The Book Of Lies
(
Poul Brook
--X"/, "(it
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THE BOOK OF LIES THE SEPTENARY WAN DERINGS AND EMANATIONS FROM THE
BRAIN OF
PAUL BROOK NAMED BY OTHERS AS .THE ARCHITECT'
&
WHOM IS FALSELY KNOWN AS THURSTON LAST
NOTHING IS. NOTHING BECOMES, NOTHING IS NOT.
Thm ffioCIk Of Lies
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#6;ffitu Contents
Copyright @ Paul Brook First Printing November 2010 Edited by Simon Edwards
Introduction
Page 5
Impromptu/Apparently Impromptu -- Watch Your Money -- Getting Into Shape
Page 11
-- The Pen Game -- The Power Of Money -- Stuck In The Mud -- BI-FAW: Billet Index For Any Wallet -- The Coinless One
-- Mistress Memory -- Can't Touch This
Page 13 Page 27 Page 25 Page 35 Page 47 Page 45 Page 57 Page 59 Page 67
Psychokinesis
Page 7L
-- Haunted Key Presentation -- Pool Hall Cheat -- Heavy & Light Confectionary -- Mentally Moved -- Changing Fate
No portion of this book or illustrations can be reproduced in any manner without written permission of the copyright owner.
Forward Thinking 227 Heath Road, Bournville, Birmingham, B3O 1RU
-2-
-- "Now Do Something With The Knife!" -- Informal Watch Stop -- Bounce, No-Bounce Ball: Presentation #1 -- BoLrnce, No-Bounce Ball: Presentation #2 -- Bounce, No-Bounce Ball: One Ball Version
73 75 79 81 91 97 99 Page 103 Page 107 Page 109
Media
Page 111
-r Host's Bill -- Jukebox Johnny
Page Page Page Page Page Page Page
Page 113 Page 727 Page 135 Page 139 Page 143 Page 147 Page 153
-- Touch6
-- Instant Access -- Cloaked -- Birdle Num Nums -- Pitul's Prlce Is Rlght
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B-ies
Stage
Page 157
-- Vowel Movements
Page Page Page Page Page Page Page
-- Disposable Colours -- Red Write Hand -- Fairer Than Fair Switch -- Note Worthy -- Imp-Ossible -- Participant's Rise Again
Some Concepts -- I Have An ldea... -- oh-KK -- Your Choice Is Final -- Attention Grabbing
159 161 169 171 L77 185 191
Page 201 203 205 211 213 215 217 227 223 225 227
-- You're Doing What Now?
Page Page Page Page Page Page Page Page Page Page
Parting Words
Page 229
-- Magic Eyes -- Doing Business -- Mischievous Reasoning -- Superman I Ain't -- Mother Of All 'Know It Alls'
INTRODUCTION
"Does this rag smell like chloroform to you?"
- Polite Man With The Rag
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The Book Of Lies
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Introduction
This book is unlike any other that I have written. Those of you familiar with my work will know that I like to provide ample presentation and full subtleties with all of my effects. In point of fact, it is something that I get praised for on a regular basis. Aren't I wonderful! Case in point, one of my books is a slender one hundred pages long and contains only one measly effect. What a rip-off!
But the book that you are holding is different to all of the others. It contains 252 pages and doesn't even have a single useable effect in itl Only kidding! There are many useable effects. The thing that has changed is the length of presentational scripting for each effect. My first idea for this book was to provide just the method for each effect. However, on reflection I became aware that some of the material herein requires the presentation to be included along with the method. Where I could, i have provided shorter more concise presentations for the effects, making this a 'performance light' book.
Those who are unfamiliar with my work should/will buy 'Ihe Alchemical Tools' from my website. That book will guide you through the steps to create powerful and strong presentations for your performance pieces. Enough selling
!
It is tlme to move onward to the contents of this -6-
-7-
book.
T'he Berok Of Lies
I have split the book into five sections in order to cover different aspects of our art. Some of the material, especially in the Media and Concepfs section, is somewhat untested. This being said, the vast majority of this book contains effects that have been used and road-tested in the essential 'real world'. I just thought it would be nice to include some thoughts of mine that you beautiful people may wish to play around with and
Special Thanks
I wish to say a special "thank you" to Warren
Thackeray and George Symes for making sure that the book is as error free as possible, Barring their errors of course!
develop.
Another aim for this book was to provide a frisson of enjoyment for everyone, The effects in the book range from close-up mind reading to stage material, formal to informal, rational to the bizarre, At the finale of this very book (yes, the one you hold in your hands right now) you will find a concept section that will hopefully provide you with even more food for thought.
I like to
imagine, from the confines of my big, inflated, opinionated, egotistical head that any person would be hardpressed to read through this book and not be able to use something from it.
Simon Edwards, who had the dubious 'pleasure' of editing this book. Simon, your kindness to me is illimitable. That is a suggestion (wink) !
Phill Smith, for his wonderful rendition of me as Crowley. Phill, you are an amazing artist and a better friend. Thank you! Also for my wonderful wife Jenni who means the world
She endures the daily onslaught
Thanks, my love!
Paul Brook
In the study of my new house, Staffordshire, England September 2009
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me.
of my ideas and effects.
Iflke Sook Of Lies
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IMPROMPTU/ APPARENTLY IMPROMPTU
"The essence of pleasure is spontaneity."
- Germaine Greer
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Watch Your Money You are with a person who demands that you "sltow them someffiinE'". Resisting the urge to show them your shrivelledup'meat and two veg'(that's slang [or used to be] for a penis) as punishment for being so demanding, you ask the person to remove some pocket change. From the change you remove one of the coins and place both hands behind your back for a brief moment. A moment later you bring out both arms from behind your back, at shoulder height and with both fists clenched tightly:
"The coin is in one of my hands. If guessing which hand was in meant sawing tlve {ife of someone yow lwved, what exactly would you look for? What body signals or movements will give away the location of your coin?"'
it
Whatever the person answers you will have him take a guess at where the coin is. Depending on the outcome either congratulate him for saving a loved one/ or convince him that he secretly mustn't have cared much for the person (who will now obviously die because of this incorrect choice). Then conti nue:
"You can of course understand the early sfagles of this type of body reading, I have perfected this to the paint where it isn't even a 99 per cent accurate guess, I am at a point where I know which hand the cain is in," The participant is given his coin to hold and you ask him to take It behlnd his back and secretly place it into one of his hands. He
-12-
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Yhe Book Of Lies
is then to bring both clenched fists out. By now knows the drill and any instructions will be minimal.
Yhe ffi*qlt{
the person
Stage 1: Reacfiy TI're
without fail you are able to name the hand concealing the coin. This can be repeated as many times as you so wish and you will be heralded as the wonderful body language expert! Well done!
#f Li*s
Watch
IMP9BTAIXT* Y*lrsr wafefi stepn,ss eslsure that yau with i* fm ffxe f*rfwr"ef
u/y*Sf
will
wor& aEafn affer tfifs newer want ta tell the time
ffieurer"
the back csver of your wateh and pull aut all of the workinEs" This mmy require you tCI remove the'st*m'sr intennal 'crown' af the wmtch, which i$ l'lot required for the gimrmick. Remrmve
Explanation
I think it was Derren who popularised
the .Corn In The Hand, routine, There is much speculation about how he achieves this effect and I have heard a lot of the very strange methods that people have come up with.
Years have passed now and there are numerous .Corn In The Hand' routines on the market. so I figured that I will share with you my somewhat clever way to achieve this effect. My version uses a James Bond-style watch. This watch is able presence. It should come as no surprise that you require a magnetic coin.
Dependlmg nn the watch you &re usinE, y$H rnay find that the face and hands *f the watch hmcmrr'lm lmns* mrlce the int*nnml workings arc removed" If this is the ease go and buy some'dny clean' sprfiy mount and apply a fine mist to the inside af the 'crystarl' (wafch glass). After spraying press the parts together and leave until dry,
You wiltr nmw h;,rve mn en"rpty she|[ of a wmtalr. l-''{nwmver, you have created a hmllmw $palcffi thmt cmn he filleci rvith the secret mag netie detmctimn cnrn pnnents.
to detect magnetic fields and cue you to their What will this amazing contraption cost to you?
. . .
A watch that you do not mind destroying €10 worth of electronics One hour of your time (which is by far the most valuabte commodity on this list)
Now don't worry about the difficulty of construction, It is extremely simple. I found it easy and I cannot solder to save my life (see: Paul's Achilles Heel).
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Stage 2: Making The MaEnetic Field Deteetmr You won't require the watch for this step so place it tr: onm sid*, but keep the back of it off fnr nnw. Go
to your local electronics store and buy the following
itenms:
o Thin electrical wire o lxreedswitch . 1 x super bright LED (red) . lxcoinbattery . I x coln battery holder (same size as the coin battery) -lt-
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Bonk
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Liew
Make sure that you also have the following items:
. . . .
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Note: Make sure ffumt you c&"t*ck the polarity wf each item, empecfa/fy ffie L€d} and battwry halder, Alwmys connecf pwsitive f+) fo negrafrwe (-)
A soldering iron Some solder A protective surface to solder on
the coin battery in the battery holder. And that is it. Congratulations, you have created a piece of electronic
device that you have.
Go ahead and try it. Grab a magnet, bearing in mind that a neodymium magnet will give you a much better range. Place the magnet near to the reed switch (making sure that it doesnT get too close or it will fly towards the magnet and its glass will smash) and watch the LED light uP.
The protective clothing required to use the soldering
That's it! Assuming that you already own a soldering iron and some solder, you only need to spend around f 10 on materials.
Place
mentalism.
Exciting isn't it!
Let me explain what we are going to do. We are going to create a very basic circuit much like the ones you would have made in high school. Using the electrical wire we are going to link up the battery and LED, with a reed switch
Stage 3:
Installinq Tlre Magnmt[c Field Betector
in-between.
For those who do not know what a reed switch is, it is two prongs positioned very close together, but not touching, encased in a small glass tube. When you connect these to a circuit it breaks that circuit. This is due to the two prongs not touching. These prongs are sensitive to magnetic fields and, when in contact with a magnetic field, they magnetise and clasp together. This completes the circuit.
OK, regardless of whether you are left- or right-handed, you need to pick up the watch and wear it so that the hole where the stem/crown used to be is facing your head.
A complete circuit in our case will result in the super bright LED lighting up.
Once you have established which wrist will wear the watch, you now have to install the mechanism.
To start construction place down the battery holder, super bright LED and reed switch in a triangle formation on the
To stick down the components you can use any manner of adhesive strips or padding. The reed switch must be stuck flat
surface you will be soldering on. Now take three small but ample lengths of electrical wire and solder the items together, with the wire running as though you were putting sides onto the triangle. The ltcms are at the points of this triangle.
.ll
.
You will need to bear in mind that even though the watch is no longer functional you will need to wear it as if you want to read
the time.
against the internal wall of the watch, closest to your fingers as you wear the watch.
Make sure that the battery holder is stuck down on the side furthest from the hole where the crown/stem used to be. This
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Yhw SCIsk Of f-ies ensures that there's enough room for the LED. Then stick in the LED, pointing it towards the reed switch. Be sure to keep the wires out of the way by sticking them to the inside wall of the watch cavity.
Make sure that nothing is in the way of the hole where the crown/stem used to be. When you are happy that nothing will move around, replace the back on the watch.
There you have watch.
itl
One magnetic field detector disguised as
a
Notice that you do not need to look directly at the watch to see that the LED is on. Your peripheral vision will be able to detect it very easily. During the construction phase you will notice that I mention to have the LED pointing towards the reed switch, and not out of the stem hole. If the LED is shining out of the hole it is bright enough to be seen projecting onto your forearm and clothing. It will also be easily visible for people who are behind you.
With the LED shining inside of the watch casing there is no intense light. The inside of the casing illuminates with red light and you are able to see the light inside through the stem hole. You are virtually ready to go. All that you need now is your magnetic coin. I recommend buying the largest coin shell in your currency. You will need a coin shell with both halves that nest together. That way you can buy a neodymium magnet to fit the inside of the coin shells.
Stage 4: tlsimg [t And Other $turff Place the device on your wrist.
Now imagine that you have just given someone a magnetic coin
to hold, If you are alone you can simulate this by holding a magnetic coin in the hand without a watch, If you do not have a neodymium magnetic coin then just use any neodymium magnet,
Have the person hold the coin in her fist, and have her outstretch her arm in the classic'Coin In The Hand'style. To use the device simply raise the person's arm using your flat downturned palm. This means that the back of your fingers will come into contact with the underside of her forearm.
The reason that I suggest this is that I have found that most store-bought magnetic coins tend to be fairly weak. By buying the nesting coin shell and a strong magnet to fit it, you can guarantee that even people with chubby fingers can still 'feel your power"
Oh, and to perform the effect you will take a duplicate coin from the person's change and, while holding it behind your back, switch it for the magnetic coin. Then have the coin placed in one of the participant's hands and, with both of your hands, raise up her arms. This is done as I described earlier. If you have a red light then the coin is in the hand above the watch. If you do not see a light then the coin is in her other hand.
Don't forget to switch the original coin with the magnetic coin afterwards or this could be an expensive trick.
This will place the area of the watch that contains the reed switch underneath her closed fingers. At this distance the reed switch will detect the magnetic field and the red LED will light up.
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Book Of Lies
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cyGrdtu Getting Into Shape
After a very bad initial experience using a nail writer I wrote them off as something I just wouldn't bother with. It soon became apparent that I was missing out on a great tool in the field of mentalism. Therefore, I decided to create an effect that uses a nail writer in a very simplistic way. Please, do not be put off by the word simplistic; the effect garners nothing but a strong reaction. The performer removes two business cards along with a pencil. He then proceeds to draw the following symbols on the back of both business cards:
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He gives one of the business cards to the participant. The performer explains that he will place a single dot inside one of these shapes, and whilst he does so the participant must not
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look. After a few seconds the performer places a dot inside one of the shapes and tables the card, shape side down.
The pencil is passed to the participant and she is asked to mentally choose one of the four symbols, she can change her decision at any point until she is satisfied. once she has mentally selected one of the shapes she must look into that shape and decide where within the shape she wishes to place a single dot. The performer explains that she must take her time in order to make sure that her choice is truly her own and is in no way due to feeling pressured.
when the participant is ready she is asked to place a dot inside the shape at her chosen point. She decides to place a dot inside the square:
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#& Upon seeing where the she has placed the dot the performer picks up his tabled card, looks at it and smiles confidenily, before passing it to the participant. when the participant turns over the card she sees that not only has the performer chosen the same shape as her, but also he has placed the dot in the exact same position.
Explanation This effect requires
a swami gimmick or boon writer of your
choosing.
After initially drawing the shapes you retain the pencil in order to place a dot inside one of them. Make a bit of brouhaha about the participant not seeing where you place this dot. This is mainly to make the participant remember the 'fact' that you made your choice before she did. You actually do not place a dot onto the card at this point. You merely pretend to and hand the pencil to the participant. As the participant places a dot within the shape of her choosing you will be able to see where it is. If you're both standing then simply have the participant turn the card around to show you where she has placed the dot. Reach over and pick up your tabled business card with the hand that has the swami attached. If you reach over with your palm facing the table you will be able to hide that swami-laden thumb beneath your fingers.
Plck up the card by placing the fingertips onto it and sliding it off the table. Now look at the shape side of the business card as if in disbelief. This enables you to position the swami lead over the participant's desired shape and position, and then press down. That is it, all done!
took down at the card and shake your head in order to build a llttle theatrical tension, before turning your hand palm down once more (still with card and swami in hand). I xtend your arm towards the participant and have her take the
tard out of your hand. All of her attention will be focused on lurning the card over and looking at where you placed the dot. lvc.rr lf she decided to be weird, not looking at the card and Irrr;tcad'burnlnq'your hand, she would not be able to see the
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swami as it is blocked from sight by the fingers. Leaving the arm dangling in the air in front of a person would be somewhat unusual, giving you great motivation to retract it to your lap, conveniently ditching the swami.
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0)6)6iltu The Pen Game
Effect Strengths
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The participant is aware of the performer making his decision before hers and the pencil remains with the participant after that decision is made.
. Two moments of
astonishment
for one
single
movement:
1. How did the performer know what shape I would choose?
2.
How did the performer know where I would place the dot within that shape?
This method requires a single dot at the approximate centre of a business card. Placing a single dot is fairly easy/ especially so in the centre of a business card. This means that people who are building up their confidence with a nail writer or boon can still achieve a strong effect.
A
single dot also requires less movement and
so
diminishes the chance of being exposed in some form or a nother.
Mentalist:
"Have you ever played 'the pen gamei
Participant:
"Err... No!"
Mentalist:
"You haven't played the pen game? Then allow me to explain the rules.
First take any pen that has a cap; Then put it behind your back. Whilst it is behind
your back you either leave the
cap
covering the nib or you take it off and put it on the rounded end. Once you have done this you grab the non-capped end in your fist, and bring that hand out in front of you.
It
is then my job to guess whether you are covering the point or no-point end with your fist. This game is usually played in offices as a quick way to make [10.
For example, we would both put f10 in, you would do the 'pen thing' and I would guess. If I get it correct I keep the money, If I guess incorrectly, you win, So now you know the rules let's play. You take the pen and, slnce thls ls your first
.
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ever go, we will just pretend to put money down. Ok, go for it!"
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?r&e pmrfrclrgrmnf flu,irnr&$wm &mfuo;vtd &l{m &mmfu fo*' ;$ffi sdr*rmr*ds, msrd *frmm &r'fmgs mex# *$i* pmrx, *dmmcfrmd ers &irs fps#.
Mentalist:
"I'm going to say that you are holding the
Participant:
"You are holding the no-point end."
Mentalist:
"Damn, one to you."
point end !"
Ihe Participant:
"Yeah...so you win."
Mentalist:
I win the non-existent money. BUT, it wasn't too fair. Not only can I use my expert knowledge of "That's right,
psychology to second guess what you will do, I also had another advantage.
After you bring your hand out you are not able to change your mind. I, on the other hand, could change my guess at any time.
Let me tell you what we will do to make
$#mmfmffs* mpmras &$s &mrpd fle* drspfmp dl&*
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Roundj Participant:
"The no-point end again."
Mentalist:
"Crap!"
The Mentafrsf
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this fair. You can have the
stronger guessing will hold the I position of and games. play Oh, five pen. We will also for and we are going to play for real money this time.
Don't worry, though. I will put in the 810 and I'm so confident that I know what you will do before you do it that if I don't you can keep the money. If. I can't predict what you will do you win the €10. Simple!
Round 3 Mentalist:
"Right, before you make your decision, and because I'm losing, let me be helpful and tell you that I am holding the no-point end again."
Ready?"
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Thm Book CIf Lies
The
Participant:
"I think it is a double bluff. no-point end."
Mentalist:
"Why did you believe me?"
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It is the
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Menta Iist:
"What's that, three to me?"
Participant:
"Err, no, more like 2:1to me."
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Mentalist:
"I promise I won't try to persuade you this time. Well, I won't say anything at least."
Participant:
"The point end."
Mentalist:
"Do you want to change your mind?"
Participant:
"No!"
Mentalist:
"Ahh, errm."
Rwund 4
Mentalist:
"Sorry for tricking you before, but this time I'm genuinely holding the point end.
Trust me."
rli
Participant: Mentalist:
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"Fine, the point end then," "Oh no, why did you believe me?"
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Participant:
"Oh my God,
Mentalist:
"I'm a man of my word, and I did say that couldn't predict what you would do that you could keep the f 10."
f won!"
if I
sfim nm*pmfrps end.
llte Metttalist ltushes the tlA nnte d'owards #fr#
Mentalist:
"That makes it the first two games to you, the third and fourth c;.untr, to me. Here is the decider. " -
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"But I did say that if I couldn,t predict what you would do that you could keep the f10.
list:
Participant:
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"So does that mean I am eating out of a dumpster again tonight?"
Will you unfold the note, please?',
Explanation flfrm trmr'trd*dpffi;fls* #pdlsrs a,rp f&w ds#*# mrr"r*swffi aps* ssm ss**"fuem
*# rwqrw,*:pd *&* flmdfm**remgr wfl *&o rxm*er fsp .&rgr #sed# s*rpmr&mr"
ffi#frx
This is so'pack small play big'that Ikea could sell it! There are two things that you need for this effect: a bank note to write the prediction on, and the pen from an effect called 'Pointless' by my good friend Gregory Wilson.
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2=/
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3=X
The pen is a real biro pen that can be used in other parts of your performance. However, it has an extra magnetic nib in the style of a pen-through-[enter your choice of object] trick. When Greg first showed me his pointless effect, I thought it was nice but definitely not a piece of mentalism. Later I saw the diabolical nature of what could be achieved.
5=/
Due to the fact that you can add or subtract one of the nibs, it is possible to control the outcome of the 'Pen Game'. By the way, the game doesn't exist, it is simply my invention. Menta list:
"So you won the first two rounds. There is a tick next to rounds one and two. you lost round three and four, where I predicted you would with a cross. Finally, you correctly guessed round five.
I said from the start, you can keep the money if I can't predict what you were going to do, but I did!,, As
T?ecs Sdwslfmfds* smm*c&*ps ffxcp
#&mslyiruy #*p*f
SS# #;re& .rnd Errrns fi&e
So to start off, you write the prediction on the banknote in BIG
I have found that participant win the first two, then lose two, then win letting the the final round has the strongest impact. thlck black marker. After extensive trials
l-he person thinks that he is going to win then, when you win lwo, he knows deep down the end result. At the last hurdle the rug is pulled from beneath him as he actually ends up winning.
it in half (lcft to right), then fold it in half again (left to right), This
Once you have written the prediction on the note, fold
,;hould conceal the prediction until it is time to reveal it. m
Now for the opening line, "Have you played the pen garne?"
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This is what makes this effect so interesting. It assumes that the person should know what the game is. They will always say "rp#on because it doesn't exist. So this grabs their interest instantly. Trust me when i say that they sure as hell want to know about the'Pen Game' now. So you explain the game, and you use the gimmicked pen to explain what is going to happen. As you re-cap the pen place the'tail'of the cap so that it is aligned with the writing on the barrel. At this moment the cap is covering the nib.
In a second, when the participant plays for the pretend 810, you will be able have an informed guess. If you can see either the writing or the'tail'then the cap has most likely been moved and is covering the no-point end. If you cannot see either then the safe bet is that nothing has been changed and the cap is covering the point end. Of course, you are not guessing what is under the cap, but what is in the participant's fist.
Whilst it is not 100 per cent accurate, it does throw the odds in your favour. '*ff&*#' @dffsr/, w#rm{l
irlilr
ff gmf
rf wrmngflfl"
Don't worry, my chum, it has all been taken care of.
