3ecrets Welcome to this manuscript 3ecrets and thank you for your interest and support in my work, as always I truly appreciate it. Within the pages of this collection that I have especially prepared for E-Mentalism, you will find a full professional stage ready routine. A playful and very unique routine that perfectly suits a casual performance environment, and also a utility method that allows you to take your own (un gimmicked) wallet and using a single business card or billet, turn your wallet into a peek wallet - without any advanced preparation. The area of focus throughout this manuscript is to examine not only how we acquire information but to really look at interesting ways we can reveal the secretly acquired information. Yes, you will learn three very cool secrets, but as you read these pages I’d like you to think about how you will reveal the information in performance. Credit is a professional grade routine that allows you to locate a hidden bank card and then
reveal thought of numbers from the card. This is a card that you never see or touch. This is the only place in which I am teaching my full stage routine for what was originally a close up effect titled ‘Credit Guard’ in my book Roulette Roulette back in 2013. You’ll learn exactly how I stage this routine to make it play huge, you’ll learn to maximise the revelation of each thought of number and how to elevate the audiences and spectators reaction using a simple prop and specific language. Best of all, all you require for this routine is 5 un gimmicked envelopes and a pair of scissors. That’s it. I have worked this routine a lot, in a multitude of environments and I have really experienced every learning curve there is to know, and here I will teach it all. Flutter is a playful routine that is perfectly suited for the casual performer. With a strong and
interesting hook and a surprising moment in built to the routine, you will love to perform this. UYOW is a utility approach that allows you to take a regular billfold wallet and without any
customisation in any way, you are able to use it as a peek wallet. My hope here is that this simple but limitless concept will spark your imagination and force you to realise that it is all about how you reveal a spectators thoughts, and not how you steal the thought. Please enjoy 3ecrets and be sure to guard them well. Chris Rawlins, Manchester. November, 2018.
Credit Effect
The mystery performer introduces the simple concept of a game, in which somebody will hide an object and using his or her abilities they will attempt to find the lost object. ‘I’d like to play a game, with me as a hypothetical criminal and someone here as my target. More specifically I’d like somebody here to hide something precious to them. An object so precious that it has the ability to determine and affect their everyday life. The object I want someone to hide can determine what they eat, what they wear, what they drink and can even be responsible for how they travel. I’m looking for a bank card, the key to peoples wealth, a credit card to be lost, hidden and then hopefully…found.’ The performer hands an unopened pack of pay envelopes to a member of the audience. ‘In a moment I’d like you to remove any envelope and to take your bank card and to place it into the envelope, numbers facing down, flap facing up. Please do not seal the envelope but do be sure that the contents contents are hidden…whilst hidden…whilst this happens I’ll be over here, at the furthest point point away from you that is possible. My goal is to use my combined skills to find the hidden object, and then to hopefully obtain some extra information.’ The spectator places their card into the envelope. The performer takes back the packet of envelopes and removes another identical envelope containing a business card. This This is examined by the spectator and both envelopes are held to the light and both seen to be opaque. The performer invites the spectator to the stage to hold both envelopes, centre stage. The spectator is asked to mix the envelopes but to know where their card is and where it is not. The performer holds his hand over each envelope asking the spectator to think yes when their hand is over the correct location. The card is located and this success is confirmed verbally by the spectator. The performer now introduces three more envelopes and invites five spectator to the stage, who are instructed to stand in a line. Each are handed an envelope by the spectator who is in turn asked to turn away whilst everybody in line mixes and passes the envelopes between themselves at random. The performer now removes a pair of scissors and explains that if he touches an envelope it must be cut… ‘When you think about it, you all have a bank card and you all know exactly how much a bank card weighs by feel, even if you aren’t aware of this information. So I’d like everybody in the line to visually do nothing but mentally to focus on the envelope you hold and if you believe it to contain the bank card think yes, if you believe it to be a business card, think of nothing.’ The performer now eliminates spectators and envelopes using the scissors until only one remains, which is handed to the original spectator who has been watching nervously as envelopes are eliminated and cut. ‘My hope here is that with the collection of thoughts of the people who were on stage I have been able to find your card and separate it from the distractions. If your card is inside the
