equivoque with only three items. It is very deceptive in this case as you do not appear to need to force anything at all, and your eyes are closed too, so everyone assumes you are allowing for free and very random choices of candy. The bowl with many different colors of candies and wrappers visible in it also serve as visual education that the possibilities of different kinds of candy and combinations are incalculable. 27

Great Minds Think Alike I always make sure that the man eats the changing candy and the women eat the normal ones, as in my experience the women will usually spit out the candy if it tastes nasty. Because many women seem to chew the candy right away, they get the less than pleasant taste too quickly and then spit the candy out, ruining the finale. Giving the man the changing candy has solved this issue for me. You can let the participants grab whichever candy they want randomly instead. Have the candies placed on the table as you do the peek and do the reveals without the flavor change if a participant happens to spit their candy out early. Some additional points are to never use the candies that change to “fish” taste! They are so bad it’s wrong to put someone through a truly horrible taste, so don’t do it. Garlic is bad enough. The candies that change flavor from something like orange to raspberry are my favorites now to use. Also try out for yourself every different changing candy that you are considering using in the effect. Some changing candies change quickly. Others take a fair amount of time and the person on stage has to get to the center or chew it for it to change. Trying these out yourself a few times will tell you precisely how to handle the timing and taste of each candy. Now that you know the main secrets go back and read again the routine to realize the finer points in the performance. I would like to thank Kenton for all his work in the magic and mentalism because I am sure, as I am sure you are, that he has changed these fields for the better and brought these arts to new heights. I have found this version to be a fun yet impressive routine and I wish you all the best in performing my variation. It plays very large and colorfully with nothing but small props. I am happy to say that Kenton himself is quite fond of it. Kenton Comments Danny, I am proud to name true “Students” as such when they realize both nuance and practicality in performance. You are a Student indeed. This is a fine routine and a marvelous realization of Kentonism, in my view. Many should be thrilled to go out and perform this immediately, though I suggest as you do that they take the time and experience the changing tastes of the candies so that they may accurately describe the experience to participants as well as know the correct timing in real performance. Well done.

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DieFecta Danny Proctor I tend to perform this as a close-up piece although I’m sure it could be adjusted for the stage. You are going to be able to practice three different techniques in this one effect. The first method is sound reading, the second is psychological elimination, and the last is pure presentation. Don’t let these worry you. Each is accomplished very easily in this situation and they are even more sure when you add in Kenton’s additions (which we’ll detail at the end of this description). You start by drawing a die and leaving the face empty. A participant is to imagine a number on a die and when you are facing the other way they are to write on the face of the drawing of the die the number in their mind. Once they do so, you point to a prediction. It is a die sitting on a paper base. The participant names the number they chose. Let’s say that they name a five. You ask them to grab the die and they go wild because the die that has been in plain view the entire time is a die that has every face as a five! I love this effect because it’s quick and easy to perform with very little preparation. The payoff is huge. The idea came to me when I was beginning to practice sound reading. I drew a three dimensional die, showing three faces. The front face is empty and I would listen to how many dots a person drew as their number on the black face area. Later I realized that the other two faces of the three dimensional die that had been left empty could be filled in instead. That cuts out the likelihood of a participant choosing these two of the six numbers, leaving their real choices to only four. It seems obvious when you know, but it is not so to a participant.

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Here is how it looks when I drew the die impromptu on a lined pad of paper. After many performances it dawned on me that with some simple scripting the choices can usually be brought from four numbers down to two numbers. When asking the participant to visualize a number on the face of the die say “I want you to look at the face of the die and think of any number between one and six. Okay, between one and six.” When you say the numbers “one and six” say them a little louder, but not too much. That usually keeps the participant away from choosing the numbers one and six. The other two faces drawn on the three dimensional die show to the participant of course. When you draw the three dimensional box, put two dots on a downward angle as the right side die face. On the top face draw three dots facing at an upper angle from corner to corner. This eliminates the numbers two and three as choices. Notice how surely yet indirectly all of this influence occurs. What remains is the four and five as number choices now. When you are facing away and have the participant draw their number on the die, you practice sound reading. Most of the time they draw five dots. It is easy to hear whether they draw four or five dots by sound reading. When a participant draws five dots, mention the prediction you have in plain sight and tell them to grab the die. Each side of the die has FIVE spots on it. You can easily get dice with fives on every side from a magic or novelty shop. An all five die comes in the cheap sets of loaded dice. When the participant draws four spots (and you hear that) you still bring attention to the prediction except now your prediction is the cardboard placemat under the die on the table. Grab the trick die and lift it off to show the cardboard has an exact drawing with the number they drew.