Remember that this is essentially a dry run with imaginary money. If you guess incorrectly you say:
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y&e,
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drxaafls ym*x grm* adl m# ffrrs
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l
l
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Stoff ffiffi#k #S
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*
Obviously the subtext is that you let the person win, in order to agree to play for real money. Play it as a joke and really play up the hustler aspect.
wrllrmf w* wi{# cfm fo rrlrm&m #'ftis fm;r,r'" Wepx* rarc sfrcngrmr" gxmsff'fCIm mf, $reressrrxgp cwnd I wi{& #rmfd f"f*m pmn" L4dm mrull m/mep pfay f,on frwe grmrnmsil. ffi}x, affid ts/m mi'e 6rmfmgr f"m px$my fsr" nmml rffi&r?e$n flprs trrmm"
"#'If
fflwi|;fl
ycu
Jbmwe flxm
tftmmrrgrd:r" # wi{{ prxf rn *"ffim .,{ff:flS amd "ill'rmp s# fsffiew w#rm* yc*r warrfl dcp &efmv"m yexu c$o rf, flrmfi'f esrrpfpdmmr{' yme$ rf .ffi #&n kempx 81le rp*mrrum3r, "il'f -F #drr:ar'f predfc* dcer'f fl&af ymcx wrf/ #wu Sgww wrn *#:rm .#Jffi, Srnnrpdel" w&af
ffimffi'f M/drflr*y/
Always make sure that the person realises that you are the only person risking the money. Having the person handle the pen allows him to become aware of the rules of the game. But the real reason for having the person handle the pen is so that he can feel it and know that it is a genuine pen. This is not stated. lust let him experience and interact with the pen.
Bring out the folded prediction note and place it on the table. Then you must (must.r) state that the money is his as long as you cannot predict what he will do. You will notice in the scripting earlier that I state it a few times. When I do, I say it clearly and loudly. It is ambiguous so don't worry about the'participant twigging that there is a prediction on the note,
Start the first round by placing the pen behind your back and attaching the magnetic nib. I like to keep the nib in my back pocket. That way I can dip the end of the pen in and it attaches rtself perfectly. If I am sitting down, I place the nib in my watch .;trap. There is plenty of cover in the movements if you overtly nrove a lot and say things like, ""Ifrmf $Jhoff$d f&rmwn y*u *ff{""
llring the pen out, enclosed in your fist and making sure to Ir,rvo the writing on the barrel facing you at all times. The t,rlst: nibbr:cl cncl should always be in your fist.
Don't worry about appearing to be a conrltatl ltcritttst'when you play the actual game you say: 1)
Lfrwm
33
Y*um fficxwk
{3f Lies
$
Whatever the person says, you can make it fit the prediction that you have written down. There is one move, but you must do the same thing each time. When revealing the end inside your fist, simply pull the pen out with the other hand. With the hand that was holding the pen, extend your index finger and point at the pen.
to be, you will
always
If it needs to be the pointed end, then you do nothing
as you
So regardless of what the result needs pull out the pen and point at it.
BTffi ft$lt:ii6}H q-}Y B-$eS
ruttpn
ejGffiffi.s The Power Of Money
Mentalist:
"Do you have a bank note on you?"
Participant:
"Yes."
Mentalist:
"Great! Can you take it out and place it on the table? Thanks."
pull the pen from your fist,
When you need it to be the no-point end, you clench your little, ring and middle fingers as you pull the pen out. This keeps the magnetic nib in your fist and enables you to point at the pen as usua l.
After each round place both of your hands behind your back and, if required, place the nib on the pen again. The Participanf removcm the table,
That's it!
m
€2*
hasr-k nmfe
and pfmees
,r*'mn
Play wlth different timings for taking back the note, or revealing that the person should look at it. I play it differently for each
person. Sometimes I reveal almost instantly, and other times I let the person place it in their wallet and put his wallet away before I have him get it all out again!
Menta list:
"You can move that around, right?"
Participant:
"Err...Ygah"
Menta list:
"You see money has a weight, a power to it and it's easy to be lead down the garden path. Yet for some, it won't move them, and keeps them stuck in one place. I mean it is easy to lose your grip when money is your focus. Try to move that money."
-ta-
-lt-
The
Bmmk
0f
Lies
The Book Sf LIes
Mentalist:
The Participant moves ffie nofe.
Mentalist:
"Wonderful, you are ready.
Now I want you to imagine that the shadow of my right hand represents everyone in the country who wants this money more than you, They are trying to
The more that you pull, the more that 'they'want it!
Try to move that money."
take it from you.
As I cast the shadow over the
note, realise that in the shadow are millions of
people grasping and pulling towards them."
the
note
The Mentalist places his right hand abaut locm above fhe nofe so that the shadow of his hand falts on the end of the bank note.
"OK. I will place my left hand on top of my right hand, This time imagine that the shadow contains everyone on the planet playing a tug-of-war with you. Six billion people pulling it against your one, single and lone hand.
The Participant struggles until her knuckles turn white, but she cannot rnave the note.
Participant:
"What the hell!"
Mentalist:
"It's futile. So many
people,
so
much
strength. Mentalist: l
1il
But it is fine, you can stop trying now and Iet go,"
"Try to move that money,"
The Participant pulls tha note from the shadaw Mentalist's hand.
of
llllll
Mentalist:
"Ah, I see you really want this money,"
Participant:
"Well, it is mine!"
tI
rl
'tf
.
the
fihe Participant lets go of tlre nafe.
Mentalist:
"It's futile. So many people, so much strength, But this is yours and you can take it. The ldea that people hiding in the shadows are trylng to take your money -17-
Yfum ffioqrk
St l-iem
T$'nm Sesm&q ff}'$i $L*es
disappears from your mind. goes away.
It just clear
My shadows are mine, and your money is yours. Thank you!"
ff*m Parfrcipary# fakes Jrer mtoney and, sfafe" p#mces it away in fter purse.
in a
emnfused
It not only builds up the person's ego (which is deadly for self-
deception) but also takes all the heat off the actual method. As far as the person is concerned you are attempting to use 'subliminal' language to infer that the money becomes too heavy to move. This is why the text is in bold in the scriptinq above. It should be stressed in an obvious manner. Then you speak about the shadow of your hand as being every person in the country trying to pull at the money. This gets the person used to your hand hovering over the money some 1Ocm or so above. Of course, when neither of these things works, the person feels as though they are quite strong-willed. This means that she is ready for the picking! You execute the move and she is amazed that she cannot move the note. By this point, due to her feeling great about not being suggestible, she has in fact had to buy into the fact that this process is about suggestion. Hook, line and sinker!
Explanation First of all this method is completely impromptu, which is rarity these days. There is no setup at all.
a
Secondly, do not be put off by the method when I tell you. One professional mentalist uses this at every walk around gig he does and you will see why.
Now here is the added bonus to this effect.
[:rom time to time you will find that people actually take your suggestion and, through natural hypnotic phenomena, they will not be able to move the note. When this happens you can milk It for all it is worth.
The method is insanely simple,
Ihls is strong, so put the practice in and learn your angles and hand positions.
At the point where the second hand covers over the first hand, the thumb of the first hand drops down and presses the note to the table. Your fingers are angled slightly downwards in order to provide extra blocking.
Whllst it is possible to perform this effect as a standalone piece, I thlnk that it is far stronger as part of a large demonstration of 'strength removal', or to include it as part of another effect,
There. Told you it was simple. But wait. There is more to it than that.
r'ft,/
l
Whilst that is the overall method, it must be disguised, That is why the person has two experiences of movlng the money after you have requested,
ll
-ta-
-t0-
T'tum Wmmk
()f t*ms
Y$r&
tr}[mm$(
ffS *-iem
nttrn
c)ffifitrtu Stuck In The Mud
Menta list:
"Do you have some pocket change
on
you?"
Participant:
ttYes.tt
Menta list:
"Superl Just take that 2p and place it on the table, and put your index finger onto it. "
The Part*r,ipanf does ffrrs.
Mentalist:
"You can move it around freely can't you?"
Plrticipant:
"Yeah."
Mentalist:
"Yeah, obviously, because that is land?"
Ftrtlclpant:
"What?"
Mcntallst:
url
.L-e-dtr"*
"Well, this entire table is land. But there is massive mudslide up there. Running across the entlre table. Just imagine it. Where ls lt? Polnt lt out to me."
a
.ll .
The Ssok
Participant:
"It
0f
l-[es
The Beek Sf
L{ms
But now push
is there."
it
through the mudslide
again."
Participant:
The Parti*ipant imdfcates a line with his free hand,
"WHAT!
f
can feel
it
moving through
the mud, but it was fine over the bridge."
Menta list:
"Exactly. Mentalist:
Now slowly move the coin to the edge of the mudslide."
"The really strange thing is that... this is is just a coin...so
just a table and that snap out of itl"
mudslide, Mentalist:
I want you to really see the mudslide in your mind and, when you can see it, start to move the coin through it." "Now,
Explanation
Ihe
Partir.ipanf sfarts maving the coin throwgh fhe 'mudslide'and it is visihly slawer than before, Mentalist:
"You can feel it can't you, the coin through treacle."
I can, that
This effect is a really fun way to apparently demonstrate the powerful nature of the human mind. The effect should appear as though your words, along with the person's imagination/ are able to create an imaginary world that can be felt and experienced through the sense of touch.
It is like moving
Whilst this may not be the most ground breaking effect to perform it is certainly a great lead-in effect for any form of hypnosis or suggestion. It is also great for some informal fun, or as a conversation starter in a pub, which will enable you to then talk about suggestion and then your role as a mind reader.
is wel! weird!"
Participant:
"Yeah
Mentalist:
"Now I want you to create a bridge over the mudslide, by drawing a line across the mudslide with your free hand."
It
The method requires that you need to buy the strongest neodymlum block magnet that you can find. You then buy a Strong elastlcated sport support and put it on. Once wearing the support you push the block magnet underneath it. Position
The Participaraf does tfifm, Mentalist:
dr
ls fun, and should be treated as such.
the magnet so that lt ls Just above your knee.
"Push the coin over the brldge freely.
*T
r[r
Y&qm ffimm*q
* $1# *Sffiffi*{ r."}E
CIf tuiem
mllre,
All you need now is a steel cored coin. As far as I am aware, nearly all currencies in the world have at least one coin that has a steel core that will be attracted by a magnet. In the UK this is the newer 1P and
2P.
&-tes
e76ffiffi,s BI-FAW: Billet Index For Any Wallet
Have the person remove their pocket change and grab the coin that will be attracted by the magnet.
When the participant places the coin on the edge of the mudslide, simply raise your knee to that area. As she passes the coin over the magnet she will experience drag. But due to the visualisation it will be perceived as dense viscosity' Lower the knee for the bridge part, raising it again, when the person crosses over the mud.
If you plan on doing this on very thick tables, then you may want to consider a gimmick magnetic coin that you switch out.
I adore gimmicked wallets. My wallet of choice as of writing this book is the'Hideout'wallet from Outlaw. It has the most ample space for billets as well as a devilish peek. Billets don't seem to be en vogue at the minute, but I find that there are many amazing things to do with an ample index, One of the essential items that I recommend to any budding mentalist is a wallet with a billet index. However, I hear lots of 'reasons'as to why pupils will not buy one.
Often wallets are vastly overpriced for the mentalist who is starting out or for a person wanting to try out a gimmiiked
rli
wallet.
Other times the student will have a wallet that was very to buy, or has sentimental value. Therefore, he will rrot want to place his wallet into a drawer in favour of a
I
r,xpensive
qlmmicked one.
lloth of these points leave the mentalist without a strong tool lhat can be carried with them wherever they go. 'ro a few years ago I set about creating a way to index billets in .rrry wallet. That means that you can use BI-FAW in your r,xpensive or sentimental wallet. If you are young and don't w,rnt to carry an old style wallet, then you can BI-FAW your Ircndy wallet. I vtr-l lf you have an index space in your wallet, BI-FAW will r.rr,rl)le you to have even more billets available. This gives you a rlrr,,rter scopc for storing billeted information, or enabling you lrr lr,rvr, two billct cffects in one wallct.
-aa-
-at-
Yhe
fr$apelI<
Sf fi-fimm
The best thing about BI-FAW is that it will cost you around to make and will last you a long time.
f4
In theory it should work with every wallet in the world. I have yet to see a wallet that this principle would not work with. But I am reluctant to say it will work in every wallet as I will end up with an email from some weirdo sending me photos of his wallet. If that is you, please stop! What you will need:
. 4x
very thin circular neodymium magnets, 1cm
in
Construction
I will take you through the construction step-by-step. Hopefully this will enable you to understand how you will be able to apply this method to your own wallet. Step 1: Take the business card and stick two of the magnets to it using the double-sided sticky tape. Make sure to stick the magnets on the non-writing side of the business card:
diameter.
.
1 x business card from an accountant, lawyer professional,
.
Double-sided sticky tape.
or other
Either regular Post-It notes or indexing/reference marker Post-It notes, depending on how many billets
you want the gimmick to hold.
Your wallet. If you do not have your wallet, please stop reading this book and contact your local police station! Or wait for your wife to come home from shopping and take it back off her.
Overview The basic premise is that the billets will be stuck to the back of the business card using their own repositional glue. The card will be held in place with the use of the small magnets. You will display one billet in a section of your wallet and explain that there is a prediction on it. Close the wallet. When the participant answers/ you open the wallet lifting up the business card and taking the relevant billet from it.
-46-
Stap 2: I'lirce the business card on the right-hand side of the wallet, biased to the right. Make a note of where llrt,rragnets on the business card are and place the other two rrr,rr;nets in the card pockets of the wallet so that the business ,,rrrl wlll bc hcld in placc magnetically, Stick the magnets to the
l.ntral but slightly
-17-
TFsm Smmk
()f
lll'hm
Liem
ffimqs$q
#trf
fi^ii,s*m
wallet using the double-sided sticky tape. Make sure that both magnets are attracting their'partner' and not repelling them: Step 3: All that you require now are the billets. You will need to fold the Post-It note in a certain way in order for only one side of the folded billet to be sticky:
Take off a new post-it note and hold it so that the sticky line is along the top, but at the back of the note.
i
i I
I't I
Magnets wil! be inside the card pockets, as highlighted ln the abovc lmagc. l.i,
.
at.
-at-
i$"he
ffievq*$<
Sf [-**s
Y*xe
ffimer$q
ffif
$-fi**sr
Notice (in the photographs on the next page) how I have allowed the billets to overlap in the same way that roof tiles overlap. There is a section on the sticky side of the note that is not sticky. This is the section that overlaps onto the other billet. Make sure that none of the sticky touches the other billet as this will impede the removal of the billet. When removing the billet the area that you will grab will be the rounded edge. This overlapping will also allow you to remove a billet by feel alone as you will be able to know which billet you are touching by counting the notches as your finger moves over the billets.
Now fold the note as if you were closing a book.
Portrait View Fold the note in half again, but this time downwards to form a square. This will leave you with a square billet that has only one sticky side. Write whatever you want on the billets and stick them to the back of the business card using their own repositional glue strip. For now let us assume that you have wrltten the numbers 1-10 on ten billets and stuck them to tht: r.ard. I
h
-
t0.
.tt.
YI'xm ffimmfitr ffiS $-*mm
Yhm ffimmk $f $-ies
Landscape View
Urlng BI-FAW
so we have the numbers 1to 11 indexed in our wallet. we open our wallet and point out the single post-it note that is tucked into one of the pockets on the left hand side of the
Step 4r An extra billet is required and will be tucked in, but on show, on the /eft hand side of your wallet. on this billet will be one of the choices. In this example it will be the number 9,
wallet. You explain that on that post-it note is a number between one nnd nine, and that you know it is the number that the person
wlll choose
lhe wallet is closed so that she cannot peek and cheat' she names the number nine, then you can open the wallet nnd let her take out the single billet by herself. However, she rrdmes the number four.
lf
lhls requires you to use the BI-FAW. You open the wallet so thot oniy you can see inside. As you open the wallet, your tltumb comes into contact with the business card and lifts it up nlortg with a side of the wallet.
-az-
-tt-
Ykm Smo$<
0f
Yhw
$-Bes
ffimqpBq
ffiS
$-$mm
Ihe wallet is closed. You hand the participant the billet. The deed is done!
Some Extra Awesomeness One of the very cool extra benefits of the BI-FAW is that it is r
Thumb picking up the business card
I qually, if someone were to try and call you out, and ask if he (iln see your wallet. You can, with your hand in pocket, thumb off the BI-FAW in the same instant that you remove the wallet from your pocket. It could then be fully inspected.
You will remember that at the start of this segment I rrrentioned to use a professional business card for this effect, .,trch as a lawyer or accountant.
llre reasoning for this is that when the wallet is opened to rllsplay a loose business card, it should look as though you have pcrhaps just had an encounter with a professional who has ulven you his card. This card has just been deposited into your w,rllet for the time being. This is how it should appear. This is lhc subtext of what people are seeing.
lo add to this subtext, write a price or telephone extension rrrrmber on the face of the business card in pen. This is the rr.,lson for keeping the card in the safety of your wallet. But get ir frlend or relative to write the information so that it does not nrrltch your handwriting. Although, it is feasible that you would Ir,rvc made notes on the business card, it is more feasible that lltr, owner of the card has done so.
The outside edge of the wallet screens the deception
with the selection of billets looking you right in the face
you reach over and grab the billet that corresponds to the number four and remove it. From the participant,s point of view you are removing the billet from the exact same side as she expects it to be on.
-t{-
llrvlously, the numbcrs onc to clevcn would be a pretty crap w,ry lo usc.l [rlllct inclex. Tltc pcls:;ll;llltles for this index are as
t
k
-lt-
Th* Book Sf Li*r
Tkm ffi$mok Of l-ffes
if you use smaller indexing/reference marker Post-It notes, you can. get anywhere From sixteen to twenty four billets on the BI-FAWI limited as your imagination. Oh, and
The Coinless One
The Mentalist opens up his wallet and flashes a n6or, colaured Past-It note far a few seconds, Mentalist:
"You didn't see what was written on that did you?"
Participant:
ttNo.tt
Mentalist:
"Perfect. What is written on there is your answer to a question that I have yet to ask you! Presumptuous, I know, but all imaginative creative types end up choosing the same th i ng.
Imagine that you have a coin in your hand. What coin is it?"
Frrtlcipant:
'A E2 coin."
Mentallst:
"Now imagine flipping it in the air. Does your E2 coin land heads-up or tails-up?"
Prrtlclprnt:
"Hc!d!-up."
Yfum Sq**$<
Menta Iist:
"So a
f2
Sf [-$ww
coin heads-up.
Do you want to change any of
your
choices?"
Participant:
Mistress Memory
"No."
The Mentalfsf opmrws *xp h&s wallet, tmkms mu,r#'flle Posf-#f nofe and hands f* fm fdrc* g*wrticipanf, fo open, M
enta list:
"Open
it
up and read what
I
The Mentaftbf r"erp*wwdps *r sfaek turns them blank sidw l,ap.
knew you
would say."
Menta list:
Snce opeflredf r# *"mmds "#3 fieads-&,spg"
Participant:
"Get outta here!"
sf
&usrress eerds and
*I find the subject of
memory very interesting. We find it to be so stable and we base a lot of our sense of self on it. It forms who we are. However, it is so unstable, changing and alterable, if you know how. Wanna take a quick memory test so demonstrate?"
Participant:
I
can
"Sure."
Explanation 7he Mentalist remowws,is
a business card.
For a long time this effect was an opener in my walk-around It always got great reactions, despite the fact that the method is amazingly simple.
ff{is#}
and fesfs
rtr mn
fhe carner af
set.
Mentalist:
"Right, I am going to draw two shapes, one inside of the other."
So simple that only two words need describe it:
two shapes imslde of eae& of#rern mnd lhen hands the participant the pen, The shapes ffirffi a trlangle and a circle. Tha Mentalist draws
BILLET INDEX
{t/ -tt-
Mr,nlalist:
I
"As thls ls a test of memory I will allow you as mur:h tlnre as you requlre to lock -
tr.
$ fi'][,$*
ft$#$$(
T'fuex ffie*qpk
q-py fl-fiffis
ffif
Lfimm
those two shapes in your mind and to memorise which shape is inside of which.
When you are happy that you will remember this information take the pen
Menta list:
Or even if you can remember
This is a contract by you to say that you had sufficient time to memorise the information. You won't be able to use that as an excuse later on.
you about giving waY. But then..."
The Mesrtalrsf cfmps furs lrmnd,s /CImdfy. Menta list:
Participant:
of
forgetting to remember just disappears, leaving you with an inner centre, a
circte of
inforswatiam ther* srgn*xs ffie car"d, Slxe turrl"m Sfiu:l mard eivm*' r? on *&w fm&de rm fnmmf af hwr ms ds?sfr{rcfed.
Tell me. Forgetting the order, for now, what were the two shapes that you were
I want you to
flhe Memfafrsf pmru,wes end urdreks kis fingers rt i*i pa nf finrs&*rs #rrs senf,ervme,
c.rnfs?
trying to remember?"
Participant:
"A triangle and circle."
Mcnta list:
"That's correct. You know, this doesn't always work on everyone.
ffie
Which shape was inside of which?"
pa
Participant: "Tongue?"
'co'
PersistentlY
you are solid in your mind.
"Look at me.
remember a time of forgetting. One of those times where you're watching a film, say about a plane circling the Bermuda Triangle, but you just can't remember that actor's name. It's just on the tip of your..."
calmness.
triangulating around your thoughts until you have the answer and you know that
and places
Participant:
"...you get it.
It all fits into place and that feeling
"Fine."
X*e &mrfveapanf fakes m&out JS mweonds fm rmeirylmrfse tlre
Menta list:
right
backwards to your driving lessons where you have an all round knowledge of signs, you know the circles inside out, but the Invert that Triangle still confuse
and sign the card.
Once you have signed it turn it over and place it in front of you. Once you turn it over you must not cheat. That means no looking at it again until the end of the test. "
"Thank you.
"The
Circle
trlangle." '61
'
was inside of
the
Yfum ffimqlk ffi'{l
$-Bmm
Explanation
Iflrc* $fen fadr*rf' snpdes,
"Is that honestly what you think you remember?"
running around the room shouting...
Participant:
"That is the way it is. The circle inside of the triangle."
ooo0$#CI0#d)trffi #ffi #0ss00(}CI$ffi ffieffi ffi #ffip#0sso#sffi ooooffi oo#ffiffi ffi ffi 0# aaoao #$ffi #ffi ffi ffi ffi 004 * ! *
Menta list:
"Well then we have some success."
at a number of different gigs. Mainly because the premise of a grerson's memory being altered is a fairly disturbing one. It is rllsturbing, but also very powerful.