envelope please do two things: let us know! And keep your card hidden, be sure that nobody see’s see’s it at all.’ all.’ The performer explains: ‘Although right now I could tell you the PIN number you use for this account, the problem is I can’t and shouldn’t announce that in front of all these people. So instead…On any bank card there is a long number, made of sixteen digits, I’d like you to focus on the last found digits and to imagine that those are your pin number…’ The performer now has the spectator focus on each of the four numbers and cleanly and openly commits to his impressions. When the spectator reads out the numbers focussed upon the performer is revealed to be 100% accurate. Method
Everything you have read above is true, and the best part of all is that this is so simple. Back in around 2010 when I discovered this secret I started applying it, and in 2013 I shared a routine using part of this method that was perfectly suited for the casual and close up arena. Over the years and hundreds of performances of this method in various forms I have found this presentation to be the most impactful for many reasons. It’s a full stage routine that literally fit’s in your pocket. It fills the stage. Has an interesting hook. Is very easy allowing you to focus on the performance and it’s very very easy for an audience to understand. Let’s begin with the routine’s most simple element, how do we find the card. Over the years I have found a reverse marking to be the most effective. In that before my performance of Credit, I will take four pay envelopes, place a business card inside of each, stack them all together and using scissors I will round the flaps on all four envelopes. A rounded flap is very easy to spot from a distance when the envelopes lay flat on a spectators hand and that’s why It’s my preferred approach here. All that remains is to have an unmarked packet of pay envelopes or banded stack. This way your spectator can freely choose which envelope he or she places their bank card. Whatever their choice it will always be placed into an unmarked envelope. Meaning that you’ll be using a reverse marking. The The only un marked envelope becomes the marking. With this information you can immediately see how it is very easy to locate the bank card with a limitless number of envelopes added. The marked envelopes that contain business cards rest in your jacket pocket pocket or on a side table table and from now on I’ll refer refer to them as ‘dummy’ ‘dummy’s’ s’.. So how do you discover the numbers? The misdirection created at the start of the routine gives you all the time you need to do the ‘sneaky business’ and in the eyes of the spectator, the effect will not have even begun. You are going to create an impression of the numbers from the card on the envelope during some misdirection. This misdirection occurs when the spectator is checking the first dummy card and envelope, this is after they have placed their bank card inside of a regular envelope. When the spectator’s card is in the envelope, have them fold the flap down and then check that envelope is opaque by holding it up to the light. Then have it handed back to you. You now give the spectator the second envelope containing a business card, ask them to remove it, check everything and then place the dummy card back inside the envelope and fold down the flap. Whilst the spectator removes and checks the ‘dummy card’ and the second envelope, feel for
where the long number is on their card through the envelope, then rub press your finger along the number, this will give you an impression of the long number from their card onto the envelope! This works better with cheaper envelopes (I use pay envelopes here in the UK, which usually come in packs of fifty for a couple of pounds). There is an area called the ‘hot spot’ when performing this routine, and it’s here that you are always guaranteed to have either the first four numbers of the long card number, or last four fall. This area is here :(flap is furthest left)
I only create the impression on the hot spot area of the envelope and never for the whole number. By asking the spectator to place their card face down into the envelope, I am always able place my fingers on the same part of the underside of the envelope (the far side- opposite to the flap) and then apply a dabbing notion where I know, and feel, the group of four numbers to be. I suggest you take a collection of bank cards, shuffle them up and seal them into envelopes and practice with these to understand how fast and easily you can create a 3D impression of the card numbers.