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Great Minds Think Alike Additional Points If you hear the participant draw a single dot or six dots, then just reveal it “telepathically.” In the event that your participant writes totally in silence you can do one of two things. First flat out ask for the number and take the small risk that it is something other than a four or five (which in my experience doesn’t usually happen). You could do a center tear and get the number secretly and then reveal it in any way that you like. Personally I find that if you directly ask for the number and both of your sneaky predictions are wrong, then you are wrong. Play it off as they didn’t pick up on the number you were trying to send to them and go into another die effect that you know. This turns the tables and makes it their miss, not your own. Be sure to do this kindly, and never criticize or make the participant the brunt of a joke if you choose this approach. Kenton sometimes prefers not to mention any prediction and gives a reading based on the number chosen if it is not one of the two predicted numbers. You can learn more about doing die readings in Kenton and his School’s Mind Reading Lessons series. Kentonʼs Dicey Solution If you cannot tell for sure what number is being drawn or cannot hear anything, Kenton has a sneaky solution. Kenton rarely takes risks without having some sort of solid way out. Here is his thoughts if you get stuck on this effect at any point. Kenton doesn’t let the audience see the pre-drawn die pattern given to the participant at the start. From the audience’s view Kenton has merely given the person a blank pad of paper or board to draw on. Kenton tells the person to focus and draw on the black space their number. Kenton has the person concentrate on what they drew and then picks up a pad or board and begins drawing himself, not letting anyone see what he is drawing right away. “Well, I didn’t really expect THIS...I’m going to miss, I can tell...” Kenton draws a picture including the two dots on the side and the three dots on top. Then he draws the guessed at dots on the front/center face of the drawing. When finished, Kenton turns his board to the audience and has the participant do likewise. To the rest of the audience it appears that Kenton predicted all the die faces showing and all the numbers, not merely one. At least, thanks to “visual education” as Kenton calls it, people will misremember later that all the sides were drawn and correctly predicted. It will appear to the audience that you at least were correct on two of the three sides! The front side of the die, where the participant actually had a free choice, might be off, but probably only by a little. “Well, I wasn’t perfect this time, but I was close, you must admit.” 31

Great Minds Think Alike To the audience this means that you got two out of the three faces correct and this is obviously “close.” The participant takes these words to mean that the numbers you both drew were “close” just not perfect. Even if the middle face is entirely off Kenton still boldly makes this statement and then adds a little extra to it to take the sting out of what he says for the participant. “Well, I wasn’t perfect this time, but I was close, still warming up!” The participant takes this statement to be Kenton joking at himself, and the rest of the audience takes Kenton’s glibly delivered comment to suggest that Kenton got two out of three numbers correct and is being self-effacing as he missed one of the die numbers. Now that’s die-vious. Kentonʼs Subliminal Die Influence Kenton also says that if a prediction does not work, a seeming explanation of secret influence might. For instance, if the participant drew a single dot you could point out how the participant was influenced to do so. It was the number that was the missing number in the sequence of the two and three already drawn on the die. Seeing the two and three dot sides subliminally influenced them to write a one. One, two, three, is a completed sequence and the subconscious picked up on that. The participant was subconsciously influenced to draw a single dot to fill in the pattern. The same line might be used to show that the number four was subliminally influenced before the written prediction is revealed, or instead of needing a second prediction. The three dots and the two dots showing also make a sum or total of five, so if the participant drew five dots Kenton explains that the person was influenced subliminally in that way. Three multiplied by two gives a total of six, and so again, Kenton can claim the person was subliminally influenced in such a manner, as “The subconscious takes information and expands or makes deductions based upon that information. Three times two is an expansion and this is why at the subconscious level three multiplied by two gave you an intuitive thought of SIX. That’s why when testing for real Mind Reading one must be very careful not to simply be using accidental subconscious elaboration. I point this out now so that you will understand why in our next test we...” From this Kenton goes straight into a planned upon follow-up effect. You can see by Kenton’s additions that you simply cannot fail in the minds of the audience. You can prove real subliminal influence as an introduction into another effect where strict guidelines must be followed, thereby explaining away the need for these restrictions ahead of time. You could instead use linguistics and visual education mixed with Kenton’s dual reality to make the audience assume you were mostly correct, even when you miss, before going into another effect. Usually you will easily hear what you need and due to the proper real influence taking place in this method you will end correct or be simply off by one dot. Kenton says he has been tempted to put a giant single dot on the back of the prediction to reveal when needed for that purpose, which also covers the single dot when it is drawn. Leave it to Kenton to think up that too. We supposed this now gives you far more options than you will ever need to successfully perform this effect. 32