Menta list:
fl#re Far,frmrpanf foo#rs mmnf*ysmd and rmmrlfles for fdb*p crmpd, d*r mfie f***,rms ff olrer" s/yep can see fhaf slrm fs imemr"r.maf', "frf rs fl"fre triart.g{w *fiat rs rmrmrde of *,#re rr're$e, "[t rb f#e sffif,rlds card, wr"tfi frmr wignaturer w&icfr m&e can &ewpx ** r*miwd &mr
of
lrwn $mfffnEr n*mmmr"yI
Mentalist:
"Perhaps our memories are not as solid to influence as we would all like them to be!"
lhis really freaks them out. Seriously. ",vooomm0CICIffi #ffi
ffilIffi
I
sCItrs000CIoCI#{3ffi
have had people ffi ffi ffi
sos06ffi
m d;p
lhls, my friends, is the 'Out To Lunch'principle at work. You {An use any out to lunch method. However, I prefer to use the 'Out To Dinner' gimmick by Doc Eason.
ltrstly, it looks a lot classier to carry your cards in a business r rrrd clip, rather than a rubber band. But secondly, I have found a very cool subtlety for the users of 'Out To Dinner'. or those that do not have the clip, it is a metal clip about 1cm llrlck that goes around the business card stack and holds it loqether. If you stick the half card to the inside of the metal r llp, using double-sided sticky tape, you will be able to pull the Iull card underneath it (so that it is out-jogged) and the half rard (due to friction) will move in alignment to the full card. lhls gives the illusion that the half card is the same card that is lrr.lng out-jogged. Boy I hope that made sense! I
llre lmportance of the out-jog will become apparent shortly. I or now just be aware that you have a stack of business cards llr,rt all have, on the'top half , a drawing of a circle with a Irt,rngle inside. Also, as an added convincer, there is a pen
!(lrtqgle in the top right hand side of the card.
llrr,h.rlf r
-62-
car"d has
nnl(,t, btrt the
the same pen squiclgle on the top right hand wllh a circlr: inside.
inrirc.;c is of rr ltiirttq;lc -
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]ll
$sm ffi nrrs{r fl\S ( ims
Remove
swear blind that she has got the shapes the wrong way around later.
hand corner and say o'Y&ip, r* wmr'/rxr,'" Make the squiggle about 1cm down from the top of the card.
For the most part the fact that her signature is on the card, as well as the apparent haphazard squiggle in the top right hand corner/ will suffice.
a pen (make sure that it is the same one as used to draw on the cards in the stack) and check to see if it works. Actually, do nothing, but pretend to squiggle in the top right
Then pretend to draw the image. To simulate the sound of drawing you way want to rub your fingernail against the card. Once you have'drawn the image'grab the first full card in the stack and lift it gently, but enough so that when you let go the card sticks up from the deck. This should apparently be for ease of removal later. It is for easy removal, but it also shows one single card. This is important to the perception of the pa rticipa nt.
Now pull on the bowed card about 1cm out of the deck. You will notice that the half card moves 1cm in the same direction. This gives the perfect illusion that the image on the half card is the one on the card that is now jutting out of the deck (and that is
also bowed). Be careful only to move the card out by 1cm otherwise you will expose the top right hand squiggle on the next full card.
I would suggest using some form of script that incorporates the different shapes, Make the apparent subliminal messages very obvious as it makes the routine a lot stronger. Do not be tempted to have the shapes change or anything too clrastic. People won't believe it. I have tried many variations ,rnd have found that allowing the person to get the shapes r:orrect first of all is paramount. It will appear as though your crappy overt subliminal messages just didn't work. The participant will feel elated. Then, as you almost give up you ask her what the orientation of the shapes were. This, rather ,tpparently small detail, is what will vindicate you. The effect will be a success. She will feel more of an impact because just ',econds earlier she felt immune to your'powers'!
Have the person memorise the image then sign the lower half of the card. Then you must turn the deck over at fingertips and explain that she must not see the image from now on/ as this is a test of memory. At this point the jutting out single card is now on the bottom of the stack.
Ask her to grab the end of her card and pull it out and keep it face down against the table. Once the card has been removed place the deck in your pocket. The work is now done.
If there are a few
people with the participant, make sure that they do not see the half card at any point. lltott, once the full card has been pulled out, say, "Oh dott't look, bttt lift it up to show your friends." Tltis i" ,r lrtl utl('l ,t'|, lltt' ft'icttds will -
61-
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ffiexqp&c
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Thffi ffimqlk ffif *-!em
l-[ms
ru
tlr
rr
ele6)6trfu Can't Touch This
Whilst this is not strictly an effect, it will enable you to perform a certain effect in the cleanest manner possible by modifying the apparatus. The apparatus is'Decisions' by Mozique. For those that do not know what the effect is, submit a Google search and you will see many reviews and purchase options.
lf you own the cards then you will no doubt get a lot of use out of the following. To preserve the method of Mozique's creation i shall attempt to write in code. I hope that it makes sense! WARNING: X hold n& n"ffisp&nsibfiff$ty rlestroy youn gimrnlc&q" ffie ces'sfe/Li'
if yan.n frmmdvertently
lnke the special card and place it, writing side down, on the lirble. Slowly lift off the back layer using a tazot knife. We will lrc modifying the middle of the mid-layer. (ir: to a supermarket and take a magnet with you. You require a .,oda can that is made of steel. You will be able to find one by lhrowing a magnet into the chilled cabinet. Buy the can it sticks Io and enjoy the drink. Yum!
When you have quenched your thirst, put on some safety gloves and grab some tin snips. Cut off the top and bottom of llrr can to create a hollow tube of metal. Cut from the top olx,nlng down to the bottom opening in one straight line. This '.lrorrld enable you to unroll the metal into a flat rectangle.
-6C-
Now rlrr-'.rsure thc sizc ol'lh('tnirtdl('of the mid-layer of the 'Daclslons'crlrd. Cttl ottt it plt'rt'rtl tho s;tmtt size from the -Qr-
"$"Fxm ffimm&q
Sf
metal sheet. Then trim off 2mm from each side of that metal piece. You now have a piece of metal just slightly smaller than the middle of the card's middle. Place this piece about a week.
of metal underneath a flat heavy weight for
once the piece of metal is flat, stick it to the blank side of the middle of tfre card's middle using a strong adhesive. Leave this to dry for at least 24 hours before following the next step' Re-apply the back layer of the card using adhesive and leave to dry for another two hours'
You have just created a'Decrsions'card that can be turned over by the participant 100 per cent of the time. other than placing down the card and pushing it towards the person you will not have to touch it.
one extra piece of equipment is required, but I feel that the benefits of this modification are worth it. The required
equipmentisalargemagnetandalegsupport.Strapthe supporttoyourlegandplacethemagnetunderneaththe support just above the knee area.
I
I
Yhm
t-&mm
Imagine that you are sat at a table with your participant. You plac6 down the card you think she will choose. This is the gimmick card. It is set to default as 'Yes'. If she selects 'Yes', [hen you push the card forward and she can turn it over. However, ii she chooses 'No', you simply raise your magnetic knee to touch the underneath of the table below the card, and then push the card forward. when the participant turns the card over it will be'No''
ffimmffq
ffif
on the table - but without the need for a leg support and big teck-off magnet. You may, like me, have an ultra-super-duper-mentalism-wallet' It may well contain some magnets that keep the secret section closed, If you take the cards from the wallet, then place the wallet on the card you decide upon (as if to stop you from r;hanging your mind) then, depending on how you lift up the wallet for her to take the card, the outcome will change'
what is even cooler is that this in no way affects how the card ls used normally. Say something went wrong and your rnagnetic'something'flew off and attached itself to the hip of irn elderly lady (who is subsequently rushed to hospital due to llelng knocked to the floor by the impact). You realise that she took the magnet with her but you can still use the card as per tsual. know that it might seem like a lot of work, but it will really nllow you to be even cleaner than before. Remember the 50 per ront of times when you didn't have to touch the card. It felt Ureat didn't it, as if you were a real mind reader? Well, this is a way to get that feeling all of the time'
I
You may just choose to use it towards the end of your routine, I0 add some sparkling cleanliness to the effect. or use it when you have a particularly awkward person who is asking why you irre touching things.
Wltlchever way you choose to use this, nble to get a lot from this modification.
Pretty cool, huh?
It gets better. PK ring, you can place the card on to the participant's hand and then you can place your hand hovering over i[ and ask her to make her decision. Depending on what she selects you will either take your h;rnd olf to the left, or to the right. This will make the samc rhittttlt',t'. when performing
If you use a
.
ta.
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I feel that you will be
Y$'nm ffimm$q
&f E-frlcsm
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PSYCHOKINESIS EFFECTS
"Live your beliefs and you can turn the world around."
- Henry David Thoreau
- 70.
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Yh,r* ffiex*k ffifl
fi^$ms
ftq[#n
cffitrtu Haunted Key Presentation There are various ways of performing the haunted key effect. Whilst it has been a long time since I have used a haunted key, I did used to use the cupped-fist method, as it is far more deceptive than the flat open-palm method.
Whilst most people dismiss the haunted key as being a very basic and 'newbie' effect, I think that this presentation elevates the effect as well as allowing for the strongest outcome; the key turning in the hands of the participant.
"I
wauld fm drmw yserr affenffon *w t&tis key an rmy &ey Actwallyru .I pnm&m&fy darn? need fcp drmw yautr attentfom t* cf. as it rs preffy s*Tmmgnm*dmmkrrg im
ring.
compariswn
to most &mys ffrese days.
It is a ser&tfe renrc$dmr ff*m* nnre are all sdmwms tw our *z,ryw p
ow e rfu # scrfi conscfous nrrrpd,
A few years ffiS[fir r]?y Besf frrendk dm,l# fiad dred mnd f fiad been asked fm gfm and swrt mu*f smmre of f&m &mxes wrfft hlm. Whilsf gnmrmgr thraug&t a Sox -ff marne ##rsffiiii ff&rs kep" When I asked my friend mrffimf irf raras fmlr&m smrd, "OIr f/bmf would have heen ome sf dadk wwrk kegrs. &fe vworked af the prison years aE&,"
it hit me. The lcwy that f uras #uwlding woudd &mwe been a treasured possessror?, ff was fneedelrn fei f}rm Irrntates, but also freedom to come and go for {'$re workers. On the flip side, that key kept those people whw we do not want in society locked behind doors of stee/ rlayes of their own decisions. Then
-72-
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It
ffimep$q
ffif !-i*s
T$xes #l$mmk
rnay just lo*k iilre a key, but ff fias a lot cf, power'. ffmr ff cmrx sfrmw ycl*x &mw wdil ffis"ffi mdf sdmwms fm our
Wmcr scrm
r**rmdg"
r? rs pmssr$/e *m y:ll/mcm *'Srrs &ey r;n nry #lwrxd and,
ff *:mmnm#' mmmmmrmuxmfSr mm;mfrmd enf rmfcro m*uvsmrxfar s??&r/ermes?fs, m*y ;rrrv&mcpr*smrmwm wind can, flflis wi{& *mwW#e it ts turn the key ur{*ifst ft resfs flat ow tN"ty pw{rm"
Pool Hall Cheat
mr#rffsf
.$ee
t*rrmrngrn r#'denrmrvs#'r"mffms f#raf rmy r**rnd amn*nmds rrl ways fftaf J cmffirrof,
rd"
hody
Again, this is not an effect but more of a principle that handy to keep in mind.
nry
Your sry&cmnsciaus nnindu latewt bu* pmr*r*rfw{u
if y&{t dm nst
i*
will
movw happen
fffirs
kmlfir"
llold
owt your arm awd place tke key on yo,.rr palm,
ffwen
*#v&wk mmrxserme*sdyn ycxcrr- scr&,rrmr*sermexm wrfd rmamffes* rt"
Seel Sexpl
Wmeir dfeffitresf xr,edf
feel
After extensive searching on the internet I finally found a magnetic cue ball. I placed an order and waited excitedly for the package to arrive,
When it arrived I opened the bubble envelope in frenzy. Took the cue ball upstairs to the study where I noticed an open pox of paperclips. Ever the eternal child, I dropped the magnetic r:ue ball into the box of paperclips.
rs fa$rmgr &ver',
[4/e mre som*'nmdfmd$"
llut when Io lt.
The stony used to be neceived veny well indeed" It not *nly brinEs the participant ints one of your rnernonies, it wili explain why the key doesn't look like a monrnal mne. These lraumted keys dm flnmk m nnt like prisun $
I
Some time ago I had the need for a cue ball that had a magnetic core to it. i wanted to perform something similar to 'Equinox' by Christopher Taylor.
&q/#rsf ymu.r fo a{lww {hw l*wy fm s#rmw yww yrour trww ry*asfep'" -Ius* /mm& ffif ff?@/ arpd &emr" rortlr deepfy, ms -[ spea*,
fiiww K
see
fi-*ms
nqlpn e76ffiilis
mxmrmpfe,
muqd#tt s&f#pgcprp,wmirmuxg
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I
pulled out the ball, not one paperclip had adhered
"ff&ey nrsysf Oe mmde mf alasrmrm iutffilnu {irabbing some coins that I knew had steel cores, I tried in vain Io make them stick to the cue ball, but nothing.
touch.
I r alled the company on the telephone straight away:
the key ;tnd t|ris prmarnhle rs,ilN rmake the monnent thmt iittle blt ffirmr# spflcilerl. llt frs a great conmectlve effect amd it is lrynrth *ver secmrxd of pneanrble to get to the hit whsre thm $
"Hl, yeah, I bought a magnetic cue bal{ frorm yww th* other week via the internet. I got the cue ba[{ ttx&s ntorning but it isn't a magnetic one. I think you may have accidentally placed a regular cue bail into the ortvelope instead of a ntagnetic one."
scneaming her head off.
-74-
l
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T'$'*u*
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'uffifuu E'6'3r \rffi$"W sffi$'try mB*mwft fthcnt. E ur$ll* ,96mfi m mm6mwtfie ms'lm frm ymuu wilm wpmw$m$ e$e$$wmry $m &fue rsextrk fmqtr dmyw" ffiwn st*s' nm*uarw*m gxmff*cy *mm b*drffi mtm*m wkmt $s wnmm6 qnrfr{ifu tifu*:
*ut
Bmqlk
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"Tl'rat
il-$es
Em fum*;amm,** ftfuerm 6* m wamgmet $m *;xeh putr$m tthm cq.$m fumB$ [x"t*q*r alr diffmrmwt sq]*{l}#sr."
pmu$**t
tBna:ut
"ohg"' n's{rre ttzing,
ft
"h{lffiq*d d6u* pmru
"I
placed
sfuc/<
/s#?'f rmtrgmefrc,
it in a 8ox erf paperctrrps and rvwf m srmgle one
ta it!"
n'Eecause
"Bs*'f
if
iiser'*
rf
r'*r m
im"a;xgr"*ml*$e, X&
th*
pmpmrm$ii6:nm mtfrm$<
to It?"
bffid/"
"
C'mon, don't act as though you have never tried to blow on the pool balls to get'em to move!
$ysffi&ns i& $m mfl&rrmm{:md E:y sffiemffiefts, de.Be
ts
Ai*ffi
fisss."
{l,{immffw
What really sells this effect is the lag of half a second before rnotion, It looks really creepy and adds to the layer of cleception.
*Well, what use fs thmt?" '*Vsffi
I donned my PK imitation wedding ring and waved my hand over the cue ball. For the first half of a second after I had waved my hand nothing happened. Then, after an initial delay, the ball started to roll. I was shocked, as this particular ball is the largest size that is used for pool. I rang the guy up and asked him what proportions of the UK's pool machines are coin play ones. He told me that over B0 per cent are, at a conservative guess. That means that you can walk up to the majority of pool tables with just a PK ring on and make the cue ball move with simply a wave of your hand. This ls something that players have been joking about since the conception of the game.
fu*m m Smrrmus ffiffiflffi,u'
magrnefic cue
ww$rfrmfu
fenngs*m
hEdBtW nnvmuufrq$
rb rmagrmefi#J"
frff
uuYes,
This was extremely frustrating as it meant my work on the new effect had to go on hold. But after I had calmed down I realised that this cue ball was very responsive to fairly small magnets.
{t*st thmt?"'
'"W#!8, *hvdwr"rs8yu
**fl1dffiu
"
(io and have some fun with this!
ths
qnrhmw ymxx ga$my pmm$u m&hwp fixmflfim m&my htl,u& &h*e ca*m fumHl$ $cmmps cmmr$m6 ffi&$t?o'
Hkm rmmmfr*fimm,
o'Yeffft""
in
WARNING: If you gef Oeafen up fwr mww#rxg a gwy's Mal{so cven without touching them, dorv't cor?re crying *a rwe!
(t/ -76-
-rt-
Heavy & Light Confectionary This is a quick quirky idea that I used one Christmas. I am not sure it has much in the way of commercial application, but it is a nice bit of fun for your family and friends. You will require a box of chocolates such as (in the UK) Roses, Quality Street or Celebrations. Essentially, for those not in the UK, these are boxes of small individually-wrapped chocolates. The boxes are made of cardboard and the sweets are a mixture of hard and soft-centred chocolates.
Before proceeding, you will require your trusty leg support and magnet. You will also require a ball magnet. This is the type that, when you throw two in the air, they make clicking noises as they bash together, You only require one of the balls, though. Wait for the chocolates to be opened then, at some point, take a soft-centred sweet and unwrap it. Squish the ball magnet into the middle of the soft cantered chocolate and wrap it up again. l)lace it at the bottom of the box. When it is time to perform the 'heavy and light chocolate box' you simply ensure that the box is on the table, over the area where your strapped knee is holding the magnet. When the knee magnet is against the table top, the box will be heavier to llft. When the knee magnet is lowered from the table top the lrox will be lighter.
ll anything is suspected it will be the box. I had people tipping out the chocolates and scrutinising the box. But nothing was to lrr,found. Oh, and make sure to retrieve the magnet from the r lrocolate before somebody eats itl
rs/ - 74.
-79-
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Y$qut l$Smm$q
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nqlpn
0i6)6frtu Mentally Moved For about two years this effect took pride of place in my twenty minute parlour act. It is an amazingly powerfully demonstration of the human mind. It keeps to the idea of psychology whilst still having the gasp factor of a psychokenesis effect.
was one of the most talked-about effects when I lectured alongside David Berglas (clang - name drop) and Marc Paul (clang - name drop) at Tabula Mentis in London. Not for the method, which is in itself fairly transparent to any budding mentalist, but for the twist of performance that I gave it.
It
The Mentalist ffs str'mmd mexf fo a #m&lm" ffire rf' are ffiree wine glasses grlaced in a rst r. ffi/f cpfl flre g/asses sre upside dowm mnd &ave beer narmr&ened mree fo three sn
the bawl Mentalist:
mf fdre
glass by a large &/mck m*arker.
"The human brain contains a
hundred
billion neurons/ each one as powerful as a large computer. However, we rarely perceive this immense power in action.
The most sophisticated computers that we have on this planet would be incapable of taking on just the muscular movements of a human.
Idiomatic response, the tiny muscular movements involved in balance, work on
such an lnvlslble level. They are undetectable to the point that a person . a0.
-tt-
Yfum H$wmk ffif &-[mw
playing with a Ouija board would swear that they were not moving the planchette.
Menta list:
find the one single word that it associates with powerful movement. Then, please, tell me what it is. You are fully able to
Even the first cup of coffee in the morning is saved from spilling by these hidden and miniscule movements of our hands.
speak."
Could I try this with you Please?"
Participant:
?r"fie p*wr"ffcrBmnf
"Sure."
nxmk*s frrs wmp
fo
*'fre 8a&de arwd fa&es
"I would like you to allow your mind to
Participant:
"Quake."
Menta list:
"In a second I will count from three down to one and click my fingers. When I get to one and click my fingers you can open your eyes, be wide awake, alert and refreshed, but not before.
m
SMdE.
Three, becoming aware of your body once more.
Menta list:
in that express elevator,
"Just ignore what is in front of you for the moment.
Two, stepping
Would you take this business card and secretly write one, two or three onto it please. Then place it down on the table, hiding your number."
One, eyes open/ wide-awake, alert and
coming up, and up and up. refreshed.
Are you OK?"
Participant:
"Done."
Participant:
"Yes."
Mentalist:
"Now, I would like you to take in three large deep breaths for me and, when I snap my fingers, allow those eyes to close... just placing you into a pleasant
Mentalist:
"Wonderful. Now I will explain to you the process that I wish you to follow. Please listen carefully. First of all, place your hands on the edge
state of vulnerability. "
of the table, like this, with your thumbs underneath.
As fflre fldenfm/isf does this, the participant closes his eyes and beaomes hyqnotised.
-82-
Now, whilst keeping your
hands
yoLlr rnirrrl lr,pt,.rl silcntly your
chosen
complctely still and not moving them, in
t
-tl-
*l
Yhw ffimmk ffiS
]$-hm ffimmk ffif'$-*mm
6-$mm
number and word, number then word, number then word, over and over again' But the entire time you must try and keep your hands still. Do you
Participant:
fully understand?"
"I was thinking of the number three! That is insane!"
"Yeah."
"Great, now do not trY to move anY of these pens with your mind. That is not possiblel Simply repeat your number and word over and over again, silently to you rself
,
OK, go! Say it in Your mind, louder and louder, as if you were screaming it at the pens. As if you are trying to push the words from your mind towards your pen, over and over, never stopping, relentless, powerful strong. Do it now! Do it. DO IT!"
Aff;'mr abaw* t#xirtW smc#nds fl'#re pen erm glass arunv&er */?r'ee ,?$$Md*r$$ ancs fulfs wff ernf*r *ke twblwu &u* pgsls *"mnravm cpn f#re gfmsses,
ffle mffier fwo
?'fie par"fserpmmf fs s'fios&ed mnd mnraxed,
Menta list:
*fim
audrensm.
Participant:
f&m Menfailrsf fmdres evsrf f#rree fualtgswint Peffs' m$d dff/acms osae dpr? mms$l erf Sfre mrdme $llwsses" F&m pens are lrorrsonfmd mm tlre f#,mf &ase ofl ff&e uptwrwwd wrme grdmssc*s,
Mentalist:
Thw pmrtxerpamf 6rre&s {rp f/be cmr"d atad *rfrmws
Explanation Most
of you will have realised the method for this effect
Banachek's wonderful PK Pen.
had decided that I would only perform effects that iould beixptained using psychology. A lot of good effects, therefore, took up residence in my magic drawer of forgotten lhings. This included the PK Pen.