I will then check my impression under the cover of asking the spectator to hold their envelope up to the light by holding the impression envelope up simultaneously. This acts as a multiple check point. If the impression is clear I have now done all the work and I memorise the four numbers, if it is not, I repeat the dabbing notion under the cover of holding the envelope up until the impression is clear. Secondly, I check the numbers orientation, as, by the orientation of the numbers, I know if they are the first four or last four from their card. If the numbers are upside down on the impression then they are the first four from their card, if they are the right way up they are the last four numbers. You must also note this, so later in the routine you can guide the spectator to focus on the right numbers before you reveal them. You have an impression of the first or last four numbers from a never seen before spectators bank card and you have memorised them.
Once you obtain the impression on the envelope (which is on the reverse side to the flap and therefore never seen by the spectator), place both envelopes on the spectators hands and invite them to stage and to and mix them up. It is now a simple but very effective use of the reverse marking to locate the card. I’d like to draw your attention to how I stage this routine and why. By firstly working with one spectator and two envelopes we are able to set the premise of mind reading clearly. clearly. I choose to have the spectator think yes when I’m holding my hand over the card and no when not. Starting Starting small also allows us room to grow and for the routine to build. By inviting four more spectator to the stage we fill the stage with little effort and to much effect. Although the method remains the same the presentation changes slightly. This is due to the introduction of a pair of scissors. I continue to claim mind reading, but this time with higher stakes. This was a suggestion by friend and mentor Luke Jermay back in 2013 after seeing me perform this routine in an earlier form. The scissors really help to elevate the spectators reaction to each envelopes elimination, as now they are invested. By their reaction being heightened, it by proxy enhances the audiences response to it too. By filling the stage we make this really feel like it holds significance, and we are also able to work backwards to a point where only two remain. By this point you will have found their card successfully. Congratulate them and let them open the envelope, turning turning your head away while asking them to look at the first four or last four digits of their long card number (this will change depending on which orientation the spectator places their card into the envelope at the start- as you know whether the numbers are from the start or end of the long card number you can insert the correct phrase here). If your memory is okay, you’ll already have the digits stored and you can ask them to throw the envelope to the floor. If your memory struggles at times or your brain goes blank, don’t panic! Just ask for the envelope back and make sure they remember the four numbers and place the card out of sight. Be casual here as there is no importance or heat on the envelope. You can now peek the organic impression of the numbers and then proceed. I now say: ‘Although right now I could tell you the PIN number you use for this account, the problem is I can’t and shouldn’t announce that infant of all these people. So instead…On any bank card there is a long number, made of sixteen digits, I’d like you to focus on the last found digits and to imagine that those are your pin number…’ This is of course a complete bluff! However it does a few things. Firstly it implies that you could reveal their PIN number. Secondly it justifies the use of some numbers fro their card. Now comes my favourite element of the routine; revealing thought of numbers from the card. I ask the spectator to remember the four numbers and place the card away, this allows them to be fully present in the experience and not to be hiding behind their hands and/or the card. I now ask them to focus on each number in the following ways as I have found over time that these reveals maximise the strength of the routine. First number - ‘I’d like you to focus on the first of those four numbers, your new PIN number, and imagine holding up that many fingers.’