Intuition Key Pablo Amirá Participant and Audience Perception A participant is invited to unlock his intuition in a very interesting way. A handful of keys in a glass are given with a lock to check each key, while the performer chats a bit about the meaning of intuition. The participant realizes that no key opens the lock in the glass. The performer has the only key that opens the lock in his pocket, separate from the other ones. This key is shown to open the lock and then mixed in with the other keys. The performer induces a trance state with the participant, helping to connect with the inner mind. After this, the participant goes to the glass and without thinking unconsciously takes one key only. The performer recaps everything and shares the symbolic idea behind the key and the lock. The participant tries the key and it opens the lock. The participant is put into a trance again to fully awaken from this experience and to receive helpful suggestions from the performer, to end on a very positive note. Effect Intuition. The participant without conscious effort finds the key that opens a lock. Trance state that enhances intuition. You Need Two locks Eight to nine keys that can open only one of that locks Glass Logical Disconnect Indirection communicates the disconnection of a switch with the lock. Memory “I chose the key that opens the lock with my intuition.” How? This is a great parlor/stage piece that you can use to give your show a very interesting and profound moment. The lock and key can be a symbolic image for a locked life without apparent motivations, or a locked heart. Kenton often suggests that we add metaphor and larger emotional associations to effects. Think closely about what the symbols of a lock and key might mean. Then find a way to incorporate these meanings into the performance of this effect. I agree with Kenton that such labeling and meaning can make a very great difference in performance and art. I link this piece and the hypnotic induction in it to the idea of opening the mind to new possibilities and to be aware of the power and potential within. 33

Great Minds Think Alike The preparation is very simple. In your briefcase or on your table put the first lock (that can’t be opened by any key) and the a handful of eight or nine keys in a glass (these keys only open the lock that you will switch in later). In your left pocket place another key that apparently is the only one that can open the lock and in your right pocket place the lock that can be opened by any of the keys. The method I came up with is very easy. The lock that you show at the beginning is a dummy lock that cannot be opened by any of the keys. The keys in the glass and the key in your pocket can open the second lock that you need to switch in. This situation creates the effect that only the chosen key could open the lock. In performance I give him the dummy lock and the keys in the glass to the participant. I ask the participant to check each key in the lock while I talk with the audience about intuition. Don’t create “dead time” here but rather utilize this time to create drama and tension about what you will do. Do not rush things nor allow them to be still. Keep things moving by the intriguing things you have to say to the audience. This is yet another reason why having a deeper purpose to the effect is useful. With a greater meaning than a mere trick you can speak for some time with emotional impact and intellectual reasoning around your subject matter. After trying all the keys in the lock the participant obviously will say that none of the keys opens the lock. In that moment casually take the lock from the participant’s hand with your right hand and say that you know this is true because the key that opens the lock is in your pocket. As you say this turn your body to the right (showing your left side) and take the single key from your left pocket. With this as cover you pocket switch the lock with the one in your right pocket. Give the key and the lock (the switched one) to the participant and ask them to open the lock with this new key. Obviously now the participant can do so. “As you can see, only one key opens the lock, as you have proved, right?” Let the participant confirm this statement. This is a subtle way to communicate using indirection that this lock is the same lock. (See Kenton’s “Secrets of Indirection” for a better understanding of the indirection principle for those of you who do not know of it yet.) Put the keys and the lock in a visible place and put your participant into a trance. You can use any method, or apparent method, to do the trance portion. Claim that with the trance state the participant will sense a deeper connection with their intuition and find the proper key without apparent conscious effort. After a few moments of drama with the participant on stage, awake them momentarily and ask the participant to, without thinking, just take a key and the lock. As you know, ANY KEY taken will open the lock. The participant and the audience of course do not know that this is the case.