A long time ago
I
well a friend of mine ended up moving some distance away and would come back twice a month to visit friends and family. llaving seen all of my good effects, he asked if I had anything clse. In a joking manner I explained that I had a magic drawer 6f forgotten things. Thereafter, it became a ritual to perform ,,omething from the drawer whenever he visited'
lor the main part the effects in the drawer were, well, shit. It llccame a bonding time where I would perform, he would laugh hls socks off and much merriment was had'
tlrrtil, that is, the day where I performed the PK Pen' I waited Irrr the accustomed response (not that the PK Pen is a bad ltroduct, I was just used to performing for laughs with him), but It never came. He was amazed'
"What was the ttttt'ttlrct yotl w('r'c thinking of?"
-84-
is
-85-
Y$"am ffimqy,k
ffif
Yhw
$-$cnm
ffi*qy$q SS $-$*s
He asked for repeated performances, and I gave them to him. Solutions were coming out of his mouth, and he kept setting increasingly stronger test conditions.
managed to see what was being written and didn't need to go for the glimpse, Therefore, by just glimpsing I was able to
After around 20 minutes, he sat back and sighed.
When you know the number it is time to either hypnotise the participant or pretend to hypnotise them. Just in the event that your subject refuses to enter a trance, I like to use some dualreality phrases to make it appear as though the participant has entered an altered state.
Then
informed me in no small way that this litile pen falling over was the most amazing thing he had ever seen me do. The usual amused and careless feelings had left us both. I had realised/remembered the power that the effect garners. My friend had witnessed the impossible and, despite trying to catch me out, could not.
remove a boring piece of procedural nonsense.
After the initial induction (whatever one that you so choose) simply state:
Of course, I set out with something akin to mid-Victorian zeal, and worked out a way to incorporate the pK pen in a way that appeared psychological in nature.
"I
The presentation you now have. Here is the methodology.
sDeak,un
You will require the PK Pen and two replica pens. Write the numbers one, two and three onto three wine glasses and find a piece of blank card or paper,
All of the pens are in your inside jacket pocket. The pK pen is pointing with its cap down. The others are caps-up. This way the PK pen is set up and ready to go and you will know which pen is which by feel alone. The glasses are set out in a row on the table, and are upturned with their flat bases facing the ceiling. I place glass number one on the left (as the audience perceives the table) and glass three on the right.
You are ready to go. Get a volunteer to sit down and ask him/her to think of the number one, two or three, Ask them to take a pen and write it down on the card/paper. Here you can employ an impression pad or pen/sound reading, but I prefer just to glance down as they write the number and say, "are yoll done?"
I know it seems bold, but even if yor_r dicl krrow the number it doesn't go anyway to explain what will lt,rppr.rr rrr,xt. For a while I used an impression pad, [rrrl rr,,rll,,r,rl llr,rt Ioltcn just -8C-
w*uiff{ /*&e you to allow yetrr mind *a {lnd f&m mme single nmrmr"c$ t/*af if associafes wfffi power{rsi mmwxrnrc*rnff
lhis phrase "Ym#d mre fu*/fy ;m&fe fep spea&" is wonderful and r;ives the impression that prior to that command the subject would not have been able to speak even if he/she willed it. When the subject speaks it almost confirms this. Also, always place the participant into a:
" P Ie a
sa
nt sfafe
mf wu*/r*erm&r/rfy"
*
It doesn't mean anything, nothing will happen, but it sounds great. It is a real state-changer. People become alert at the grr.ospect of being vulnerable, yet you are letting them know it wlll be pleasant. Try it and add some serious weight to your pcrformance.
llre standard count-up reawakening process used in
lrypnotherapy is employed as it enhances the apparent altered ',l.rte. Be sure when they come out of it that you ask them;
"Art: you OK?"
-47-
I
The ts*ok Of Lies
The Bnmk
#f
Lies
the ungaffed pen. of course, if you buy the dupricate normar Thus implying that the person may not have been.
pens by the box load, this can be given away.
Using these few tips will allow you to appear to hypnotise even the most awkward hypnotic subject.
In a lot of cases the person wiil be hypnotised, and as long as you feel that you can cope with that, go for it. If you do not want to dabble in hypnosis (if rs comptetety safe, mind you) then just go through the pretend motions.
It is just a case now of getting the person to rest his/her hands on the table as described above, Explain that he/she should think of their movement word and number repeaiedly. Then place each pen on a glass in the way that you'il put down the PK Pen, of course you place the actual pK pen on ihe glass that matches the number you peeked earlier.
All that is left now is to 'coach' the person and keep telling him/her to, in their mind, repeat their word and number. Get really animated and loud when the pen is close to moving.
It falls! Job done.
il
By using more than one pen you are creating almost test conditions. Feel free to use other different peni tnat do not match the PK Pen if you feel it adds something. I find the uniformity adds to the feering of test conditions ttro-ugh.
l
l
Always make sure that you wear a roop/invisibre thread hookup as a standby measure. If for some reason the pen doesn,t tip then you can hook it up and still perform. It also removes the problem you face shourd someone chailenge you to perform the effect with their pens. It's happened to me once, and I was able to perform the effect with the person,s pens. He left with utter belief in my psychological abilities. Be aware that some people will want to see the pen. If asked pretend to not hear, then place the pK pen ln your pocket and grab one of the normal pens. Then act as thougl-r you have realised that the person was speakrnq to yor, an-d give them -
!t.
. aa.
Vhw
ffimm$c
Sf
The
fl-ies
ffimqp$q ffirS E-$mw
,*.
tlp
c'n
eiG)tffis Changing Fate The Men*alrsf is saf u,wiffl a wo{xv&n and the setfijecf furus {wrtwne reading" Flhe Menfalrsf rer}r$wes ffi sma{# drawstring bagt
to
Menta list:
"You won't believe this, and I don't do this for everyone, but my family has a long line of fortune tellers. Not the fuddyduddy scarf-wearing woman stuff. But the real deal.
It will seem strange to you, as it always does, but let me explain. In times.gone past my ancestors were thought to have mystical powers. When each one died, a tooth was removed from the dead body, but just one tooth. For it is believed that the teeth hold the wisdom. The teeth feel all the life-giving breaths
we take, and make the food we
eat release its life unto us. The teeth feel the words spoken and feel the emotions of anger as we clench them.
a massive part of the human existence. My ancestors passed down their knowledge of how to harness the experience contained in them.
Teeth are
I
don't want you to freak out too much, but in this bag are the teeth of my
ancestors. When I die, my son will get this bag and one of my teeth will be added to It. d
-
90.
-rt-
T*"nm ffimwk
T$*m tr$m*r$c ffi{f L$mm
Of fi-ies
I don't know what to say. I can only say
Would it be OK if I were to read your fortune from the wisdom of these teeth?"
Participant:
Menta list:
"It is a bit strange but yes, I
what the teeth show me. This cannot happen. It will bring too much pain and suffering to you and the people who you love.
would
like that,"
But please understand that this is only what will happen if you carry on giving weight to the negative things in your life,
"Please, cup your hands. In a second I will tip the teeth into your hands. All you have to do is part your hands and let the teeth fall on the table,
This is a projection of what those negative things will produce.
Do not worry, the teeth are old but very
The future is not Yet set in stone'"
clean."
Participant:
"Err... OK!"
The Mentalisf ermpfres ffie cmmfents of f&e drawstrr'ng bag, some 3ffi-40 human tweth, intw the partic{pwttt's cupped hands, &ather unnerved sf*m fhen oper?s her hands and ffie teeth sssffer ac,-ffis$i' ffie fa&de" Tha Menfalfsf lootrrs ovmr ffte feetfi f,*r a few
As ffte Menfalrsf says fhrs, fae waves bwth kands high over the feeffi ffi{?ce, As fte dmes fflrs some of 8fie feeftrr start f@ ,nsvs, fllre treeftrl all mavw in di{feremf direcfioms and pwsitians"
Mentalist:
mrom*emfs,
"Just knowing about possible traps and pitfalls will allow your future to change' This is your new future. It is full of the
happiness of
success, and
manifestations of your wildest dreams. Mentalist:
"Hmm... not only have you had troubles in your distant past, but in your recent past also. There are many more troubles to come, some of them are... very... terrible.
Go and live it!"
I
have never seen such a bleak future. I it but I am looking for the good here and it is scant.
hate to say
A handful of decisions you make will place your life on a downwards spiral, your dreams will not manlfest and goals will always be just out of raach. . 9.7.
Explanation Phew, well that was a bit serious.
-9t-
the
Yfum ffiqpmk
ffif
) $Te $${}ffi${ qJw **$#s
&-fimw
For the right kind of performer this effect will have an amazing impact. Mystical readers of all kinds are told not to give negative messages. Yet there is a great deal of power in these negative messages. Ask anyone who has had a gypsy on their
doorstep who gives them a foreboding message. Trust me, remembered.
it
is
This effect allows you to give a terrible reading, one of the worst possible, only for you to change it in the end. I feel that the effect allows the person to take charge of his/her life, by making it clear that the choices he/she makes will impact his/her future. Right, down to the bare bones (excuse the pun) of the effect. You will need to procure around forty genuine human teeth. Before you go grave digging, or take up boxing, be aware that eBay has them. At the time when I purchased mine a company in Spain were dealing in them. They are fairly inexpensive at around 30p each tooth. Also, you will require around ten or twelve small neodymium cube magnets. I am talking about the ones that are 2-3mm in size.
When you get the teeth, select around ten or twelve of the teeth and take them to your workshop. Drill a hole just big enough for a single cube magnet to live in and drop one in. Then take your soldering iron, and some solder, and drop molten solder into the hole until it is full. The tooth will now look as though it has a filling. pretty cool, huh? Do the same to the other teeth you have selected. However, turn the cubes on different angles and magnetic polarities.
Explain all about the teeth, and be very reverent as you speak about them. Imagine that the teeth are really from your dead ancestors and relatives. Treat them with the same respect. Notice in the scripting above how I build tension just before I drop the teeth into the person's hands. When the teeth come out of the bag, it is startling and unnerving. Normally the person will screech a little and trust me, the teeth get cast pretty damn fast.
The reason for placing them in the person's hand is that some of the teeth may stick together. Not much, because the teeth tend to reduce the magnetic field between each other substantially. But when they are placed in the hand, it hides any grouping that may occur. Dropping the teeth on the table will also break any groups apart and scatter the teeth sparsely. Give the terrible reading. Then, when it comes time for the positive cause-and-effect 'you are in control of your destiny' speech, simply raise your knee and move it left and right once. This is done as you wave your hands over the teeth. llecause the magnets are set in different ways, the teeth move ln all different directions. This really sells it and removes the ldea of magnets, I believe.
When I have done this the person always gasps at the teeth rnoving. It is eerie. I know on paper it seems trite and a little phoney. When it has been built up and you have been handling Iruman teeth and then some of them start to move, believe me It is spooky and powerful.
When you are done, put these gaffed teeth, with the other regular teeth, into a small drawstring bag.Don,t go for something fancy - go for old looking and black.
If you hadn't guessed it, it will be time to strap on your massive leg magnet again. Just follow the instructions in the previous
effects.
The setup is done. All that you rrtrlrrir(, now 1,,,t vi( tun.
-04-
-95-
I
Thc $cck Sf
The *uCIk $S
Lfem
$-ielcfi
"Now Do Something With The Knife!"
Right back when
I got started in the field of mentalism one of
the first things I learned was metal bending, specifically bending forks and spoons.
It
has been a long time since
I have bent some
metal in return
for cold hard cash. I am still inclined every now and again, whilst eating out, to bend some cutlery for a very caring waitress or when I meet friends of friends.
When I used to perform this at gigs in my early days I would often get asked , "llUhat ar@ yau gaing to do with' the knife?* or something similar.
Despite acquiring a number of very funny responses to that question, it would always end in a joke rather than actually doing anything, So I would bend the tines on the fork and bend the spoons but knives were no-go'Kryptonite stuff . A few guys I knew had come up with some knife bends that were, if I am honest, elther extremely difficult (see: unusable in the real world) or required silly setups. Well, whilst playing with my cutlery at a meal many years ago I notlced something strange. I had a magnetic PK ring on and was balancing the knife on the edge of a table (d la PK Pen) and I was trying to get it to come closer to the ring and, therefore, fall off the table,
looked naff and most of the time the knife just flew into the rlng vlolently. But what I did happen to chance upon was that the knlfe moved to the left and rlght the closer the rlng came towards the'polnt' cdgc of the knlfe.
It
TBxe ffim$k ffiS fi-*ms
n tiP rr
Imagine a knife balancing on the edge of a table with the 'point' end of the blade hanging over the table. Hold the hand (with the PK ring on) open and flat. Slowly move the ring toward the 'point'of the knife. If you do this'dead on'the knife will either choose to go left or right, randomly.
Informal Watch Stop
However, move your hand slightly to the left or right and do the same and the knife will move awav from the hand. This is immensely more deceptive than the knife moving towards the metal ring on your finger.
If you are looking for something to fool other magicians, or to shut up a friend who over-scrutinises and wants to check your person after each effect, this is it!
If you have been bending forks and spoons before you do this, the expectation will be that you will be bending the knife. When it moves it is different and creates a shock.
Ideally this is only workable in informal situations, but I am sure one of you clever sparks out there will find a way to use this method professionally.
So now there is no reason for you to exclude the knife from your PK performance. Oh, and what I mentioned is the basic handling. In performance you may want to use both hands and
You are sat in a pub, or club, having a drink with a group of friends. After a while you ask to borrow a watch from one of your group.
fail for a short period before your successful movement.
effiffiffi,s
With the watch in hand, and held by you at the furthest most edges of the strap as humanly possible, you ask everyone to look at the watch ticktng. The owner of the watch is informed that he is to say ,,sfdlp,, at any point that he wishes. When he does, the group will all shout "sfdlp" as they look at the watch. Once this happens, the watch immediately stops ticking. Tell the group to do as before, but this time shout ..sfarf,,. When they do, the watch begins to tick once more.
It is rnsfantly given back to the owner and both the watch and performer can be fully examined without any sign of foul play. This effect could even be performed naked preference
if that was your
!
I devised this method after a scientific friend of mine kept r.alling me out whenever I would perform something for my lriends. I needr.d something that would shut him up and ,,omethinq wh(,t.(,, at the instant conclusion, both myself and tltt' oblcr-t r oulrl lrr, rx;trnlnt:d. -98-
-99-
J
[ 01ffi
*sss*{
S$*e
qJI{ $*Ilffis
$ffiepc)fi{
ffitr H-ies
magnetic field.
the owner calls stop and the group also shouts it, you will only need to move millimetres to stop the watch. As everyone is shouting they are moving and you are stationary, and nobody will notice you have moved, Even if they were to watch you, it would only look like hand fatigue or a shake.
But where is the magnet if you can perform it naked?
Allow the group to see the watch stopped.
Not THERE!
Then have the owner call start, and tell the group to do the same when he does. As they do this, move the watch out of the magnetic field by a few millimetres once more.
is simple and elegant. I bet you all know it,
The method because there is only one way to instantly start and stop watch in this manner. That is to place it in the presence of
It is in your drink,
a a
hidden in plain sight. Where nobody will
suspect it, or ever find it.
Everyone will be watching the watch, and you can openly give it back to the owner and submit yourself for a full body cavity
The magnet looks like a slice taken from a cylinder and is about 1.5-2cm thick. That is the kind I have used.
sea rch
I
This second part is optional.
Let somebody buy you a drink that is dark/opaque. As you see the person bringing the drinks over you place the magnet in your hand, cover your mouth as you cough or look philosophical, and pop the magnet in your mouth. Take a sip of the drink when you get it, allowing the magnet to rest on the inside lip of the glass as it is horizontal, As you finish that mouthful of drink you slowly lower the glass so that it becomes vertical. This allows the magnet to drop to the bottom silently, Not that there is any need of silence as the ambient noise in pubs and clubs is often enough cover the noise.
Just keep drinking small sips from the drink until you are ready to perform the watch stop. When ready move your drink to one side as though to make space, but not too far away. Move closer to the centre of the table, apparently to let everyone get a glimpse of the miracle about to unfold. Get a watch from someone and hold it at the straps from the very moment you take it. As you explain what it is the owner and group will do, you move the watch increasingly closer to the glass and notice when it stops. This will enable you to calibrate where the magnetic field reaches out to.
Move it back out of the field by litcr.,tlly tnllllnrctres. Have everyone confirm that the watch is lntlt:r'tl tlt.klng. Now, when
-100-
I
-101-
Ytum Smm$*
*f
Yhw
t-iem
fl$msrr&q
ffiS L$*s
ntlpn
e.)6"J6#fu Bounce, No-Bounce Ball
- Presentation #1
I am surprised at how overlooked the'Bounce, No-Bounce Ball' ls. When you hand a person a bouncing ball that she has just seen bouncing, and then it doesn't bounce, it is a startling and
strange moment. Often people will jolt forward slightly as their visual perception tries to compensate for the lack of bounce.
Admittedly, if it is performed as is, it is little more than a puzzle. It is a startling and strange puzzle, but a puzzle nonetheless.
Shroud it in some good old mentalism lies and you can be on to a winner.
I have two such lies to share with you and here is the first ohe:
"What ff # were fo fm/f yw*.t that I had psyefioktnefre abiliti*s? fl$rat f, ##r'$ rvlst/s o63ects wrif,tx rvxy rmrmd"
I know ff sounds ffir&zy, Perhaps r? rsP doesw't efways nrwmrJ<, and it is ffiofflsng as gtrr.mr*d as causing fuwwks ta fa{l fv'mrm sfrelves, # dms}'f l
It
noticed rf r,vfrmrp I wa.s a wtril'K Y&*rng, Tffxmre was & boy called Adriam l{w{ly, fle sfode rmy farourite *wy at thw tlme, which was my black fiouncy &aff.
I first
At that age I wasn't brave enough to get it back, and he would parade around the playground bouncing it every lunch time.
-10t-
-10t-
?!re
$&.*m&o dA#
i ima
a
I watched Jpdnp dvatrumg fan with rwy favswrite toy I uris&ed f&af f cauld stery it fram bauncing. With every &orrxee I wanted ta pws#x ff ffimf ta the flaor so fhaf fre wowffdn* play with it anyrrwwrw and I cCItild take it hack.
As
day "[ was ss jeafm{.rs ffiffid angry thatu as I imagined the ball heing pushed rnfm f&e flooro it happwned, The ball just hit 8&e floor and didn't bauncw. Omw
He pickw# rf up again and tried fm &os*nce rf &urf ff fwre.wd it to fhe flmepr with x*'ty rnind,.ff woe*fdnt bormce,
Adrian /eff rtr lrffi ffie flaor and wmmf fo play efseMbmre" Tfuat is how I am able fm ftave it fiere with me taday, I €&rry it with me alwayw, 8m remind rmm fm ws@ {wy ability fcr sfop what is wrang, Waw{d
ymmr
lfke ta play wrfffl
rtds
&dldtd\,,1d {r
$f fi $se
bounce to you before you want it to stop bouncing. As you catch the ball have the no-bounce ball in lower finger palm. Catch the bouncing ball in the top part of your fist and perform something similar to the 'BoBo Coin Switch'. You can either ditch the ball in the pocket as you throw the ball in a second, or retain it in finger palm if you feel comfortable.
Throw the ball to the participant and, as she catches it, shout "wait" then get all freaked out and creepy. Have some fun with the person, who will start joking that she isn't trying to steal the ball. Pretend to not be convinced and tell her to bounce the ball back to you.
It will hit the floor and let it sink in for a second
Bend down and pick up the ball and put it in your pocket. If you
mreP
didn't ditch the bouncing ball, you can now ditch both balls in your pocket as one,
I utill baxsrxce it to yau and ryCIu h*unee it tu me, The ball is baunced repeafed/y frsrn mentalist to gsarticipant,
Iftis ds fmml lfmre catclr i*,
Wait, you'rffi mmf Slrrmkrng about $rwwprng my ball Eounce if &ms& fm *ne, The
ffir'ffi fmer.z
ballfilfs fhe fl*csr but doesnt bounce.
J don? urmmf tw play anymore!"
A rather creepy way to demonstrate PK abllltles that ends with the person visibly shocked. The swltch ls achleved on the
. l0l.
before telling
her you don't want to play anymore.
. tOt.
T$xm ffimm$q ffiff $-Imm
mtfurr
eiG?ffis Bounce, No-Bounce Ball
-
Presentation #2
'ol)o you #ttxwtrv, essffirgy rm an rnferesfi"irrmg thr,wg,.[f rs eyerc{tanE#mg amd mawLwg likw a sffiffi fhaf we manneif adways see, wxamp{wu if "S vyere fo &murrece ffurs &adf f}le ffiff srgy fram rny fhrow rs fr"ansf,es"re# fp tl** balln amd wfien ff frr'fs the f{*arn wltich rs fiard mnd &ms nn dampenmeg e&cf, ftrre e{rergy f,rorw nay thrww is frans$brmed Snfo a &ounee,
For
The hall is baunc*tl on ths floor. the participmmf fo hol#.
ff is th*n
cauEht and Eiven ta
But if yww take f#re &a/l anc$ dn*p d* iffifo ymffr" ayfher han$n notfee ffiaf ff doesn'f &munce mf aIf, The participanf dnops fhe &mll inta her free hand but
it dmesn,f
bounce"
That is Seeausm Waur &xand rs nof hard fike f"he flwwr" It dr'sperses ffie energry" Im w wwy it sfea/s fhe er*e*'gry required for the &ocsmce awffiy f,rryna f/re &all,
Now here rxr fhe rnfenesffmgr fftimgr" tiw&N out your arnx straigl'tt ahead mf, ymw uru'ffr fflm &aff af frmryertrpm. trf I grah your shoulder {x*re, Srke ffirs, .tr sfios.rfd &m m&Ie fm r.edcrce the amount of enerryy in the hmli befwre rf fijfs fffie fIoor, It should hardly bounce if I can do this, If I can sfeal your energy. OK,
-100-
I'm reacly. Lat go of the ball! -107-
Yhm
ffimq:$${
ffi$ t-Ees
Ihe hall hits the {laor but doesn't
bawnce.
ffi& rny goodness, X #xww* w*vev had I'm shg.eked."
g c Htb* fibit-,6.;0s{
iLt$ ffi-st*}s
rt tlP n
eiGffiffi,s it nof Ssrvmce af a/d
&efCIre,
Bounce, No-Bounce Ball
This is another presentation that takes the effect to another level. I know it doesn't make sense to you if you understand
'BoLtnce, No-Bounce Ball'for fascinating impact on people.
your science and know what kinetic energy is.
But I used to use this initially as a joke at friend's parties. I stopped saying it in a jokey way after a number of people were saying things like, "Ilom't't#s.t€k frrrrx, lbm sffips four" effi@r#$r &way!" Whilst never in my performance repertoire, I did perform it a fair bit when going to parties, I got great reactions using this presentation and often the visual of a person with their arm out attracted a lot of attention.