Second Number - ‘This time imagine counting unto that number out loud, when you reach the number you are focussed upon think of nothing. Then the silence in your mind will indicate to me the correct number.’ Third number - ‘Please now imagine typing this number on an iPhone.’ Fourth Number - ‘Please imagine whispering this number in my ear, just loud enough that only I would be able to hear it…’ As I ‘receive’ each thought I ask someone in the audience to stand and remember the number, I do this from stage right to left so that from the audience’s perspective it’s the opposite. I now simply ask the spectator to say aloud the secret numbers, asking the standing spectators in the audience to sit as soon as they hear their number, they do and the routine is finished. All of this combined fills your stage, makes the reveal interesting visually as it uses people and not a pad of paper, it all fits within an interesting framework presentation and gives you high impact for what is essentially a reveal of four numbers. All using 5 envelopes total and some scissors. Extra Notes and Thoughts
Time misdirection is very helpful here between getting the impression and the reveal. For the brave amongst you, you can tell the spectator that you never touched the envelope which can add an extra strength to the routine. Remember to use the strong misdirection for the spectator checking the ‘dummy card’ and envelope as your chance to create the envelope impression. Be bold. Remember that the spectator does not know what is about to happen. This is always a huge advantage that we have as performers and one that I sometimes feel we overlook. Let the spectator pick up the envelope and remove their card after you find it successfully is a bold moment. Be casual and do not worry. As the flaps of the envelopes are face up there is no reason for the spectator to look at the back of the envelope. Lee Earle has a similar approach to handing out evidence in his fantastic book ‘M.I.N.D.’ Trust me- and him- this works. As promised, here is the simple answer to the people who do not wish to use the psychological position force. Just use simple magician’s choice I do however, urge you to use the force or at least try it. I was speaking to Colin about this routine a while back and he very kindly offered an idea he used to use in casual settings. It is a method of getting any amount of the numbers from a credit card. A quick summary follows with Colin’s permission. Essentially you get hold of the card from the spectator and do not look at it. You say, ‘in fact, let’s make this harder’, and place the card under the table. Colin would then use blue tack to get an impression and in some cases use his finger! If you press hard enough this works a treat in an impromptu situation.
It is also worth nothing that you can create an impression of the last four digits from the long embossed number, peek them and then ask the spectator to focus on the first four digits on the signature strip and reveal them. This is because these numbers are the same. Lastly - when peeking you can make the impression clearer by tipping the envelope when it is at eye level, as they are three dimensional, shadow is created that enhances the clarity of the impression.
Credit and Thanks to:
Luke Jermay for the inspiration for the psychological force. Bob Cassidy for for his magnificent thinking and his effect from his ‘Lab Conditions’ manuscript that sparked this idea for an effect off. Lee Earl for a routine in Syzygy that got my creative juices flowing.
Colin Mcleod for Mcleod for his contribution. Tony Corinda and Corinda and Punx Punx from from the classic ‘Thirteen Steps to Mentalism’.
Flutter Effect
You You have the spectator think of the name of someone they knew when they were younger and then write this name down. The spectator places the paper away and you tear out a piece of paper from the same pad and place the pad away. You then write out the alphabet all over the page and tear out the letters. You You now hand all the pieces to the spectator spectator and have them close their their hands around the the pieces and shake. shake. The spectator is asked to focus on the first letter of the name they are thinking of and to throw the pieces to the table. Before they do you explain that whatever letters land face down will be eliminated. The spectator continues to flutter the pieces till only one remains face up, this is the spectator's thought of letter! You are then able to reveal the name. Method
This mixture of method and presentation is something that I am truly inspired by. Here, you gain the name from the Riggs Butterfly pad, or another similar device. You could then have 26 pages of the pad, nearest the front of the pad with one letter of the alphabet written on the underside of each sheet. So you have an index of all 26 letters. Once you gain the thought of name, and whilst the spectator places the paper away, you find the sheet that has the first letter of name on the underside and tear it out being careful not to expose the pre-written letter. Write out the alphabet across the paper, ensuring that the ‘force’ letter is written on top of the ‘index’ letter. You now have 25 single sided torn out letters and 1 double sided torn tor n out letter. The double sided piece has the first letter of the thought of name on both sides. After experimenting with the above, I realised that it was much easier and much more practical to have the spectator write the name, peek it, then to write the first letter of the peeked name on a blank page as you pretend that the pen doesn’t write. Andy Nyman is the inspiration behind this devious miscall. You now tear out the page, flip it and write the alphabet out, making sure that the first letter of the peeked name lands directly over the duplicate on the underside of the paper. You have now created a double sided letter paper. Now by having the spectator think of the first letter and eliminate any facing down, you will always be left with the thought of letter, allowing you to then reveal the name. After working this effect many times over the last 4 years, I have realised the effect was more streamlined if you don’t write out the full alphabet. (It’s not necessary; as long as you create the double sided force letter the rest does not matter and will never be missed. Obviously be sure to write enough so that you are not called out). Then both you and the spectator can tear out the letters together. The spectator can now flutter the pieces until only one is left face up, and this will of course be the thought of first letter! You can then proceed to reveal the thought of name. Credits and thanks to:
John Riggs Riggs - for the wonderful ‘Beautiful Butterfly’ pad. Additional credit goes to John’s ‘Open Prediction’ which I was told has close similarities to parts of this method. Marcello Truzzi - Head’s Up (Magick #184, July 22, 1977.)