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Great Minds Think Alike Recap everything, explain the subtext behind the metaphor of the lock and the key, and only after this allow the participant to try the key in the lock. Obviously the key will work and your participant (and you) will receive much applause. After the applause settles down, put the participant into a trance again to apparently awake him fully and giving him positive suggestions after this mystery experience. Fully awake the participant and ask for applause for him again. This gives you two applause moments from the one effect. If you use this piece as a closer you can get three applause events without a lot of hard work. Possible Dialogue Introduction (Premise) Tom, do you know what intuition means? No. Let’s use intuition in a very simple way. (Conditions) In here I have a lock and some keys in a glass. Please check each key in the lock. One of them should work. (Meanwhile you talk with the audience about intuition or your metaphorical premise.) Not one works, right? That’s because the key that works is in my pocket. (Pocket switch the lock) As you can see, only one key can open the lock, and you can check it, right? Excellent. Now if I take that working key and mix it with the others, no one in the entire world could know which is the correct key, but as impressive as this sounds, you will find it in a moment. You just need to believe that you can. Middle (Go into a normal hypnotic induction or just ask for the participant to close their eyes and guide them into a calm state. The idea here is to link a real mental state with the apparent intuitive connection.) Now open your eyes for a moment and without thinking just take one key, one that calls to you, and the lock. Don’t think! Just quickly go with your own intuitive feeling.

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Great Minds Think Alike Conclusion Great. Carefully put the key inside of the lock but don’t try to open it yet. You know that all the keys can go in, but only one really opens the lock. Now all this could seem trivial. One in nine chances perhaps, but this as you can see is a symbolic moment. Maybe in a way we all feel like that lock at some time in our lives. Close to the wonderful things that life gives us, yet not quite there. But remember that you already have everything to be better, and if for some reason in your life the best things seem to vanish, remember this pleasant sound that you will hear. (Have the participant turn the lock and hear the click followed by applause. Receive your applause too and then put your participant into a trance again, giving them more positive suggestions for a successful and happy life before you awaken them fully.) Give Tom a big round of applause. (End) Ideas 1. You can create a “lock pendulum” to create the dramatic moment, if you don’t want to use a hypnotic induction. Just put a chord on the lock and use suggestions and pendulum work to create in the participant a subconscious response. I have an upcoming project about pendulums, so if you don’t do anything with them, you can check Kenton’s “Pendulum Programming” and my work called “Ideas Vol 1. Pendulums.” More info about that at www.amirasideas.com Credits and Inspiration Credits to Annemann and his Seven Keys to Baldpate. I wanted to have a similar effect with a logical premise and I came up with this version. Kenton and others have since told me that they recall the idea of a lock switch being around, but this was original to me when I came up with it. I believe my handling, premise and trance influence in this work allows it to remain highly original. We all agree that this is entirely commercial and one of the most direct and open ways of handling the Annemann effect. You can obviously make a very big deal out of the choice of keys as the participant has an entirely free choice and does all the handling themselves. You never touch the keys or the lock save for the brief moment you introduce the “real key.” There are no key switches or any of the usual issues and if the situation warrants it, you can allow the person to take the key and lock home as a healthy mental reminder. For my Spanish speaking friends... Créditos e Inspiración El concepto de usar candados es muy antiguo. Annemann merece crédito acá.

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Singular (The One Card Kolossal Killer) By Pablo Amirá “Insist on yourself; never imitate... Every great man is unique.” - Ralph Waldo Emerson Participant and Audience Perception Before an experiment based in the mind, the participant takes an envelope with something inside. You start an imaginary game, eliminating fifty-one cards from a deck of cards; imaginary cards of course. After the game, your participant decides on one card. This precise card is the one that you have inside of an envelope that has been in full view from the start, proving the power of “empathic imagination.” Effect Precognition. A participant, apparently with purely free decision making, arrives at one card that you have placed in an envelope before starting. This is my version of Kenton’s Kolossal Killer method and effect. It was never going to be shared or known to anyone but Kenton and myself but Kenton allowed this to be put into print in this collection. Keep it to yourself. This is a real miracle even to those who know the original. You Need Your Seven of Hearts (or any suit) with Kenton’s secret “Off By One” writing on the back, but slightly adjusted by me as you will see. This adjustment allows for FIVE outs on one card! Logical Disconnect The direct attention to the various choices that the participant has while you use Verbal Control and related techniques. Memory “He predicted the card that I chose in my mind.” How? The basic methodology of this effect is Verbal Control for the suit, an application for a classic “psychological stop” force done with cards, invisible cards in this case, and a verbal finesse that I call “Conscious & Unconscious decision.”

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Great Minds Think Alike You need a Seven of Hearts (or any suit) in an envelope or just in your wallet if you want to look more unprepared.