I nearly forgot. The switch comes when you hand the person the ball to drop into their awaiting hand. This is a great part of the illusion as a normal bouncy ball would not bounce when dropped in a hand. This compounds the idea that the ball still bounces. Oh,
As the person doesn't let the ball out of her possession until it doesn't bounce, the illusion is a great deal stronger. When gripping the person's shoulder do so firmly but gently. Do not perform a Vulcan Death Grip.
-
One Ball Version
As you may have noticed I have played around with the a while, and I find it to have a
It got my head wondering about how I could achieve a single ball version that did not require a switch. This would allow the participant to hold the ball from start to finish.
My notebook was full with possible ideas, but nothing much came of it. Then one day I was walking through a large toy store (.I find a lot of good possible mentalism in toy stores, as well as fun things for me) when the solution appeared right in front of me. What was it? It was a product called 'Make Your Own Bouncy Ball'. Essentially you get a mould, gel crystals and colours all in one pack. You mix up the crystals with the colour that you want and pour them into this mould. Leave it to set and voilA, a large r:ustom coloured bouncy ball. All spiffing stuff!
So I got myself one of these and made up the solution. I only ;roured half of it into the mould and waited for it to set a little, but not fully.
I then popped in a largish spherical neodymium magnet (much llke the one mentioned in the "Heavy & Light Confectionary" ()n page 79) on top of the nearly set gel. It sank a little but ',tayed firm. The rest of the gel was poured into the mould and bft to set fully.
it was a normal bouncy ball (which bounced quite wall, actually) but with a strong magnet inside of it.
once set,
ll is time to pLrt on the good old large strong magnet and leg ',tr.rp again.
-10t-
-100-
Y&xw lli$mmk
ffif
$-$ssw
Sit at a table with a participant, and have him bounce the ball a few times on the table. Make sure to keep your knee away from the underside of the table top. When you want the ball not to bounce raise your knee to roughly where the ball will hit the table. It will shudder and may bounce a tiny bounce, but then will stop. So there you have it a single'Bounce, No-Bounce Bal/'. Slighily restrictive as you must be sat at a table, but it works!
MEDIA EFFECTS
"Don't wish it were easier, wish you were better." -
-1lo-
iim
- llt
Rohn
-
I
s *gds
Ths
w{\ds&{ { }r I sd}G
ffim*$<
*f
L*ms
Host's Bill This effect is meant for radio,
IIrm /irre
ff4mmn*md;isf
rs saf wif#r m $pesf of a rmdiCI sfrmmr mnd is
epim miyr"r
Menta list:
"Before we start, I just want to write something down on this Post-It note and place it in my wallet. We will get back to it shortly.
For now, though, do you have any paper money? Any denomination will do."
"Sure."
Bilt:
The radia ftosf fakes sut a Me nta
list:
EiO note from his wallet.
"Great. Now scrunch it up into a ball and will show you what to do with it."
The radiw hosfi' mr"*vr**pfes f&m mwf,w into m &m/J s&ape, ffke Mentalist motions fc ffre /rmsf, m"w ffimugr/? *.cxrywmsfrngr ##re balled up note, The hCIst kamds ff fo hrrn, Mentalist:
-
rtl.
l,
"In a moment I want to try a game with you. I want you to place the note and
both hands behind your back. Then place the note in one closed fist. Bring out both
-ttl-
The
ffi*w$q S$ $-iew
Yhe
fists in front of yoU, making sure
to
conceal which hand the note is in."
Mentalist:
ffilliwep&q
ffiS
$l-$mm
"OK, that's one to you. Time for round two. Place it in one of your hands again."
Ifie Merfaffst rs pfuysrc,erf/y demrorasfrmting what fte wamfs ffie hosf to da as fle descrf&es tfNw praawdwre far thw
Ihe raddm hos$ pfaces the r*md'm ffiefifnd firs &mc& end rnakes a nunr&er" wf msvameprfs &efwre bringing wut both closed fisfs r*r #rmmf of fiis &ody"
Mentalist:
Mentalist:
listenerx at hame,
"We will play the best of three games, and I will see if I can predict what you will do each game."
The mentalist hands the crumpled host.
Mentalist:
"Are you ready?"
Biil:
t'I am.tt
Biil:
refi
"No it is in my right hand."
Th* radio hast opens his hand to show the note.
-lla-
hand?"
didn,t have you down as being that
This time
I think the note will
,eft hand again?., The radia host apens
"You were really trying to throw me off then. Your hands were moving all over the place, trying to double trick me, But I think the note is in yo.rr
I
sneaky.
up note back to the
The radio host praces the ,rote behind his back and makes a number ot movements before brlnglng out both closed flsfs in front of his body.
Mentalist:
.'you managed to trick me the first time as
&ds fuand
be ln yout
fo sfrCImr ffte neife,
Biil:
"Yes, but that's only one each."
l4entalist:
"so.this is the dec'jder to see who wins Go
fhe radlo host places the note behind hls back and makes a numbet of movements, before bringing out both closed fists in frgnt gf his body.
Mentalist: The radio BIII:
llosf
'The note Is in your right hand?" c*pens ftfs
frmimmf
tw shaw fhe r**yfe,
I kept it in my left. Well, err... guess I am better than you thought and my mind is safe." "Sorry,
I
-lrt-
Tfum
Mentalist:
ffimes$q
$f
-$"fu*r [-&mm
"Well you would think so but you did everything that I wanted you to do. I worked out from your body language where the note was each time, and I deliberately made myself lose two of the
Bill:
fficpqpk ffiS $-*mm
"Yott will select a E7O note from Your wallet and I will let you win two games out of three! How the hell did you do that?
games."
How did you make me take out the €10?"
Biil:
"Sure you did."
Mentalist:
"I knew you wouldn't believe
me, which is what I wanted the why I wrote down very beginning. outcome to be from the
Mentalist:
"And you had other notes to choose from too didn't you?"
Biil:
"Yeah, that's insane."
Mentalist:
"Can we
Remember the Post-It note."
Bilt:
try
something. Step
it up a
notch?"
"Yeah." Bill:
"What are you going to do?"
"Before you read it out loud, can you just confirm that everything you just did felt
l4entalist:
"I
Biil:
"Yeah."
Biil:
"You're not going to water board me or anything?"
Mentalist:
"You didn't feel me
Mentalist:
"No, for you
Bill:
-Notatall.'
Mentallst:
.'Great, now read out loud what I wrote the start."
flIre nrenfafrs*'frmnds tlre Fssf*"S#' mate *w f#se hasf,
Mentalist:
free."
manoeuvring
-ltc-
you?"
psychologically
am going to see if you can lie to me. Only one trained army interrogator has ever been able to successfully lie to me."
it will be painless Open up your bank note and make sure that
nobody can see the serial number. You
can open it under the table if you like.
at
Just so that the listeners are aware, I am on the other side of a divider screen so I can't see even if I were to look.
-tt7-
Thm Bcok
Yhe ffiook Of Lies When you have the note open I will ask you to say the first letter of the serial number on the note. You can either choose to tell me the truth or you can lie to me. I will then tell you if you are lying or telling the truth.
When I think you are telling the truth I will write down what you say on my Dad. When you lie to me I will tell'you th;t you are lying then write down what number I thlnk you are looking at. I can do this because I know what-numbers people say
when trying
to lie to me about other
Sf *-ie*
truth. It won't work with me. I understand what you will do. Is it a 'J'?" Bill:
"Dammit, yes it is."
Mentalist:
"Now on to the numbers."
Bill:
"5'"
lYentalist;
"No way, too easy. You couldn't look me in the eyes Blg fat lie "
Bill:
"Y€s.
numbers. Got
BIII:
it?"
8." "Y€ah, right then, the first letter ia an
Mentalist: l,4entalist:
"Straight into naming the letter, so I think you are being honest. Is it an'A'?"
"YES! g.r'
Biil:
ttYes.tt
Mentalist:
"Oh, and listeners at home, see if you can pick up on variations in Bill's voice to see if you think he is lying. On to the next one,
II
Bill:
"You are still lying to me. But at least you looked me in the eyes this time."
Bill."
Bill:
"J."
wentalist:
"Most people will try to place me into a false sense of scr-rrrlly by tclling me the
-ltt-
Mentalist:
"Truth, it is a 9."
Bill:
"Correct. 5.,,
Mentalist:
"True again it is a 5."
Blll:
"Yup.
t
-110-
)
Y**w Swq:$k
#f
Limm
Another 5." Me
nta
list:
Bilt: Mentalist:
Biil:
lll'$xm ffi{ffi#${
(}f L*mw
Menta list:
"Hesitation, which means that you are filthy liar."
Bi!I:
"You're right.
Mentalist:
"Now
a
"Hmm... I'm going to go with true again?"
"Are you asking or telling?"
I was lying."
I
have written down all of the I thought you had told the truth about. For the ones that you lied numbers that
"I'm telling you. It rs another fivel"
about I have taken an educated guess at what the number actually is.
"Yes.
The serial number I have written down is, AJt2955770, what is your serial number?"
1.t' Menta list:
"True again."
Biil:
"That's right.
Bit!:
"That was it! AJ1295517O!
I could kind of you were doing but I what sense Man that was amazing.
could feel myself giving things away,
then I would try to stop that and I
2."
would do something else. Mentalist:
"A big fat dirty lie. But good try,"
Bilt:
"You got it. Just the one left now and it is a 6, honestly."
Mentalist:
"Err... oh... I'm not too sure. I think you are getting used to what I am looking and listening for. Would you be willing to put money on me being able to get it right?"
Biil:
ttUmm...tt
-rl0-
Just amazing!"
Explanation
I
really like this effect as it appears to be impromptu and using borrowed items. The mind reader can demonstrate his ability to either predict or control human behaviour as well as being a human lle detector and non-verbal communication expert. This plece, whllc vcry ct-lsy to set up, can be played out for around seven to ten rnlrrutcs and can flll a nlce slot,
T{'xm ffim*$q
Sf B-Ees
The
ffims;&{
ffif
e-$wm
my wallet. This allows for an ultra-clean moment during which you will be able to allow the host to remove the prediction.
The method itself is fairly straight forward. In the simplest terms there is a dual-reality bill switch at the beginning for a bill that you know the serial number of, Then a billet index is
The twelve'outs' are as follows:
used for the outcome of the game.
Let's deal with the bill switch first, In the UK there are three bills in regular circulation: f5, f 10 and E2O.I have a balled up €5 in my left back trouser pocket, a balled up €10 in the middle of my waist band (inside, of course) and a balled up E20 in my right back trouser pocket. All of the serial numbers for the notes have been written down in light pencil on the top sheet of my notepad for later on.
You will select a E5 note from your wallet and I will win all of the games!
You wil! select a f5 note from your wallet and I will let you win one game out of three!
This body index allows me to switch out any bill that he is likely to give me. After he has removed and balled up his bill I start explaining what it is I want him to do. To the audience at home it appears that he is being verbally instructed. But what actually happens is that at the same time as explaining I gesture to him to hand me the balled up note.
You will select a C5 note from your wallet and I will let you win two games out of three!
place it behind my back as I explain that part of the instructions and when I do this I switch the note for the matching note. I then talk about bringing the two fists out in front of him and I do the same, bringing the switched note into play. As I get towards the end of the verbal instructions I hand the note back to the host without saying a word, just by using
I
You will select a f5 note from your wallet and I will let you win all of the games!
gestu res,
So the audience is unaware that i have had any contact with the note whatsoever. So before the first effect has even started you have set up the final two effects of lie detection and determining what the missing serial numbers were.
You will select a E10 note from your wallet and I will win all of the games!
Now you play the game as described. This is genuinely random,
You will select a f 10 note from your wallet and I wil! let you win one game out of three!
I
like to try and have an educated guess at where it is, normally via the old nose-pointing thing. Before the game, and even before you ask the host to take out a note, you must apparently make a prediction. I used a wallet billet index, but you can use an envelope switch or any other method that you feel comfortable with. For me I write down one of the'outs' onto a Post-It note, fold it and place it in thr rcgular section of but
-rzt-
You wlll select a C10 note from your wallet and I wlll lct you win two games out of three!
l-
-12t-
T$te lflsmqlk ffi$
You will select a €10 note from your wallet and I will let you win all of the games!
You will select a E2O note from your wallet and I will win all of the games!
You will select a E2O note from your wallet and I will let you win one game out of three!
You will select a E2O note from your wallet and I will let you win two games out of three!
You will select a E2O note from your wallet and I will let you win all of the games!
Once the prediction has been read aloud, ask the host if he wants to "*iilftr$p tttis up ffi #'#wtch". This is a great phrase and is laden with excitement and anticipation. It can also appear dangerous as though you may include an element of risk, apparently at the host's expense.
Confirm that the host is safe and then explain how you want him/her to open the bill so that nobody but him/her can see the serial number. At this point pick up your pad of paper and take the cap off the marker. Open the pad up at the page with the crib along the top. I recommend whenever you use a crib to buy pads that have a perforated margin. This way you can write the crib on that margin, allowing you to detach the prediction and leave it with the person as a keepsake or just as something to talk about for the afternoon in the office. Once the host begins saying the serial number, you will know if he/she is lying to you as you can see what the real serial number of the bill is. Write down the letter and words that are
correct and for the letters/numbers where the host lies take a moment to apparently think, before writing the actual character on the pad.
lherefore, by the end the host has named all of the numbers and lied for some of them. This means that the serial number has not been fully revealed, but you have it written down on your pad of paper. Tear it off along the perforated margin and read out loud what you have written. Then show the host and lrave him/her confirm you are correct and read the serial number from their bill. Job done!
When the games have finished you will grab the wallet and take
out the relevant prediction and hand it to the host. But make sure you do not verbalise this. It should seem to the audience at home that the prediction has been in full sight the entire time and that the host is now taking it and opening it. Have the host pause before he reads out the prediction. This way you can confirm that everything felt frr-e and build somc tension,
-124-
$-"ie:s
-llt-
Tl*w Bsok
0f
tfies
Yhw
Bom$q ffi$ Liem
Jukebox Johnny This effect is meant for radio.
fhe Mentalrbt ,s saf wiffl a lrosf of llve on airt Mentalist:
a
radia shaw and is
"I have been coaching
Johnny before the show on the subject of profiling. I think that I have got him to the point that by asking around three questions he should be able to work out what song it is a person wants to request. So ring in to request your favourite song and see if Johnny can read your mind and get the song you want.
You ready for the callers, Johnny?"
lohnny:
"As ready as I will ever be."
Mentalist:
"I won't
tohnny:
help you anymore. You know the questions to ask."
"Right, we will take the first caller
after this next song."
A
prosolactad song pl.yt .nd, altcr the song has flnlshcd, Johnny b rudy to ttko tha llnt cailcr,
Yfum ffimm&q
Mentalist:
ffif
Shm ffimmk
$-&mm
"Right, Johnny, we have Emily on the line, and she has only been told to answer your questions honestly, and to not try and trick you.
"I'm not too sure myself."
Mentalist:
"Well done, Johnny. Isn't
strange how
Rhapsody' by Queen and you would have been completely wrong!"
"Hi Emily."
Hmiiy;
"t
Johnny:
"Have you ever accidentally sat on an animal?"
Ernily:
"&h crumhsu yes I havs-n'
Johnny:
"Have you ever had indecent thoughts about a friend?"
ffimi!y:
"Yms."
Johnny:
"The underwear that you are wearing right now is funny, sexy or you don't have any on?"
Jm[*nny,*u
Emily;
"It is Funny-"
Johnny:
"I think you are calling up to request
Johnny:
"That's just crazy, thanks for calling in, Emily. Here is your song..."
Explanation Whenever I used to be asked to grace the world of radio I would normally perform my regular material for the host, and then do the old switching five objects thing for the listeners at home.
Until one day it struck ffie, "Why aren'* I doing s,amethimg to do with music?" It makes sense in the cold light of day,
'Poker Face'by LadY Gaga!" "Yes
it
questions can lead you to the answer.
I mean you could have said, 'Billie Jean' by Michael Jackson, or 'Bohemian
Johnny:
Emily:
t$ms
Johnny:
You're up!"
li Jukehox
#f
being on the radlo and dolng an effect using music. At the same
time that my little braln box got thinking about this I also started thinking about how I could somehow teach my'skills' to
I am... how dld you know that?"
the host, After performlng my regular effects, nearly always the
I
.
ll0.
Yhw ffimwk ffiS
host would ask afterwards if i could teach him/her. of course, the answers can be various and justified, but I wanted to turn around and just saY,"YES!" when those two ideas combined I created a great little piece of dual-reality that I have yet to perform but will share with you here.
Before the show starts you normally get to see the host for a while. At that point explain to him/her that you would really like to teach him/her the techniques of profiling and understanding what people's answers really tell you about them. However, this is such a vast area to learn that it has taken you many years' All is not lost though, as I have a sheet of questions that tells you the next question to ask depending on what answer the caller gives you. This eventually will tell you what song the caller is thinking of.
you then talk the host through the sheet of questions and how to use it. The end result to the questions will be that one of six envelopes will be opened to reveal a song selection. when the show starts you explain to the listeners at home that you have given the host questions to ask in order to determine what song a person will request. Notice the dual-reality in what is being said. To the audience at home it appears that you have simply told the host what questions to ask and what the answers mean. In reality you have given the host a physical list of questions. Before the show you explain to the host that you will talk to the
caller during the song before the segment. This way you can tell the caller to be honest when giving answers and not to try and catch the host out. During the conversation with the caller you mention all of this, but you also ask her what song she is itrint ing of. You also make sure it is clear that you will not te.ll the host and the host has no way of knowing what the song is' As you are being told what the song is you write it down on a piece of card and insert it into a small pay envelope and seal it. Vou take out five other pre-prepared cnvelopes containing fivc cards with other songs. These are kt;rt in f trll sitllrt in your hand the entire time that the questiorlS tll('ltclttt; 't"kccl '
-rlo-
Yfum ffimqpk
*-Bem
#S
$-$ms
Here is an example of the question sheet:
Ql; Have you e\rer acq:fl{*emtail}r sat qlm mm mninral? YES = ffio
to
QS
Q2; Yorx pnefer
NO = ffim 1[m QB
6xr.nhfre
hair to
be;r
Natural = 0pen Enww$mpe #1 Trimmed = Og*en Envelope #ifl, Shaven = i{l}pmm Hmvelope #i3i Q3;
h{mwe y&er
ever hmd frm**eeent thoug[rts
YES = ffim tm ffift
mfirmut a
friend?
NO = ffim i*m Q?
Q4; Whmt do you look
ffeln
In
an
person:
Looks = ffipmn ffir:velope litf4 Intelligence = Opern ffimwe[mpe #5 Humour = ffipen Envefimpm ;/lr{S Q5: t{awe ysu{ ffi\r#r spat YES = G* to
Q6r
ffim V&u
YES = Go
{ftffi
wear
t* Q?
frn sfimlytr&ffiffie's $'ood mr dnfrm$s?
NO = Sm tw ffiI*
m wtrmtch?
NO =
Q7r The undqrurear you
ffiq:l
ffiI"ffi
tm QS wear"0mE rilgtrrt
now
frs;
FunnY = OPen EnveloPe #1 Sexy - Open Envelope #2 None = Open Errvcloprr #3
-ltl-
I
Yhm ffim*$q ffi$
$-frqxs
The questions always end up leading to envelopes numbered one, two or three. I realise that if the person gets to question four that envelopes four, five and six can be selected. However, no answer can get to question four, so this is a subtle red herri ng.
Of the six envelopes containing 'song cards', only one of the songs is the caller's selection and the envelope is unnumbered, that must be kept on the top of the pile and closest towards you. Then have two indifferent songs next with two blank envelopes. Then have three envelopes all containing random songs and that are numbered four, five and six. These numbers are written on the envelope in pencil and as close as possible to how you would nail write the numbers. In fact, use a nail writer to write the numbers onto these three envelopes. You also need to wear a nail writer that matches the ink/pencil on the numbered envelopes.
The host will now ask the caller the questions and will end up getting an answer that will require him to open envelopes one, two or three. As soon as you know what envelope the sheet has told him to open (let us say envelope number two) you nail write two on the top envelope. This is the caller's desired song. There is plenty of time to do this as the answer will bring about a bit of laughter.
Ytuw ffimmk ffiS
onto the two remaining enveropes. Keep them in your hand for a few moments but you can now ditch the nail writer. Address the host and say: n'f
rme&ffi yCIe* eere*trd Ipawe sard, 'sv-fdpe J#affi" &y Mra&aef -Iamfrs*rmo mr 'Bw&mrmfmm #?lxapswdp" &y qumerx **W
www{d lrawe beem eelrmp/efe
{y wrowg ,,
y**
Of course,
as you are saying this you are opening up the "trre envelopes then reading and dispraying those tifles to nost. To the host it seems as if the participant had chosen a different answer (and therefore a different envetope) it would not have worked' To everyone ristening to the rad'io'show it appears as though it was the host who made a free choice rrom-if,e top of his head. Everything at this point can be left for the radio host to investigate. The enveropes numbered four, five and six can be opened to revear even more possibre song choices, The onry thing that is amiss is that none of the answers end up serecting question four. But this can easiry be exprained as a typo if it was raised. I doubt it would be an issue.
As soon as the answer is given you must appear to look for that envelope number. Don't take too long with it, but drop down the last three pre-numbered envelopes as you apparently look for envelope number two. Then hand the envelope to the host. Dropping the envelopes down that have numbers on them is a subtle convincer that the envelopes were numbered from the sta rt.
As the instruction on the question sheet says "open envelope #2" the host will not need to be told what to do. Just hand him the envelope. He will then read out loud the song that he thinks the caller is requesting and they will match,
During the opening of the envelope write down the other remaining numbers (in this instance tltnnltt't s one and three) -ll2-
$_*mm
-ltt.
The Book
0f
Th* Book Of Lies
Lies
.f,#e Touch6 This effect is meant for TV.
The Mentalist is stood on a high street in a major city of the world, It is husy, but not too busy. He is with a z-list celebrity or some other beacan of society: Mentalist:
"Pick anyone that you can see in the crowd. Describe the person when you have made a selection."
Z-Lister:
"The guy with the blonde hair and
Mentalist:
"I want you to point to him and keep your
reddish jumper."
finger pointing at him as if you were going to tap him on the shoulder.
In a second imagine what it would be like if your finger could reach out and tap the person across the distance. Then tap the air as though he were stood right in front of you, Do
that now!"
At the exact same moment that the Z-Lister taps the air some 25 meters away from the person, the selected person turns around, Thc pcttl,on looks around to see who has tappcd hlm, but thoro b nobody close enough to have tappod hlm,
ili'tum ffiwqpk ffiS tu$em
I had actually tried out one of these.bad boys, I thought it would be weak and pathetic. However, these packets of air pack quite a punch. If you fire it at a person who is not Before
"That is unreasonable. Surely that's
expecting it, it is as if they have been pushed or nudged. For a forceful impact the subject should be around ten meters or less away from the source.