Luke Jermay Jermay - for his amazing contributions to this premise, his continued support, guidance and friendship.
A Bonus (worth thinking about)
On the following page is something that perfectly fit’s alongside Flutter whilst also being of use anytime you have a spectator write down some information that you obtain a copy of. I didn’t plan to include this, however it’s something I am proud of and although subtle, is something I use whenever I have a spectator write a name.
Billet Elimination Elimination Justification Whether you use the pad I do, or another impression device or peek, what I’m about to share is something that you will find useful. I use this quite a lot and I am very happy with it. I am very much a believer in Bob Cassidy’s approach to ‘why do we have people write something down if we are a real mind reader?’. Bob’s fantastic answer, to be found in ‘The Artful Mentalism of Bob Cassidy’, is that it is what real mind readers do. This notion is excellent and for that reason I tend not to make a big fuss of people writing down information, in fact, I welcome it. In ‘Drop Card’ I take the approach of the participant writing the name to begin to help them to remember. I feel this is a powerful approach that justifies the writing and and also gives my my demonstrations a little more depth. depth. What I have created is a justification for why the billet is never seen again, and this, in the process, subtly justifies why I have have a spectator write the the name in the first place. My language language is as follows: follows: “I want to help you to remember a friend from when you were younger, someone who guided you.” I you.” I use this all the time! Do not over look its simplicity, simplicity, I feel this t his is much better than: “I want you to write down the name of an old friend” or friend” or some other alternative. What I say is intended to have a deeper purpose and meaning which is something that is so important to what I do. For ‘Drop Card’, the small but significant phrase of ‘someone who guided you’, acts as a call back for your onstage spectator, and the audience, when you begin again to talk about guidance and the participant imagining that their friend is guiding them (whilst in actuality of course, you are). I use the line of “I want to help you to remember a friend from when you were younger”, younger”, all the time as a quick but interesting lead into my billet work. It is what comes next, after the name is written and the spectator has placed the paper away and you know the information, that I feel is important, lovely and powerful. I say something along the lines of, “Now, we probably won’t need the paper again, however, I do want you to keep it as a reminder of the friendship you two once had so that later tonight when you have forgotten about it and you find the paper, paper, you will open it, see the name and it will bring a smile to t o your face.” This does a couple of things. Firstly, it openly states that you won’t need the paper again. Secondly, it implies that it is unimportant to the effect but important to the participant and their positive emotions. Both of the above help the audience to forget that a name was ever written down but it also gives reason to the participant who does write something and finds it later. When they do, they will remember what you said and consequently, their friend. The memory of their friend will override thoughts of you having covertly ascertained the name. On another level, by using this connection, you open up the potential to bring a smile to a someone’s face when they are miles away from you. They become reminded of their friend and consequently reminded of the amazing effect you performed on them, for them, but more importantly, with them. I believe this to be very powerful. I hope you use this, see how strong it really is and put it to good use.