In this case the “Off By One” card contains five secret outs and looks like the first photo. (My card obviously is in Spanish but the word POR in Spanish is OFF BY in English.) (Photo 1)

As you can see, depending on the way that you hold the card you can show an “Off By 1” or “Off By 2” message (photos 2 and 3). (Photo 2)

(Photo 3)

With this special writing adjustment you can cover the Five, the Six, the Seven, the Eight and the Nine of Hearts. Give the card to the participant in an envelope or put it face up in their hands (obviously the participant shouldn’t see the face yet). Next we will use a ploy that I call “Conscious & Unconscious decisions.” (Pablo unconsciously adopted a conscious/subconscious ploy Kenton has taught in various ways. He was not consciously aware that he absorbed this idea subconsciously until he sent this to us. Proof again that Kenton teaches at many levels at once and that the subconscious remembers everything, bringing it back to us for use in new forms and solutions as needed.)

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Great Minds Think Alike As you know most people when asked to quickly say a number between one and ten will name the number seven. We can add an extra layer to allow two chances to get this psychological force to work. With the participant facing say “If I ask you to consciously and quickly tell me a number between 1 and 10, what would you say?” Now, if you hit with your psychological force of the number seven, you are done. Go next to the Verbal Control for the suit. If your participant says another number, you continue as follows. “Interesting. And that’s from your conscious mind, right? Well, I don’t care right now about your conscious mind but rather about your unconscious mind. You will decide on a few things just on impulse, without thinking consciously, okay?” As you can see, this question becomes an explanation about conscious and unconscious decisions rather than creating a selection from the first response. After this, ask the participant to hold out an open palm because you will start an elimination game using an imaginary deck of cards. Verbal Control/Equivoque/Magician’s Choice is an incredible technique that deserves study and respect. Verbal Control can create reputations, both good and bad. David Berglas, Max Maven, Phantini, Annemann Docc Hilford, Kenton Knepper and a plethora of other genius minds in our art have made contributions to create solid fundamentals with these tools. I hope that you already have the skills to perform such things in a convincing and credible way. The Verbal Control procedure here is rather simple but nonetheless requires practice. It’s all done in just two steps. Before any decision is allowed, really believe and play with the idea of an imaginary deck. A lot of times we tend to rush these moments, but give yourself space to enjoy this rather weird situation with your participant feeling the deck of cards. Play with suggestions about the weight of the deck, its texture and so on. The more suggestions and associations you use to make the deck seem real, the more realistic the effect will be to everyone. Let’s assume for this Verbal Control that you will force the suit of “Hearts.” The first step in the Verbal Control is for the participant to take a color. “Imagine that I take just one color from your right hand. What color is it, black or red?” If your participant says RED, say “And with this color we can create two suits. Hearts or Diamonds?” 39

Great Minds Think Alike If your participant names BLACK, mimic the action of throwing the BLACKS out, pointing at the RED color left in the hand and say “And with this color we can create two suits. Hearts or Diamonds. (Implying in an indirect manner that the RED color is remaining, while you point to the participant’s right hand.)” So no matter what the participant says, you will always SAY the same thing, but your SUBTEXT changes a little bit. “From those two suits, we need to eliminate one. Tell me Hearts or Diamonds.” No matter what the participant says, you put the supposed Hearts in the participant’s right hand. “So you get the Hearts.” If you nailed the Seven in the psychological force at the beginning, just go to the revelation of the card. If not, use the following handling of a psychological force by taking cards, in this case merely invisible ones. Because the “Heart cards” are in the participant’s right hand, you will start to take cards from their right hand into your left hand. Don’t say directly what you are doing, just start to take invisible cards from the person saying “Ace, Two, Three, Four…” After the Four, say “Say, ‘stop’ whenever you like.” Time your actions to try to force the number Seven. They can stop you on the Seven as you take it, or stop you as you take the Six, which leaves the Seven in their hand. Now comes the “Off By One with five outs” idea. You may land on the Five, Six, Seven, Eight or even the Nine, and create the finale desired with your single prediction card. I know what you are thinking…What if you don’t hit any of these and your participant stops you on the Ten or the Jack? Don’t worry! There’s no failure, just feedback. Remember that the presentation of this is an “experiment with the mind” not a “prediction.” If you label the effect in this way their attention will be on the experience, not on the card. Honestly only one time has this happened to me and I really didn’t care. I showed the card, congratulated the person on getting the color correct as well as the suit and a similar number, received some gasps because IT IS an incredible moment to be very close, and moved on to do something else.