Tfre Mm**fafibf assfftres tfte Z-lssfer" 8&a* r? r:s r$ flamt p*rssr&dm, and feffs ffiem te perfwrrm flvrrm drsfance fmp mrpcp*#rmr' &w fi'rreg" Each fr'sme a randwr-rc perssr$ rs sw/u**w*ed without fmree *f any t
so you pick a busy high street that has a couple of side streets or alleys where your two cannon crew members can be blocked from view. It is important that whilst the crew members be hidden from view they must have a clear view of the high street. Hopefully between the two of them most of the high street could be'AirZookad'.
Z-Lister:
drs#'evnse
not possible."
fap aar*rksf
These chaps should also have their mobile phones with them on a hands-free setting. You will require two mobile phones with hands-free microphones that are concealed a short distance from your mouth. Before the effect you will call both cannon crew members, and they will be ready for the description of the
target and the trigger word. This part is pretty cool and it makes you feel like you are in the secret service!
Explanation When I was asked to make a pilot for a production company about four years ago this was one of the effects that I createcl for it. During the test filming the effect looked very spooky and even got the camera men freaked out. The beautiful part aboul it is that genuine random members of the public are used. Thi:, enables the person being tapped to be interviewed afterwarcl and also allows that person to watch the footage back and bt' as amazed as everyone else. A specific setup is required but since this is an effect designbcl for TV it is to be expected. You will require two extra crew members who have a mobile phone with a hands-free settinll and two devices (actually foys) called an'AirZooka'. These toy,, are large hollow cylinders that have a flexible membrane at onc end. When this mernbrane is pullcrl ,tttrl tclc,tscd it sends,r blast of air, through the air, until rt r olltrlr", witlt sorncthing.
-1t6-
All that is left now is for your z-lister to pick a person and describe him/her. As the person is being described, lean in to the z-lister's field of view as if you are trying to find that person. what you are really doing is bringing the hands free microphones closer to the z-lister's mouth to broadcast a clear
description.
After the description is given there is a bit of spiel to allow for the cannon crew to locate the subject. Then the code word "ds thwt nww" tells the crew to fire at the subject. It will take a second for the air packets to hit the person, but it should arrive at the same time as the z-lister's finger looks like it is tapping the subject. Of course, to the subject something has bumped into him/her, and he/she will look around to see what exacily it was. On seeing nothing surrounding him/her a look of confusion will
follow, which adds to the effect.
That is the osscnli;rl p,rrt of it. Howevcr, there are some things yorr ncccl lo l)r',rr trr rrrincl . choosr;r lor.irtion tl-rat is not too
-rl7-
I
Thq* Wmmk
T$re B*mk
Of Lies
#f
$-imm
busyasyouwilllosealotoftheimpactofthepersonbeing i.ofit"O, The effect is not too effective if the subject couldtohave film easier been knocked or tapped by a third party' It also is shots' if there are fewer people getting in the way of the
Instant Access
Formostofthepeoplewhoareselectedthecannonaimshould your cannon crew be on the mid-back and shoulders. Instruct is that if a person with long hair (fhaf is being wornofloosely) back. the instead ielected, tnat tney must iim roi tne bum moving through Ottrerwise you'll get a Lor6al advert, with wind
This effect is meant for TV.
her hair.
The Mentalist is stood outside a theatre and
just like There you gol A wonderfully surreal effect that is for 'AirZookas' piuying' copJ and robbers as a kid, but with
addresses the audience at home;
guns!
Mentalist:
he
"If you give
people the smallest piece of information to make sense of the world they extrapolate it to make the pieces fit. This happens regardless, whether or not the information is false. All that matters is that it fits."
The Mentalist takes out a prece of white card and wrlfes
'MIi' onto it, He then piac*s it s*ieking owt of his iacket's breast pocket,
M
enta list:
"Now, I'm not a member of MI5 or any other secret or intelligence service. However, this is a piece of the jigsaw, It is obviously not a real MI5 badge, but with the right attitude it won't matter."
The Mentalist walks through the doors and the filming is taken up by hidden cameras in the theatre. There is a ticket collector stopping people and requesting fo 5e€
their tickets. As the Mentalist approaches the ticket collector he looks her sternly in the eyes and points at the 'badge', The ticket collector looks at the badge and
tets the mentallst pass unchockecl.
-1ta-
I
.
ll0.
Yhm
ffi*:*x$c
the X-Files serles' which is where I used to be a massive fan of born' In one of :1":-1t:ies the the idea for this #; ;t; Urain tumour who can influence antagonist i, u ,u'i *iin a that the scent the gets ie other people's p"'ilpti"t"oireatity' puvt a visit to the FBI .so two FBI agents aie artertohim produce'his FBi badge in order to headquarters' He it-utf"J an agent' he doesn't have gain entry but of Jouit"' not being. nal tert it in his car and one. so he makes-;;';;.;;" ir'ut-r'l" goes to get it. a.pen and paper and'writes'FBJ' What he actually does is grab r'is breast pocket' When he sets onto the paper ttd ;it;;; i[ln OaOge and' due to the to the gate tn"- riuuiO seesoitne tn" antigonist, sees it as the oerception_innuenc.lnn ir.'i'"r article and allows him entrY'
;;^ri;a
Talk about mind control! up with a version of this effect As much as I love to have come worrd, I couldn't think of one' that wourd *orr. in-tr," everyday init using the beauty of
I
came up
Upon entering the theatre the cameras switch to hidden ones. The mentalist walks up to the same ticket collector and points at his'MI5 badge'and walks right past her into the theatre hall.
The ticket collector remembers the mentalist due to the weird mnemonic that he thrust upon her. Therefore, she allows him to pass as she knows he already has a ticket. For the viewers at home, though, it looks as though the ticket collector has let the mentalist past because she believes him to be part of the secret service and does not question his authority. Perhaps he is following a suspect? This piece of dual reality can be applied to any location which is ticket-controlled. Some other possibilities are:
o o o r e r r
*itn-u *uV t6 ao
the Mentalist purchases tickets What is really happening is tha.t rratt using his ticket, which is to the theatre and goes into th.e
checkedandrippedbythetictetcolljctor.Thementalist and as he nee.ds io get something suddenly ,"r"'[Li' trtit he ticket collector: leaves the theatri says to the
my ticket grab son'tething hwt I kave teftit? Ptease' oaix tn without fact in the hatt' i;l"n t corne Jr-,.s Michael ran Srnith' rn be You rernembe, *v'l'ii*' r won't five won't forget ii"T''arlie it on iiis ca'a'
I
need to
ffiinutes,"
ffiS $-$es
Outside is the camera crew/ which is waiting to film the introduction piece. As in the scripting above, the Mentalist takes out a blank piece of card and writes MI5 onto it and places it in the breast pocket of his jacket.
television.
"Hey,
Bq:rm$s
The mentalist leaves the theatre and takes out the card bearing MIS from his pocket.
Explanation
But
Thcs
ffif l-ims
he writes 'his initials' (as his As the mentalist is saying thison a piece of white--card' These pseudonym t'tiiaet iii s'itnl looks kirrcla like MI5. He shows initiats happen'i;il Mt;, *ni.n pracr.s it irr rrlr; brt'irst pocket' this to ,r,u ,,.nui".JtL.tor'and -140-
Public transport (planes, trains and buses)
High-end night clubs Exclusive charity dinners Cinemas
Sightseeing tours Hotels
Security-controlled business towers
It
should work in any situation where you can gain legitimate entry and then, once you have entered, explain that you must leave the premises aqain. Make sure it will be fine to get back in if thc person rcnlonrbers you. Remember to give the
-lal-
Yhe
ffiq:*qr$q
tf
Yhe
fi-Bmsn
mnemonic explanation and make it as off the wall as you like. You need to be remembered. If the guard explains that he will remember you, just be insistent that other people have said that before, and that you are more comfortable this way.
ffiqp*xk #trf
$-$,*nw
ndrn
c")6)1ffifu
This can be tailored so that your pseudonym matches the secret service/law enforcement of your country. Fred Barney Ince, would work in the US, for example.
Cloaked This effect is meant for TV,
The f{emta/rsf rs sfosd oey#srde a bar, Sm fdre walf fhere is a srgrm f&af clemrntr sfates f#re e$ress code, Menta list:
"As you can see, the dress code is pretty strict here. No caps or hats. No trainers. No jeans. No Burberry pattern clothing. No sports clothing. Those bouncers look pretty mean. I guess it would be really stupid if I were to'get changed into every item of clothing that is mentioned on that sign and try to enter the club.
But by breaking the rules massively and also using subtle confusion tactics I should be able to gain entry." The scene cufs fo flre *memfa{is;t getting cfiarngred rmfo aff of the banned rlofhrngr nrafer#m/s, This pff,fl&ss rs sped rp
and after a fww secnnds ff#ye rnenfalrsf rs back oufside cluh and walks orrer fe f&m fuoro largre &muncer.s, He looks themr bmffp in ffie eye as Jre apprwacfu*s,
Me nta
- 142.
l-
list:
"Welcome.
It
-rat-
is great to be leaving."
ffpw
Ytum Nepmk ffi$
flfam trpevsrmcers rr?tr{/e msfde mmd
cl**&" As
mmom ffi"s
trrtey fiavw
J'mf
ffifldf$ sfhm*r" sn a mmnf,*xsmd *trmyn fuave dheese mfPowecf om,
Ill-6ms
f,/be ra*espfafrsf rmfo 8$eel &/rn flxnmarEft 8&ey lmcJc af
First of all, find yourself a bar that looks good and doesn't have a dress code. But lt must have bouncers who will turn
es *flo**6r& #:e sftsltxdd
away troublemakers and drunks.
fef
rpmt
Next, go to a sign maker and have an acrylic sign made. This sign must give strict guidelines about what clothing is not allowed. It must also have sticky adhesive pads on the back of it that allow it to be attached to brick walls. When you get to the venue you get the sticky pads ready and stick the sign near the entrance in a place that will not be seen by the bouncers. A little diversion may be required here, but it should be easy enough to do.
Explanation
Note: Only stick these signs on brick walls as it
You will notice that there is a similarity to the previous effect. After playing with the concept for 'Instant Access', I decided that it would be great fun to get access without being an authority figure. Then I went for the biggie, getting access to somewhere where you are strictly prohibited.
The first thought was airports and the like, but because of the threat of terrorism, playing around with airport security may not be a great idea. What about a night club or bar with an amazingly strict dress code? Every major city has them and i{ you have tried to gain access to one of these places you know that the bouncers won't let you pass, even with the smallest deviation of clothing.
minimises damage, You do this at your own risk.
You have now placed your own sign for a strict dress code on the clubs wall. In reality the club doesn't have a dress code.
Get dressed up in the 'banned' clothing and film yourself gaining entry. Say something really confusing to the bouncers, but not something so weird that they think you are drunk and deny you entry. After they let you pass they will look at each other as if you were some weirdo. This transfers itself as confusion on camera, and the illusion that you have used Jedi mind tricks to gain entry to somewhere you should not have been able to is complete.
remember being turned away once for having shoes thal looked a bit too much like trainers because they were loafers. I am sure you or someone you know will have been turned away from a club by one of these clothing Nazis.
I
Wouldn't it be great fun to break all of the rules and get access using mind control? Wouldn't that stick it to them, for all of tht' people who have ever been turned away? Sure it would, and this is how I would do it.
-144-
.rat.
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Birdie Num Nums This effect is meant for TV.
The Mentalist is sfCIod autside a newsagent with
pa Nfcipa nt ca I led trrefmr", Mentalist:
a
"Peter. We have just gone into the shop and grabbed a bag of your favourite flavour crisps (Americans see.' Chips), which is salt and vinegar."
The Mentalrsf opens tfie haE and, as he does ,so/ ffr@ camera c,an r,lear[y see t raf t]re &ag is not salt and vinegar flavoured, but does in fact contain clreese and onion cnrsps,
When the bag is opw*"t the Mentalist mff,ers Peter and he fakes awe and starfs fm wat if.
a crisp
Mentalist:
"Peter. As you ate that crisp what was it that made you enjoy it?"
Peter:
"Well, it is quite sharp and has a bite to it, plus the salt is tasty."
Mentallst:
"Please, have some more.
Y$*e
ffimqv$q
I
Cf Lies
Is there a crisp flavour that you hate, just couldn't eat?"
and Menta list:
"Yeah, cheese and onion."
Peter:
lt*
k$ffiffiK
{Jr
E*!ffill$
"I know that it is only imaginary,
but the powerful, so take another mind is very crisp to get rid of the taste?
Your mind can realise that the crisps are Mentalist:
"Oh really, why is that?"
Peter:
"I dunno, there is something about the taste of cheese that I really don't
back
to
being salt and vinegar once
more,"
Peter:
like."
"That's much better. I can't believe how real that cheese tasted."
"As you eat the next crisp do you think you could try and imagine that it is a
Mentalist:
cheese and onion one?"
"oK."
Peter:
Explanation
it in your mouth, close your eyes and imagine the flavour of cheese. Imagine that you can smell it and that you can also taste it' Then as hard as it may be, PoP it into Your mouth and
"Before you put
Mentalist:
taste the flavour."
l/tffiem Peter places tfie crT sp in kis mouftrt fie can c{warly ffie
seen
fcp
wrnce,
Peter:
"Oh, that was horrible."
Mentalist:
"Describe how it tasted?"
Peter:
"It
was Just chcorY end gro33." . lrll .
I got obsessed a few years ago with trying to bring other senses into the world of mentalism. One that is often overlooked is that of taste. This effect has great viewer interest as the audience is in on the fact that the packet of crisps is not what I suggest it is at the
start. It is as if the viewer at home is in on the secret, and for them the effect is that I have used suggestive language to make these cheese and onion crisps seem as though they are salt and vinegar. To the participant the crisps only taste like cheese and onion at the time that I suggest to him that he imagines eating a cheese and onion crisp,
When lt turns out that he hates cheese and onion, and he is happily eating them whllst he thlnks they are his favourite flavour, lt ls amuslng for the audlence.
'&-
"F$rw ffiwm$q SIS $*0ws
normal packet of crisps, but the participant will only be able to select his favourite flavour.
How is this achieved?
Hypnosis, perhaps? No, it is even cheekier than that. of crisp packets.
It
is a classic force bag made
You have the participant tell you which crisps are his favourite and which ones he hates. You buy a packet of crisps in these flavours. They must be the same brand. This is done a few days before filming will commence.
Empty out both packets. Keep the packet of the crisp flavour that he doesn't like to one side and grab the favoured bag. Cut down each long side with a pair of scissors. Only take off a few millimetres. Flip it inside out so that it becomes a silver divider, and place some non-toxic, child-friendly glue on the inside edges.
When it is dry, insert it into the other unmodified crisp packet. This gives you a divider that is the same colour and material as the inside of the crisp packet. It should be a fairly snug fit.
When it comes time to have him select the flavour he dislikes, you will have to grab the bag in a slightly different way. The bag will need to be tilted so that the front of the bag is facing the floor and your fingers will now open the force section. Your other hand supports the lower section of the bag. On paper this sounds clunky but it is fairly easy to do in reality and looks very natu ra
Ihere you have it. You can now completely control the flavour that a person merely thinks of.
I am hoping that this is spurring off new ideas of different
sensory experiences that you can bring to your performances.
llere are a few more ideas that
.
At all times you must keep the back of the crisp packet facingy toward the participant. This is so that he doesn't see that tht' packet is the flavour he hates.
Open the bag and place your fingers into the side with hi:, favourite flavour and pinch the divider so that it makes contact with the outside edge of the packct. Ilti', will trtakc it look as.r
-rto-
have had regarding foods
What about a chocolate bar changing flavour? This could be achieved by making a non-nut flavoured bar taste as though it has nuts in it. Simply inject nut flavouring into the second half of the bar and reseal it, as above. For example, you may have the person eat a Mars bar, and then after a bite or two have him imagine it is a snickers bar as he eats it.
NOTE: Please make sure you check allergies that your participant may have.
Keep these in your pocket and on the day of filming walk into
purchased the crisps from the shop.
I
r:hanging flavour:
Now place half of the salt and vinegar crisps in one side and half of the cheese and onion in the other. Once done, grab yourself one of the re-sealer tools that you can buy from most kitchen supply stores and reseal the top of the crisp packet.
the newsagent and ask for the time, or something silly. Walk back out and take the bag of crisps out of your pocket ancl approach the participant. It should look like you havc
I.
.
for
food
What about having some chips (American's see: French Fries) where the person eats a few, only to be told to imagine any flavour. He says "V&rlil[a" then chooses a chip/fry to eat, and freaks out because it tastes of vanilla. All that you would need to do is inject a few chips/fries with vanilla essence and place them to one side and do a classic force as the person takes one, You would also lr.rvr. to qet the person to name vanilla, whir lr i., .,irrrply rlortr, rr.,irrr; .,onte method of forcing.
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ei6}6ffi$ Paul's Price Is Right This effect is meant for TV.
The Men*afist r's sfmCId mufsr'de a fanroEs shap in a bfg city. He rs uvittrl a partr*ipa-nt called
Me nta
list:
Brcrem"
"Hi Bruce. I want you to go into this shop in a few moments time and take a very good look around. Look at as many items as you can. Then I want you bring one item back to me.
just confirm to the audience at home that I have given you Before you do,
an envelope and have told you to keep it on you until you come back and meet me."
Eruce:
"That is correct."
Mentalist:
"You also have no idea as to what is in the envelope do you?"
Bruce:
ttNo.tt
Mentalistr
"Great. Do not allow anyone to touch it, keep it safe, Rlght, off you go, happy shopping,"
Yhm
Sncvee Srses
ffimm$c
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Liem
Yhm
mfo ffte sftop amd ds fmf/mnsrmd$ fuf the
ffirsrew fa$res Jbis time laokirxg at alf the dfffm*,mr*f ffwrngs srp f&e shop &efore firxa{{y se**ffrn6r &#} one rferm, which he brings ocrf fm *fre JWmrn*m/fsf, fllprm #r"ffitr@ss fias fieer* s$ped u*p fmr" uru'mwfmry pdeasure.
ffimqxBc
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Explanation
#ffid?$strffid?T&rlr"
Mentalist:
scarab
For me the ideal for this type of effect is to have the person look as if he/she is shopping around before finally deciding on an object.
"Very interesting indeed. Please, take out the envelope I gave you at the start.
My solutlon was to force the price, rather than the item. So beforehand you must obtain the shop's stock list including prices. This can be done direct through the shop, or can be achieved manually by walking around the shop with a pen and paper (or visit their online store). However you do it, you must find an item that has a unique price,
beetle," Menta list:
Nobody has touched this since you were given it, have they?"
M
enta list:
Bra*ww
Bruce:
entire time."
For example, choose a small scarab beetle that costs 83.45 where no other product in that store has that same exact price.
"Open it and read out what is written on the letter,"
You get a clear force bag and fill one side with slips of folded paper containing random prices. The other side contains folded slips of paper with the same price, in this example t3.45.
"No, it has been in my pocket the
Bruce:
m;1tnffirs*s
initial instinct was
person walking into the shop, going straight to the desired item and then picking it up and making a beeline back to us. The whole feeling of shopping was lost.
"Right, so what did you bring me?"
"It is a small statue of a
Bruce:
to create something similar for a TV show my to force the item that I wanted the participant to choose. However, there were issues with the
When asked
ffrm /*vffmr" mnmf *"eade mfoud;
"Can you please grab me a statue of a scarab beetle. Oh, and make it a small one as I don't have the room for a large one!"
-rta-
Before the filming, and before the force, you give the participant the envelope that contains the object prediction. fhen you explain that in this bag you have all of the prices for different objects in the shop. Tell him/her to grab a few out to get an idea. Then he/she is to remove one final price, memorise that price and throw it back in the bag. While the cameras are filming he/she is to go into the shop and look at all the items to find one that matches the price. But the participant is told to look at all the items, as there may be more lhan one object with that price tag. If this turns out to be the rase he/she can bring back either one of the items. But only one item is to br. hrorrqht back.
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S
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* rffi*
Ytuw
ffimqp$q
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Of course there is only one item of the price the participant has selected. The participant will now look at all of the items, which gives the impression of shopping. Once the object is selected it will be brought out to you, where the prediction is revealed.
The effect for the participant is that you gave him/her the prediction way before you got him/her to make a selection. This is why it is very important that the first thing you do ls give the participant the envelope. This way even if he/she suspects you of somehow seeing the selected piece of paper, it doesn't make any difference.
I
STAGE EFFECTS
"The world is a stage, but the play is badly cast."
- Oscar Wilde
156
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Disposable Colours illany of you will be aware of Max Maven's effect'Disposable Color'. What is so great about that effect is that it is not an effect unless a certain colour is named. It becomes just a selection method.
I was using this for a while and came up with an idea of how to get another colour'out'. The method is simple. You must use a very light/pastel yellow paper instead of white paper. If either your hidden colour, or yellow, is named you can make an effect out of it - or at least allow it to set the premise for the show. This is
a simple but effective way to double your chances of
hlt!
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a
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Red Write Hand The Mentafrkf ,s on stage and is staad next ta a tahle" Om the tahle is a clear plastir pencil pat, holding five yellow felt-tipped pens, Mentalist:
"The pens behind me are all the same in every way except that one of the pens has had its internal ink changed to red. The other four still write in yellow.
In a second I am going to randomly select five people from the audience. If you are selected, please make your way .to me and take one of these pieces of card from me. Mix the pens and take one, before standing behind me in a row."
Once fhrs rs dane the Mentalisf contfnues, Tha entire tlme the Mentalist laoks at the audience and cannof see what pen is selecfed, Mentalist:
"OK, the last person on stage, you didn't get much of a choice. To be fair, I will give you the chance to switch pens with anyone that you want. That is if you wish to do so, of course. When you have done so, please let me know as I will keep facing the audience."
Prrtlclprnt:
ttDona.tt
Yh*
Mentalist:
S*qs$<
Sf Lles
Il
**@ &li$\d\&d { sv tt {ds(
I
am going to turn around now, so be prepared for that. Remember, don't give anything away regardless of what colour you have!"
"Great.
All of you now/ uncap your pens. On the cards I have given you there is a small black square. Take your pen and make a cross inside of that square.
wrxd e}yes erp tfie fiwe partieipanfs for a f*w see*nds" Pfc fllen lrmrvds each participant a pad of paper arrd f#lfek marlrer pem.
The Menf'alist fu*"ns aro{,rffid
Once you have done this you will know if p€n, or the yellow pen that writes red.
you have a normal yellow
Do not say what you have or let anyone see what you have.