U-y-o-w The spectator is asked to imagine and think about a simple picture; something they can draw. They are handed a blank piece of card, to record their thought whilst you, the performer, faces away completely. Once finished, the spectator is asked to fold the card in half to hide the thought. You You take it and very fairly and casually place it into your wallet - still folded. The wallet is put away and you proceed to duplicate the image. This has all stemmed from personally being a little bit of a ‘Wallet ‘Wallet Junkie’. Junkie’. Every time a new wallet came to the market that had a peek function; I would buy one. I can safely say that after using most (if not all) peek wallets, I have one preference… Mark Striving’s Sight Unseen Case. Other than that, they are all too complicated, look strange or just don’t feel right to me. Don’t get me wrong, there are some fantastic wallets available, but I now much prefer to use a normal, everyday wallet and this method. Mark’s case is fantastic for formal settings and walk around at events, but this approach of mine is one of my preferred methods for obtaining a simple drawing when I am in a casual setting and have my normal wallet with me. Although this is very simple, it will take a little time to get right, however, don't think its simplicity is not worth the effort! The spectator is asked to draw a simple image in whichever way you wish, just be clear that when they are finished they are to fold it in half. Whilst the spectator does this remove your wallet, unless like me, it’s where you keep your business cards and billets - meaning that it is already in your hand. You take the folded card from the spectator, very fairly with your head facing away. You now open your wallet and place the image into the wallet with the opening facing up. Whilst placing the card into the wallet you DO NOT peek it yet. You are aiming to position the folded card in such a way that it is about half way down inside of the bill section of your wallet, so that the wallet does not stop the card from popping open in a moment. As the spectator has folded the card, they will not have run over the crease excessively, so when you place the card into the ‘ hot spot’ of your wallet (which will be different for every wallet) and after your fingers have stopped touching the card, whilst your hand is just about out of the wallet, the card will pop open. As the opening is facing up as per the photo, you will get a peek of the whole card. Remember the image, place the wallet away, and reveal whenever and however you see fit. DO NOT
reveal the image right away, think about how you want to present this, and be sure to present every drawing duplication you perform properly and with thought.
I use Rymans (a UK stationary shop) blank card stock for all my billet work, they are great, smooth, all cut the same and they have a great finish on them - they are also stiff enough card to allow the necessary ‘pop’. You should experiment with whatever card stock you have available to find what works best for you.
An extra approach that interests me a lot is to have two spectators draw images on identical cards. However, you stagger when each spectator starts, meaning that each spectator will finish drawing at a different time. (Only using one pen ensures that each spectator will finish drawing at a different time). So, set your first spectator to task, and then hand the second spectator a card. You can then ‘notice’ you only have one pen, and have the first spectator hand over the pen to spectator two when they are finished and their card is folded. You now take spectator one’s card, and place it into your wallet’s ‘hot spot’ and DO NOT peek it, you can do all of this very fairly and place the wallet on the table. Around this time spectator two will be finished,
you now take their card, very fairly. Place it into the other side of your wallet… …as you do, you peek spectator one’s image, allowing it to ‘pop’ as you open the wallet to place spectator two’s inside. You can now either: draw spectator one’s image secretly, and then remove spectator two’s card from your wallet, open it and miscall it (much like Bob Cassidy’s 4DT or Name and Place) to be one behind. Or, you can openly draw the first spectator’s image and as you remove their image, peek spectator two’s to then reveal theirs. This allows you to very fairly remove the second spectator's image after you have drawn it, leaving the lasting image in their mind that you couldn’t have seen it. Or you can peek both images at the same time, and then never go back to the wallet. This approach is so simple, but effective and reliable. The key here is confidence; don’t be, or act guilty and it will serve you well. It’s certainly saved me a few times.
Closing Remarks Thank you for taking the time and making the investment to learn the real work behind these routine. You You are now armed with a full and professionally worked stage routine that will easily fill 8-10 minutes in your show with minimal props and preparation. Also a routine perfect for securing work as a Mentalist in meeting’s and coffee shops and lastly you are now able to obtain a written or drawn thought with your everyday, billfold wallet. Use these 3secrets wisely and they wills serve you well as they have and continue to do for me. Positive Thoughts! Christopher. 2018, Manchester, UK. http://c-r-products.yolasite.com/Ab http://c-r-products.yolasite.com/About.php out.php