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Great Minds Think Alike This effect will not only give you new ideas about Verbal Control, but will also remind you that, in my opinion, failing can be perfectly fine. Being a little more profound, human beings make mistakes in life and with that we can learn to walk, to talk properly and so on. A similar principle is to be considered here. If your participant stops you even on the King of Hearts, show the card, direct the attention to the fact that it was close and do something else. You are both learning and are likely to get better in time. Especially if you do Kenton’s Kolossal Killer the next time they see you! Possible Dialogue Introduction (Premise) Alex, let’s try an experiment with the mind. Something simple. (Conditions) I will leave this below your hand (the envelope or the single card face up). Great. We will play an imaginary game with this (show nothing in your hands). Obviously you know what it is. It’s a deck of playing cards. (Pass the invisible deck to his right hand) If I ask you to consciously and quickly just tell me a number between one and ten, what would you say? (If your participant chooses Seven, take that as a decision and go directly to the Verbal Control. If they name another number, just redirect that answer as a clarification of conscious/ unconscious decisions.) Interesting. And that’s from your conscious mind, right? Well, I don’t care right now about your conscious mind, rather your unconscious part. You will decide a few things just on impulse, without thinking consciously, okay? (Verbal Control) Now, you will make some unconscious decisions. Just relax and enjoy. (Hand him the invisible deck) Imagine that I take just one color from your right hand. What color is it, black or red? RED

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Great Minds Think Alike And with this color we can create two suits. Hearts or Diamonds. From those two suits, we need to eliminate one. Tell me Hearts or Diamonds. Diamonds. Excellent! You have experience (mimic throwing out the Diamonds)! Take the Hearts. (Take individual cards into your left hand) Ace, Two, Three, Four… Tell me to stop whenever you like. (Time your response to the seven.) STOP Great. So you stopped me on the seven, and you ended up deciding on the Hearts, right? YES Incredible. You know, statistically guessing one card from fifty-two isn’t just one in fifty-two, it’s far more than that. Believe it or not, there is a card below your hand... Give Alex a big round of applause . (Let’s consider now the script for an “Off By” moment) So you decided on the Eight of Hearts, right ? Yes That is very interesting because below your hand you will find a card, and that card is the Seven of Hearts. Interesting right? Off by one, right? The most amazing thing is that I knew that you would decide on that precise card, so I wrote on the back “Off By One” for the big finale! Give Alex a big round of applause. (End) Ideas You could have a double face card and write the message on the bottom of the card for even more outs. Kenton used double face cards for some time before he came up with Kolossal Killer. It was part of Killer’s little known history. Others later imagined they came up with a new idea using double face cards for Killer. They didn’t know they were reinventing part of Kenton’s own process. Just play with these possibilities. Please keep this to yourself and see the important details in the Credits and Inspiration notes that follow so you understand that this idea is NOT to be elaborated upon and sold in any way. Kenton and I both appreciate your respect. We know you will appreciate performing this and freaking people out in return. 42

Great Minds Think Alike Credits and Inspiration Credits go to Max Maven, Kenton Knepper, Docc Hilford and Annemann for their work on Equivoque. The psychological dealing force is referenced in Harry Lorayne’s Close-up Card Magic. I learned this technique from a Spanish magician called Dani Daortiz. Kenton says that it is Eddie Fechter’s “Drop Force” done as a verbal dealing. Kenton popularized the conscious/ subconscious ploy as an out and as equivoque, as well as inventing the Off By One principle for which he is famous. NO mention of the Off By One principle is allowed in any work outside of Kenton’s own releases without written permission and royalty to him. Just to be clear to those who are not well informed about the legalities of such things. See Kenton’s Original Kolossal Killer manuscript and Killer Konceptions 2010 for more on this principle, its original, and many expanded, uses. I am proud to have added to that legacy. Thank you Pablo. I am proud to call you a Student of mine and the fact that you are such shows in this work. It seems to me now that this little collection has more real working material and devious methodologies than many of the much larger works of these times. Certainly people pay a great deal these days for far less practical and insightful material than my friends and Students have given here. I am honored and grateful to these fine contributors for allowing me to get all of these details into print and share them with you. I am sure you feel likewise and will support these people in their solo projects in return. As always, I am immensely grateful for your direct purchase of my works and your support of me which allows me to continue releasing such inspired thinking and real world performance materials to you. Truly what goes around comes around. Thank YOU.

Kenton Knepper

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