Mentalist:
When you know, place the card in your pocket or somewhere safe and out of sight. Then recap the pen and place it back in the pencil pot.
As soon as everyone has put the
Go!"
The Fmrf#erpanfs starf drawimg, and as they do flre
pens
back, can someone let me know?"
fl&ese instructiaffs trr@ fnffswed am$ the Memfa/rsf at the awdience ffle emtr"re *ime"
"Right, you are going to draw something that comes into your mind. Whatever it is it should not take you more than 30 seconds to draw.
menta[&s* fevrns fo address the audienee.
Menta list:
dmmfrs
"You see, what they draw will give me an indication as to who feels relaxed and who has subconscious tension. Guilty people, people who feel singled out tend to draw certain things.
Participant:
"oK,"
Menta list:
"Before I turn around, I want to let you know that if you have the red cross, I am looking for you. I will find you and you will give something away. If you feel nervous,
The great thing is that even though I am saying this and the drawers can hear me, it is already too late for them to change their minds!
good! You should be.
Doing so would be awfully suspect."
All of you wonderful yellow cross people can just relax and be yourselves. I am not
The Mentalist turns to face the participants and waits for the last person to flnlsh drawlng.
chasing you.
-lCl-
I
.lft.
Thtr Mentalist:
ffimm[q
The BoCIk filf
Cf l-ies
$-$es
"Can everyone just turn around their pads and show us all what you have drawn.
That leaves the flower and the fish in its
That is interesting.
Both things can move/ but are limited in movement. Almost like you want to move and run, but cannot.
bowl.
Some kind of horse? Oh wait, it's a dog.
The question is which one is due to being on stage in front of all of these eyes, and which one is due to being the dirty red
A mutant sheep. A fish in a fish bowl.
crosser.
A flower. Hmm.
Finally, a rather thin stick man wearing
a
Here are ten coloured pens, a selection of the same five colours each. I want you to take any one and colour in just one thing on your drawing."
cap.
Freud would have a field day!
OK, guy with the stick man, you clearly were thinking of yourself as you drew this.
It is some form of self portrait, and a
guilty person would not want to attract attention to himself in such a way. You have a yellow cross/ show it to everyone.
ffie tem per$s on tfie table iss front af the two participants, Each person selecfs just a single pen and colours in something on his/her drawing.
The Mentalrsf places
You can go back to your seat, thank you.
The person who drew a sheep, waaaaaay too cute to be guilty of anything. You also have a yellow cross. Show everyone,
Thank you very much, you can take
a
Mentalist:
"Interesting, you have coloured
in
the
grass using the green pen.
You have coloured
in one of the air
bubbles blue.
seat.
The horse/dog thing is a tough
one,
because you tried to add a lot of detail to the image. This suggests that you were
trying harder than the others. But I think that was out of being proud of your work, rather than being deceptive. You also have a yellow cross. Please, show everyone, and take;r scat. Thank you.
-laa-
After me mentioning movement before, I would expect the culprit to colour in something that doesn't move, and the person who is just a tad nervous to colour in something that moves. Therefore, the grass doesn't move, the guy with the flower, you are the dirty red (.ror.r,rrr. Show cveryone your red cross.
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t
T$te $$w*k ffiifl
Hfum $$mmk ffiS Lff**m
The lady with the goldfish, you are just nervous, but it's OK, as soon as you show everyone your yellow cross you can dive back into the audience."
fl$pm fideryfmddmt'is
#sr'trwsf, emsf *'fie sc*dfenc**
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This is essentially all that you need to do. The rest is selfworking. If you take any of the colour changing pens and draw a cross on an unprepared card, it will be one colour. Draw a cross in the specially prepared card using the exact same pen and it will be another colour.
Ihis way you know who has the red coloured cross, because you give that person the prepared card. It is really sneaky and allows the participants to have a completely free choice of pen. You end up being so far ahead of the game it is untrue. Now to the pens. Obviously, the manufacturers of these pens .tre oufir€rous and the colour pairings will differ from company Lo company. All that matters is finding a pen that creates two r-ontrasting colours. In the sets that I buy, the yellow pens write red when applied to the solution, which give a great rontrast. Don't go for similar hue colours such as blue/green or r edlbrown.
Explanation First of all, I would like to say that the method for this effect has far reaching implication beyond the effect presented here. You will require five sets of the special colour changing marker pens. These are the ones where you draw using one of the colours, and use another (usually white) pen to scribble over it and it changes the colour. Where possible, try and get the pens without any writing on the barrel. You will also require five thick business cards, blank on both sides. Index cards can also be used. Whatever you choose, the cards must be absorbent, so no lamination.
Start off by taking the five business cards and either printing or drawing a 1cm square in the middle of the card on just ont, side. If you are doing this by hand use the thickest black pen that you can find. Oh, and when I say draw a square, I mean just the outline, do not colour in the centre of it. On one of the cards you will take the special colour changintl pen and colour in the centre of the square, The solution will bc clear so you will not be able to see it without the right anglurl lighting. Make sure you spend a good five minutes colouring irr the square in different directions to onsrtr(, I00 per ccnt coverage.
-16C-
Often these pens barrels are the colour it writes in normally, then the cap and insert stopper at the other end tend to be in the colour that they change into, With my red/yellow pens, the barrel is yellow, and the cap and r,nd stopper are red. I change the red cap, for the yellow one in llre package, and also do the same with the stoppers. To take out the stoppers insert an open side of some needle-nose pliers trrto the cavity, press against the wall with the gripping side of llre pliers and pull outwards.
llre end result is a complete yellow casing and all of the
pens
look the same.
llrat is pretty much the effect. You know from the start
who
the red cross, and looking at the images you can work out what is different about that person's drawing and make up Ir.rs
,,orne BS about it.
llrrr reason for using extra thick cards is that stage lighting
r,lrr render most GSM thickness virtually transparent,
I
this.rt (t sllow wlttlrc pcople did not clap much at llrt. r lirnax of tlro llfct I llri'. w'l', tlrlllsttal as I had become ,rr r il,tort'tt'cl lo t;tr',rl ,tppl,ttt'.r' lot tltl', lttcr-t'. Whilst spcaking rli,,r.overed
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with people after the show it came to light (pun intended) that from the start the audience could see who had the red cross as soon as it was drawn. It destroys the effect if the audience get to the climax before you do. If you don't believe me/ ask your other half (joke).
I
recommend either buying very thick card, or gluing
Fairer Than Fair Switch a
number of double blank business cards together.
Oh, and I would also suggest that you nail nick or mark the special card in some way, just in the event that you drop the cards or someone gets frisky and wants to look at them.
I
have prepared the special card two days before without it drying out. But as each manufacturer will be using different substances, I would always recommend that you create the
If you are a good little snookums you will own my book 'On Mephisto's Shoulder'. But just to jog your memory/ the 'Fair Is Fair' switch was a way to gimmick an envelope so that you would be able to switch billets. It allowed the mentalist to tip out the contents (a single blank billet) of an envelope by turning it upside down, and also showing the inside empty. The billet could then be filled in by an audience member and dropped into the empty envelope. It could then be passed to
special card an hour before you go on stage.
another participant and the contents would be switched.
Phill Smith planted the seed of this effect in my head a long time ago. He was just about to release his book'Mitox'which contains an effect entitled 'Red Handed'. It takes the method on a spooky and rather cool presentation based on a murder, I must give Phill full credit for the methodology and praise him for his awesomeness. It was a pleasure to be able to perform this effect for you during my 2007 stage show, Phill!
Well, it is a great switch, especially if you are being burned and need to prove that the envelope is empty from start to finish, other than the single billet.
I
have used the envelope switch many times and for various effects. However, since writing up the effect I found myself in a predicament when I turned up for a stage gig once. I got to the venue and realised that something in the boot of my car had leaked over the area of my case that contained the gimmicked envelopes. There wasn't time to create a new gimmick, so I had to'wing' it. But from my'winging' came this'Far'rer Than Fair
Switch'.
It is an ungimmicked envelope switch that has all the congruency of the original. You will require two billets folded lnto quarters, and an envelope that is top loading whilst in a portrait position. This will not work well with envelopes that are top loading in a horizontal position. Mark one of the billets with a big dot, and leave the other blank. Drop the one with the dot into the envelope and tilt the envelope to the left sllghtly, so that the billet falls to the bottom left hand corner of the envelope as you look at it. Now, pinch the blllet through the enveloPt:,
. lll.
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Imagine a person has filled in the blank billet that you have handed her. Have her drop it into the envelope whilst you hold the left hand corner at finger tips. This is done with the envelope being at about head height. Once the billet has been dropped into the envelope tilt the envelope slightly to the right, and keep it raised in the air to maintain fairness,
Now raise your right hand and grip the bottom right of the envelope, pinching the participant's billet through the envelope, When you have a firm grasp with your right hand, you can let go with your left hand. Once on stage with the second participant, yoU can tip the envelope upside down and shake it. The now loose pre-written billet (fhe one with the dot, if you are doing this at home right now) will fall out, and the switch is complete. Crumple up the envelope and throw it to one side.
Note Worthy The Mentafrsf rs on sfagre amd sed**sfs m pmrfieipan* w{xa joins him on s#"age, Menta list:
"Here, take this calculator. I will need you to do some maths very shortly."
Addresmff?g fhe asrddrvncm,
Menta list:
"I am sure that you have all heard of the 'Butterfly Effect'. The idea being that a flap of a butterfly's wings in Brazil can create a chain reaction that can result in a tornado in Texas.
$,%r
Well, there
is
increasing psychological evidence that suggests that the same thing happens with human thoughts. However, it is more difficult to understand due to the nature of the mind. So to quantify the experiments we use a set of predetermined numbers. By giving humans a list of numbers it is possible to predict the next number that person will choose.
I will pass this piece of paper out along the front row. It has space for seven three-digit numbers. I want each person to write down a three-digit number.
llrrl llr,.t I wlll r;ay the following sequence of nrrrrrlrr,r,,
-t70-
.ltl.
lty
rrot to think about them.
J
Yhe &osk
0f
Lies
T"he Menta list:
One hundred and six. l
ffimqp&<
ffif fi-its
"I
shall not touch the paper and will carry and I shall keep the envelope on show the entire time.
it in this envelope,
Eighty nine. Please, drop envelope."
One hundred and fifty two.
Now take the paper and write down the into your head.
first three-digit number that pops
the piece of paper into the
The Mentalist carries the envelape above his head at fingertips fwr all fo sse, tlren dumps ouf the paper into the hands af the person with the calcwlator,
Then the second person, look at the first
person's number and write your own three-digit number there. Then pass the paper on. Before you write your number look over the previous numbers and try not to be influenced."
The mentalist hands out a pencil and the sheet of paper, then returns to the sfage, He then picks up an enve{ape and hands it ta the persan holding the calcu{atar,
Mentalist:
"Please, can you start multiplying the three digit numbers together. Let me know when you have an answer."
Participant:
"It's a long number."
Menta list:
"I
thought it would be. Name it out loud and I will write it down on this pad of paper."
Mentalist:
"If my research is correct, then the end
number that you come up with will match a prediction that I have sealed in the envelope. There is also a little something in there if it all goes wrong!
Participant:
The Mentalist writes fhrs down and {
Right, have you guys all written down numbers? Super, fold the paper up and I will come and collect it from you."
Mentalist:
t72.
"Before
it display@d
to
the numbers were collected I
handed you an envelope with a prediction in it and a little something if I fail. That llttle something is a f 10 note, but I didn't want to tell you until after the sums had
The Mentalist picks up an envelope and heads out to the front row.
-
"28382271."
l*
.
l?l'
I
]$-hm l$Smfl'k
ffif
$-$d*m
been done. You might have tried to stick me up for a tenner!
Explanation
Can you please open up the envelope and read the number on the piece of paper, in your loudest voice."
That's right, it is an add-a-number-style effect with a twist, The switch is the'Fairer Than Fair Switch'mentioned just prior to this effect. used this effect for many years, and it has a great kicker at the end, where you explain that there is a prediction in the envelope, plus a little something if it all goes wrong. Notice that I do not mention what that 'little something' is until the calculations have been completed. The last thing you want is someone wrecking the effect just to get ten quid from you. The scripting seems to refer to two items in the envelope, whilst it actually refers to one. This creates a great moment on stage where your helper looks genuinely concerned that you might have forgotten to add the prediction.
I
Ifre #ranficrpanf rmrmoures fJre emnfmrpts amd /mo&s rarmrrsmd,
Menta list:
of
ffue enrelmpe
"What's the matter? Just read out the pred iction. "
Participant:
"There isn't a prediction inside of
here." Mentalist:
"There should be. It is really easy to spot. It is a piece of paper. It's got the number 10 on it, and it also has the eueen,s face on it. Oh, that's it in your hand.
Read out the serial number on the [10 note, without the letters."
Participant:
"2838227L."
Mentalist:
"A perfect match. You were great, you still keep the money."
Participant:
"That is crazy!"
-t7a-
When the f10 turns out to be the prediction it is a funny moment in itself. Add to that the fact that serial numbers are llermanent and it makes the prediction even stronger. I know it tloesn't make much sense, as if you were to write in pen it would also be permanent. But notes are apparently unchanging .rnd permanent.
Another subtlety that I always use in add-a-number-style rffects is to have the numbers multiplied rather than added. ';ince I have not mentioned that the numbers will be added people shouldn't be thinking in that manner anyway. But, if ,.omeone in the audience were to add the numbers it won't rnatter because the numbers on stage are multiplied. lhis is a beautiful,'pack small, play big'effect. Since there are ,rlso no gimmicks (other than a duplicate billet), the effect can lrc created on the fly if needed.
can
. r7t.
Ttillirm $Sexq$k
$f
The
L.iee
Smm$q tfi}ff L$*w
nllrn
ei6,)64tu Imp-Ossible The ttfemfmfrst ,s orl participawf" ffe hands
sfdsg/e wit{ry
a
&
rwwdamly*setwwtwd
cliphwwrd mrtffi paper and thick rmar"kmn pen. Iftm particrg*mnf fs also fiamdmd padded emue/epe ffiaf rs {wrger fham *&e c{ipboard,
Me nta
list:
&mn
w ffi
second I want you to think of something to draw and that you could draw within thirty seconds.
"In a
it easy to understand. For example, particular squiggle that only means something to you isn't going to mean Make
a
anything to the audience.
But you have freedom to draw anything that you like. Go for so. "
it and, when you are finished,
say
The participant fakes m morileffif fo ffirmk mf mn image and then begins f0 draw" Wixen sfte rs tinished s&e fefs ffte Mentalist knaw.
Mentalist:
. lll.
"Great. Now, taking care not to flash me the image, place the entire clipboard into the envelope."
.
lll.
Ytum W*mk CIf
l-ies
H
fhe Memfa/fsf fregfms Em draw" halds his drwwxing ta his cftes8.
flhe parficrpanf places Xfue c{ipboard intw tfrm enue/ope, Ifie ttlemfalrsf rs fourmrds the back of thg stasre/ wlrfcfi r?reffin,s ffiaf sor**e of ffte mudferrce get to Mavw a gfrm*pse
rnrfiaf thw parf,ffciparvf fums drmwn,
Menta list:
ffim $$ffi$$q qJr
E-effi$il
W&em &e &ms ffmfs&ed fie
Mentalist:
"In a loud and clear voice can you
Participant:
"A bath."
Mentalist:
"A bath, as in a bath tub?"
Participant:
"Yes."
name
what it is you have drawn?"
"That's better. Now your image is hidden we can move about freelY."
I
f,he Menfalrsf pic/cs *rp a Bad of pape*r and a nrankerpen, h
Mentalist:
"I
think that you are a fairly intelligent person. So you are not likely to draw the very obvious choices such as a stick man or a house.
The Mentafrmf frrns arsumd &ts pad of papwr fo sfiow what fte &es draww, }{e $bas frrdeed draww p &affi tuh. The crowd goes rs/r/d, When flrm mppJause dfes dwwn f&e Mentaiist comfdneres,
You're birthday isn't in September is it?"
Participant:
"August."
Mentalist:
"oh, so pretty
Mentalist:
"wait, you are also thinking of a word, right?"
close. An older brother?"
Participant:
"Yes,"
Participant:
"No,"
Mentalist:
"We know you are fairly intelligent so you are going to try and catch me out, and it will be a long word.
Mentalist:
"What is your middle name?"
Are you thinking of the microbiologist?"
Participant:
"Danger."
Partlcipant: -174-
l*
"YESI"
.lll.
word...
The
$$mm$,r
Yllne
Of Lies
Explanation
wA:irY{
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mffiffi#$q.ffifi Yffi&,$
ffiifl
m#
$-*luns
Yffi{[J&, $]ffi,&wxNffi p*-!{r&sffi
Str*# ffiS YffiffiSffi \Nffi{!q$}S e$sffi frffiffi$S 1X-l${ffi.ffi8"$ffiffi Sffiffi #l$-$dffi$&' TWffir
ffiffiffi4ffifftffffiffiffi
I
I
LOVE THIS!
ffi.#emx&i*'][#$w $4Hfrffi.mffissLffiffis$Y
LOVE THIS!
$ssffi$-rffiffiffiA$pMY
I LOVE THIS! kinda love this and as of writing this book I use it in all of my stage shows. It is so practical and easy. Yet it adds a quality and strength of effect that can only normally be attained via pre-show. I have nothing against pre-show, but it is not always possible in every situation.
I
Obviously you require an impression device for this effect. I am pretty sure that any impression device can be used. You may even want to use a peeking device. Personally I use a Buma Board, which enables me to get an instant impression of what is being drawn. I get a glimpse of the impression when the clipboard is being inserted into the envelope. But the envelope has another use that we will get to later.
The secret of being able to tell the person what word she is thinking of is in a choice that she makes as soon as she arrives on stage. This choice is not known to the audience. This creates a moment of dual-reality where I apparently can tell the person a word that she is merely thinking of from a limitless selection.
has selected one of three words that I have presented to her. This means that for the person on stage the fact that I get the drawing correct is more impressive than the word. But for the audience it is the other way around,
In reality she
Where is this choice that
I
The text is in a very light gray shade that cannot be seen from over three feet away. The person on stage is able to read It easily enough, though. This is an idea from my good friend Mark Elsdon and his'Googlewhacked BookTest'.
present to her?
It is on the top sheet of the clipboard that she is drawing on' Here is how it looks:
-rto-
I
Notice that the three words as the participant sees them are in r(:vorse alphabctlt.al order from left to right' From your lrcrspectlve ygtr wlll bc see the words are in alphabetical order.
-rtt-
Yhm
#l$mm$,r
ffif
Thm
$-fiqrsr
This means that when you glimpse the impression you will able to work out what word is selected with ease.
be
From the audience perspective they may see two horizontal lines along with the drawing, but they will not be able to see the writing. Therefore, it will appear as if the pen has been tested, or that the participant changed her mind when drawing.
I
must now talk about the positioning, as it is paramount to the effect. At all times after she has the clipboard and other items you must keep your distance.
Whilst the participant is drawing you will be stage right, and your participant stage left. You face the audience and your participant is to face you. This prevents the suspicion of pen reading or other cheating.
ffi**k
#{l'$-ii*w
It is important that you now ask the person what she has drawn and get her to say it in a loud voice. We do not want the image to be removed from the envelope, because then she will think you have somehow glimpsed her selected word. When she names her drawing, turn your pad around to reveal your matching image to the audience. They will react. Then show the participant, who will also react. This is a great idea from my main man Marc Paul.
This is where you wait for the applause to die down. If at any point the participant wants to remove the clipboard, just tell her to wait. Just before the applause finishes you cut in with, "Wa{*{ Yow are a#wa ffirm&rng of w wrord, rfgrdrffff" The participant can only ag ree.
Then, when the image is drawn, have the person hold it to her chest. This is when you move to the back of the stage and ask the participant to keep the back of the drawing to you. She wiil turn until her back, or part of her back, faces the audience. you are moving to the back of the stage to pick up a clipboard for your own use.
Act as though this balletic moving is ridiculous, say "flm&rng mare nof fp itffasll mux d"fre rnregre, pJace flre eryffr'r"e cfip&mard fs?fm f#r* esnwefmpe," This is of course when you get the glimpse of the impression through the back of the clipboard (if you are using a Buma Board) and you also can see two horizontal lines. You will be able to memorise the image and work out what word she is thinking of. More over, the audrence at large will have seen what she has drawn. Then say "Ffrmf"xi beffmr; note{ y@ur rn*age rs }rid*Swn we can r$?{ffiMe a&CIerf frwwly," It justifies why the clipboard has been placed in the envelopes. You can now move about the stage freely.
Give some spiel about it being a long word and how she tried to catch you out. This is because it is a long word and most people will try to catch you out or will just go for the more complicated word. Then reveal the word.
Ihe person confirms and reacts stronger than expected due to the fact that you managed to work out her drawing. The ,rudience also react off the back of the drawing duplication but rlo wild at this apparently genuine and propless piece of mind reading, Gotta love dual-reality stuffl
At that point I recommend that you take the envelope and just iable it. Do not be tempted to take the clipboard out. There is no need to. She stated what she drew; there is no need to rcveal old information.
llrat's itl Don't you just love it?
Ask whatever questions that you want, apparently profiling the person on stage and deducing what she has drawn. Then draw the same image on a pad without letting anyone see it. This mirroring of events grves an air of fairncss.
-lE2-
-r83-
I
?he B*ok Of Lies
Tht;x ffiec*k
#f Lit*
Participant's Rise Again stage show, At a curtain peaple have hetped out during who five fhe catl he more for an encore onca on sfaEe him the show ioin
It is the end af the Mentalist's trras
effect,
"Firstly, I would like to thank everyone on stage. You have made the show tonight.
Mentalist:
Please, think of a word that has a special meaning for you.
I will try and work out what it
is'. Just keep thinking of your special word and I will come and look at you whilst you think of it."
The Mentalist moves fram person fo person, After he HlOXs at them for a few seconds he writes down l9firething on a sffeet af paper and has fhem hold it an Ihbtr chesf facing the audience. He tells them not to laok ',ll n, When eneryone is hotding a sfteef with a word on the Mentalist canti nues:
"As loudly and as clearly as you can, say what your special word is. One at a time,
p$intalist: 'hl
please."
Itrttclpant #1: Frrtlclprnt
tl:
"Swlmmlng." rrGllmb."
Yfum
ffiiepqffi&{
Participant
#3:
"WhooP."
Participant
#4:
"Love."
Participant
#5:
"Timing."
ffif
Tlxm
l-iem
ffif
fr-*es
Explanation reader and you do not have any propless mind reading in your show then you are missing out, and so is your audience.
If you are a mind
AWer eae& per"s&r? mansffis frrs/fter" wmrd
fffe
I understand that certain props are invisible and are justified in order to make the show visually stimulating. However, even if there is one moment where you apparently look at someone and pull an idea or thought from their head without them having to do anything, that is strong.
m*sdfemce's
reaaf,r'om ftecwmes sf,rCIs?grefl mnd sfrongrer,
Mentalist:
tl$mm&q
it is a curtain your is and you might show done The meat of call/bravo effect. But this last props, invisible. visible and have used all sorts of of the minds in the will stick that moment, the moment people helped who you of the minds read the audience, is that you earlier without any compromise whatsoever. In that last moment you prove to them You can do the mind reading without the aid of anything and that the visuals were just for the pleasure of the audience.
The great thing about this routine is that
,'Take a look at what you are holding!"
ffhe particrparpfs fom&'af ffte mrords fftmy ane hra#ding reacf wr*fi sfiCIck mnd scxrPrrsm"
mwd
However, there has actually read minds.
to be a compromise
because we can't
So what is it?
Well at the very beginning of the show, with your tongue firmly placed in your cheek, you say:
"As a masslve inrmnfive tm fielp mrre on sfi'd?$e fmnigfrf, every helper wftl &e givew w piwr,e of paper with rwy slgnature on it.,$o wdren my time o$ffIes you can frade ff ln for cash on e&ay,"
You nonchalantly show one of the squares of paper that bears your signaturc.
-1t6-
I
-ta?-
I
Yhe Sslok Of Lies
i
I
"Buf waff for ttpq* riEttt time, Because go for 7p with a'Buy It Nown,,,
I 11*
at
tiew rwoment they
This is just a set up to give a reason for why audience members will be walking away from the stage with pieces of paper,
In all of the effects during the show you work in a moment where the participant has a clipboard or some other impression device. On that impression device there is the following:'
THANK YOU FOR HELPING OUT WITH THE SHOW. HERE IS MY SIGANTURE - YOU CAN SELL IT ON EBAY WHEN THE TIME COMES.
Pnw Bnoorr WRITE DOWN A SPECIAL WORD ON THE LINE BELOW AND KEEP IT SECRET UNTIL THE END OF THE SHOW:
t t)4)K {.#r **$es
that you can peek at a later time. Obviously as part of the effect you must have the participant write something down at the same time as writing on this sheet. Otherwise a moment of writing alone will be suspicious. The person then takes the piece of paper away so that he/she doesn't think you are just secretly looking at it. As for gathering the information that people have written/ you have two options. Either during the show you secretly peek and write down all of the words somewhere. Or after the curtain falls, or you go off stage, you take thirty seconds to glimpse all of the impressions and commit them to memory before coming back for the encore.
Either way, all you must do is remember the peeks in order. I would tend to use a marked impression device for each effect. Not subtle either, perhaps a big number on the cover, As the participant never sees the cover it doesn't matter. You must also remember who you used for what effect. This is fairly simple to do. If you forget just ask the people to remind the audience what it was he/she did earlier on. But I don't think this is an issue. Ask each person to:
"Please, think of a word that has a special rmeanlmgr futr yott," TEAR OFF THIS SHEET AND TAKE IT WITH YOU
If you make sure that an impression device is available for all of the people who will be writing something down it saves a lot of hassle.
To everyone else in the room this seems to be the first time the people have been asked to think of a special word.
fhe people on stage perceive this as me asking them to think of the word they have previously written. Sometimes they don't but I will cover that in a moment. The hints are on the sheet they read, it tells them to think of a special word that will be trsed at the end of the show. Well it is the end of the show and I am asking them about a special word. Only the very dim need rrot applyl
of course, to the audience what is happening is that the person is taking a piece of paper with your sir;n;rtu11.on it. What is actually happening is that the pcrl,on t,, wrtltn(, clown a worcl
ll you end up rlr.lting it wrong with one or two people, rcr)lt:rnl)r.r llr,rl yorr ,l (! (lpparently just picking words from their
-r8t-
-r89-
T-$xp l[tetm$*
flf I io**
mind. It is unrestricted enough to be impressive with even two misses. However, the cool thing is that when the person sees the word in a moment they will react and mention that he/she was thinking of that word before. This again seems as if they changed their mind last minute and you still get a hit.
lfi'hm {[$wmk
ffif
$-*ww
nttrn
e)6)dil(,9 Vowel Movements
Make sure that you hide the impression devices as part of the
effects. Try not to have the participants writing on an impression pad if there was no need for writing in the effect. Simply use fewer people at the end.
Also, at the end don't take too long apparently working out what the special words are. Just walk past each person quickly and then start writing down words and handing them to the participants. Make sure that the words are facing the audience and that you tell each person not to look at what is written until you say to. This enables the audience to react, and then react again when the participants react. This is Marc Paul's idea once more, and I feel it to be a very strong one indeed.
rt rs fhe wmd af ffte Mmnfalrbt"s s*trEle sd?mw' ,A#' a crvr"#'msn catl {xe *mxr tfie slr*}rsr? p*c;rBfe wV^sw havw frelped mwf the sfreiw s{'amd c*p wfrmr"e f}rey mr"m saf,
Mentalist:
dcrrrregr
"Firstly, I would like to thank everyone for helping out with the show tonight.
If you are standing up, focus on a single
weird word in your mind. Whatever you choose, just keep saying it over and over again in your mind.
it is worth the set up or the impression device into your effort involved in working an you when end on a lasting existing routines. But believe me/ pure mind reading, it brings the house down and really note of stays with the audience. Some of you will not think that
Feel free to change your mind if you can recall other weird words, but finally settle on just one weird word and stick with it.
I will give you ten seconds to make your final decision."
The Mentalrsf waffs #bn fem smeCImds flfresl aor*frmeresr Menta list:
t'Great.
Now, I want you all to think of a vowel that is in your word. Send it to me." l"he Mentalist waits for a few seconds.
-190-
-191 -
Yhe Menta list:
ffiurqsk
$f
Y$q,g* ffi$msxk
Li*xm
*I got the letter'E'coming
through
strongly.
Twa Ef the faur rernxinimE participanfs radse theEr hand to sfiorar that they M/ere tfuinking wf the lefrfer '-['"
Who was thinking of the letter'E'? Menta list:
Raise your hand."
Thrww of thw sevm#r participanfs aryafse ffiey wene ffirm#*rmgr of, ffte lefter 'ffi", Mentalist:
their hand to skow
"You three, just think of your word, in full now, and send it to me."
Ihe Menfalrs#'wr$fes dawn ssmethinE it writing sfde agarlsf furs cfiesf,
om /trs
A4
pa"d mnd
IraJds
Menta list:
Participant#1: Participant #2: Participant#3:
"The three of you, nice and clearly, shout out the word you have been thinking of."
list:
"Both of you, nice and clearly, shout out the word you have been thinking of."
Participant #4:
"Childish."
Participant #5:
"Hindsight."
The Mwntafisf furms arwwn$ ftre pad. words writtew an it.
"Screeched."
"Sf
fias bath wf the
"Thank you. Please take a seat.
The last two people. Please forget about the letter and just think of your word in full now, and send it to me."
"Strengthless." fims ald
three of
The Mentaffsf rnrrifes dswn sorr?efftrhg an his A4 pad and holds it writing side against rr{s chesf"
"Thank you. Please take a seat, Mentalist:
"Both of you, nice and clearly, shout out the word you have been thinking of."
Partlclpant #6:
"Handstand."
Partlclprnt #7:
"Crtft3man." . lat.
Of those still standing, if you are thinking of the letter'I' please raise you hand."
-ltl.
arxd
Mentalist:
Mentalist:
fftesm words written on it. Me nta
"You two, just think of your word, in full, and send it to me."
The Mewtaldsf writes donrn sorwwthin6r mn firs A4 pad holds fft writing sfde agrainsf fiis efiesf,
"Perverted."
Ifte l,fenfefrsf fi*r-ns around f}lu* pad. Jf
Sf *-iims
K$xm ffimmk
Yhm ffimmk ffiS **lms
ff&e &flmmfafusf *crvT s armrr*md ffte pad, S*" #ras 6m*fl evf f&e wcrrds wriffer'* mra if, fl#rm crowd Srcres wf{d at f#rrs nrmr'"y ,sf,ror?Str mnd drrmet fCIrl*x mf nrmd rmmdrngr, Menta list:
"Thank you. Please take a seat.
You have been wonderful.
I
have
been
ffifl
{*$ms
I use seven sets of three words, with each set being different. These sets of words and instructions can be written anywhere. You can even put them on stickers and place them onto boxes or other props that you may use. Stickers can also be placed on your impression devices, pieces of paper, photos or anything that you can give to someone to hold or interact with during your show. Here is an example of what is written on the seven labels:
Paul Brook. Goodnight!"
LOOK REMEMBER O'VE OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Explanation
Cnaftsrmmn Rerrtwmber S$nrmicks Whilst at first you may have started reading this effect and seen similarities with the effect prior to it, the methods are very d
ifferent.
Essentially, each time a participant is doing something on stage he/she is presented with a choice of three words. This is in the same vein as the method for'Imp-Ossible'.
However, unlike 'Imp-Ossible' the person is not required to use a pen or writing device of any kind. This allows for greater integration of this effect into existing stage shows that you may have.
The three words that the participant can choose from have a certain quality about them. Each word has only one vowel. So there is a word only containing the vowel 'A', one only
LOOK REMEMBER O'VE OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Awkward Beekeepmr
containing'E'and one only containing'I'. Therefore, by knowing which vowel is in the word you also know which word of the three a person is thinking of.
-194-
-rot-
f{[hililmtic
Tht B**k Of Lies
The
REMEMBER OA'E OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Grammar Penverted
Dimwits
{-*es
REMEMBER OA'E OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Papaya Effervescence
Hindsight
LOOK
LOOK REMEMBER O'VE OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Nitpicking
LOOK REMEMBER O'VE OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Handstand Qwerty
0f
LOOK
LOOK
Aardvark Screeched
ffio*$q
Scribbling
REMEMBER O'VE OF THESE WEIRD WORDS FOR THE END OF THE SHOW:
Ballads Strengthless
Childish
As you go through your effects each person will go back to hls/her seat with one of these words in mind. You have anchored the terminology'weird'to the word in order to queue the person to think of their chosen word later on. The labels also give the person a timeframe in which to expect the queue: at the 'end of the show'. This allows the person to enjoy the show without having to be on alert,
It is my personal belief that the participants should be shown thls high level of respect as they are helping you to create mind reading miracles. At the end of the show, or for your encore, get all of the particlpants to stand up. Make sure that you get your words in
-134-
-t07-
The Sook
0f
Lies
the right order to elicit a beautiful state of dual-reality, rather than a confused state of nonsensical confusionl You want to say:
'"If yau are standing uF, focus on a single weird word in your mind, Whatever yow choase, just keep sayinE it over and aver again in your mind,'" This tells the participants to focus on their single selected weird word. To the audience it seems as though you are asking the participants to think of a weird word on the spot, without any coaching from you.
It is at this moment that I like to throw in: "Feef free to cftmnge your mind if yww reealtr ather weird words, hut finally seff/e on just one weird word and stick
wittr it,*
Be aware that whilst most participant's will understand this as,
tl
"If yau cafl rernember the other two words, fee/ free to choose any one of the three and *hange your mind!,,
occasionally this phrase will make a participant think of any weird word in the world, I think it is worth taking the chance, as it appears to give a massive amount of freedom to the participants. It also helps to throw off any budding magicians in the audience. Plus, as mentioned previously, getting one or two wrong will make this direct mind reading appear even stronger,
Anyway, which is:
if you do get it wrong you can use a great phrase
The Bank
0f
Lies
Most of the times you can turn a miss into a hit with this. If the participant gives you a second negative response/ simply allow the miss. Don't draw it out.
If you look at the script you will notice that after the 'E' and 'I' vowel words have been displayed you only have 'A' vowel words left. This allows for another piece of deception, as you can ask the remaining people to just think of their word instead of the letter. Of course to the audience at large this appears to be an even greater feat. You have gone from being given a small clue of one of the vowels, to not having a clue about any of the letters in the word. When in reality, you know exactly what words are remaining. The seemingly difficult part of this effect is remembering which person had which set of words to choose from. As long as you always use the same set of words during the same effects you only have to remember which person helped you with that effect. I mention how to get around forgetting this type of lnformation in the effect prior to this one. However, I do not believe it to be a problem. When I have described this effect to others, the initial reaction ls that they have to remember a massive list of words, This is not the case if you write the seven lists of words lightly on the pad of paper with a pencil. Since you will be revealing three sets of words on the pad at the finale, you require three sheets of paper; one page for each vowel set. Place the crib of seven llsts at the top of three pages and you are good to go. The light pencil will not be seen from the audience. You will also be able to openly look at the crib as you make your selection,
If you are dealing with the letter'E'first, then you just need to look at the words containing 'E'from the sets that relate to the people with their hands up. For example, if two people put their hands up, and they helped out in effects three and six, you will look at the'E'words from set three and six.
"Br"cf yomr almost went with {ward that you have written downl didn't you!"
On rare occasions you will get everyone thinking of the same lctter. You must milk this for all of its worth. I have never had thls happen to me, but I will be happy when it does. Of course, lf you get evcryonr. thlnking of the same letter, you do miss out on the very clc.ul, ,tf)pclrentlr/ no pumping, kicker ending.
. 194.
-190-
I" * ffi#
ffiffiffiM
fl It
I tA(
lll'hm ffimspk #S
$-*mm
There are many other words out there that only contain one vowel, but I have shared with you the ones that I have used. If you choose to add your own words I would advise caution on using words that obviously only have one vowel in them. Words such as 'egg','oomph' and'taramasalata', whilst adhering to the rule, could look a little fishy and start off unwelcome cogs of thought.
This is just an intellectual warning however, as I believe that the focus is all about the words matching what is coming from the participant's lips, not a spelling test. It is always best to err on the side of caution. Try and choose words that have a vast array of consonants to disguise their mono-vowel nature, As for the participants, most will not remember all three words, which makes the method very difficult to backtrack indeed.
I really can see the future of stage mentalism being about this hidden coaching. It enables the mentalist to give people a
SOME CONCEPTS
hidden selection whilst partaking in another task, only to reveal the selection later on in a moment of dual-reality. This style of mind reading is very deceptive and appears to be the genuine article. It has all of the strength of pre-show work but can be used by those who fear pre-show, or those whose show criteria do not allow for it.
"The words printed here are concepts. You must go through the experiences."
r-qhlJ
- Saint Augustine
- 200.
-201-
Yhm
ffimm$c
Sf Lies
t f'*ffi
I
k$43(:]|l$4
&#S
fr*${$SS
Have An Idea...
For quite some time now
I have found the term prediction to be
a bit, well, fuddy-duddy. I know that the word 'prediction' is a great description of the contents of an envelope, but is it too set in stone? To me the word prediction does sound like it will be correct. It seems to convey no sense of possible failure, and I think that the idea that you may be incorrect is a good thing to have during your show. It allows for the excitement that people may see you fail. This isn't evil, but we all like to see a'train wreck' from time to time. You might not give them the'train wreck' by being 100 per cent accurate, but the expectation that it could happen is excitement enough. You don't want to go and give old man Burns a heart attack now! So what to use instead?
Well, for a couple of years of 'Prediction'.
I
have used the term
'nffere in this envelape
I
'Idea'in
place
have an idea,,,"
To me that sounds so much better, It implies that this is not something set in stone but that it is from you - it is your idea. Now, not only could the prediction be wrong/ but it is attributed to you.
If you think about it, when you say prediction you are also giving the ending away at the very beginning. At the end the person knows that you will have predicted the outcome and that was the goal from the start. .
l0l.
..
.
l0l.
l
Thm Smok Of Lies
Thm Bmwk
&f Lies
I
l
An idea, on the other hand, could mean anything and it does not allow the format of the performance to bl considered before you wish that to happen. This will allow you to have a greater theatrical control over the event.
Just a simple word alteration allows mystery to be present when you perform. Some may suspect that your ,idea, is a prediction, but they will not know for sure. others will not see it coming until it hits them in the eyes.
It doesn't have to be an 'idea, either. observation or a belief.
It
could be a thought,
sometimes you may want the audience to know that what is in the envelope is a prediction because it is beneficial to the effect. If this is the case, then call it a prediction. But at least now you have the choice.
Oh.KK I did not want to have any card effects in this book. This is still the case, as whilst this mentions my presentation for a card effect, I shall not explain the method. Kenton Knepper's Kolossal Killer is a very powerful effect, and although I do not perform with any type of playing cards or ESP cards, when I did, this was one of my favourites. I often get asked to go through my presentation by people who have heard of it, so I thought I would share it here. I will not be sharing the method, so if you do not know the method you will need to buy the effect to make sense of this. First of all, I only used the black cards. When I used to perform the effect and gave the participant a full choice of cards,.they suspected I had others hidden away. Why? It is too much choice. Sounds silly I know, but if you give people too much choice sometimes they can rebel. I would get people asking me to see my wallet if I gave a full 52-card choice, Who knows how many simply thought it, but were just too polite to say? When I halved their choice to just black cards I never once got asked about'other cards'. Secondly, I only used the cut corners of the cards instead of full cards. This advantage should be obvious to those who perform the effect.
I removed the message on the back of the cards. It was nice but too limiting, so I got rid of it. Plus you would have to write pretty small to get it on the corner of a card. Instead I used my wonderful 'Dog Eared Switch' to achieve the necessary verbiage.
Thirdly,
My 'Dog Eared Swltch'was first published in my eBook 'Two in full view and yet keep lt lnvlslble.
In The Bush'and lt allows you to place a prediction -
loa.
-z0r-
Yfus* ffimm${
ffif l-ies;
Yhm Sep*$q ffif"fi-$es
Here is how to do it. Grab a business card. On the blank side write the necessary message required for'Kolossal Killer'. Now turn the card printed side up and grab any one of the corners and bend it up towards the ceiling. You have now created a 'Dog Ear'in your business card. When you start the effect, you can place this card on the table, prediction side down, and say:
"flfl"&/sf
me, yw*a'll
mrmffif
Dltch it in your wallet or pocket and grab a fresh business card. That's right, you switch out the prediction right under their noses on the pretext that you don't want to hand out a scruffy business card. You may even want to write down their selection on the back of the business card as a reminder of her selection.
I will let you think about the wonderful multitude of applications of this method of switching out open predictions in your own time. For now I will get back to my presentation.
fftaf #mferl""
Obviously, being your business card, this appears to mean that the participant will want your business card after seeing your skill.
Here it is:
The ltfeffifm/rsil' rs smf & ffi?ffir! em#feef Kenfen, Tlz* Menfafrsff r"@rmdlve,s a &*ssfrtess sard and fabdes rf"
You now perform the effect.
If the message is required, you simply sayl Mentalist:
"Remerm&er; mandrer f fmdd yaw t*rat ymcr woufd ffirb /m#'mr, well &* rb /afmr and frnrsf ffi?m ysu wr#i tl'ramf if, fla"rrn it oqrwr{'"
wqffiffif
If the message is nof required, you simply say: amm;rffwg? I foJd ywcr f#raf ywc* wau{N M/ffirrf 6*rsrmess card mmd J &d?r .s{rr.{tr puru do wftr,r fll&8,,, n'
"Wssn? fflaf rxwy
You then pick up the business card and go to hand it to her, just a moment before she takes it (and I mean a split seconrl moment) you will say:
"Qh, utait this one is a little tatty. Let me get you a fresh one."
-20c.
"Trust me, you will want that later. But for now, I want to show you this. It is the corner of a playing card. It is my lucky playing card, which won me a lot of money during a poker game. It used to be a full-sized card but over time it became grubby and crumpled, so I cut the corner of it off. I keep it as a reminder to take chances and be optimistic.
I took a chance playing that poker game, it was in the dodgy part of town, under the arches of a train track. Three grand was the entry price and only three people were allowed to play for security reasons. You see,
But
I
had
it
I'm an language,
sussed, You see/
expert at reading body
ttt,pecially eye movements. I am not a p,rrtir.ularly good poknr payer, but I know
-zo7-
Ytr"r* ffimmk
Of Lies
lli'}lru,r* &mqvl$*il
when people have bad hands from their
ffif
I dismiss the aces by using the line "It isn't an ace, This isn't a Western!" This always used to get a great laugh and it is validated by the story you have told, rather than being an
pupil dilation.
Also
Imagine my shock when I got there to see that the other two guys were wearing sunglasses to obscure their eyes.
exclusion for the sake of procedure.
I mean, what could I say? "ffey guy# can yow take fftase *ff sw J' ca# rob YCIu blirxd?". Excuse the pun.
I
Then the flop came and it brought no joy until the last card was turned over. When it was turned over it was what I needed
for the straight flush and I ended
i
discussed earlier. This is because I had a black straight flush complete. Obviously the required card must be black in
to
Finally, I give a reason for the card corner instead of the full size card, which is that it used to be a full-sized card but, due to wear and tear it got grubby and I had to cut off the bad bits. It is just a bit of 'to do', but it gives meaning to why the card is as it is, and also validates the story.
up
cleaning them out. Both of them.
That card is the one I have here in mY wallet, When I tell people this story, they somehow connect to it and are able to name my lucky card.
I also give a reason for only allowing a choice of black cards as colou r.
ended up two grand down in the third round. Then I got lucky, I was one card away from a straight flush. The pot kept getting bigger and bigger.
Well,
rft/
It is crazy.
Look, give it a go. All I will say is that it was a black straight flush. And it's not an ace. This isn't a Western. What card do you think it is?"
That is it. Whatever is named you can produce. And if you require the message then you can use my'Dog eared Switch', I would always give the person the corner, face down in thelr hand. That way she can turn it over and be shocked. Notice that during the story, there are certaln messages that you could imply influenced the person's declslon, Think of how the cards are structured and you wlll get lt' .
l0!.
L$qxs
-l0r-
Ytuw $Smmk
Sf LIes
Y'tum ffimepfrq
ffif
$-iimm
ntlpn
c;G)ffitu Your Choice Is Final
It
seems common these days for a mentalist to ask a participant if he/she wishes to change his/her mind. This is normally followed by the terrible 'joke', uuWdlw';r'e {vapryy with thw rnind yaw ffxwww!" Oh the hilarity.
What I tend to use is the idea that the person can change their mind as much as he/she wishes, but as soon as it leaves the person's mouth they cannot change their decision.
Just imagine that I am giving you a choice of any gift in the world. If you could keep changing your mind you may be frivolous, and repeatedly so, because you can change your mind. However, what about if I told you that it was a one-time deal? As soon as you name your gift, that is it. Only one chance.
If you are like me (and you should be by now after reading my musings, or if not please enlist in my cult) you will give more thought and gravitas to your decision. Surely this is what we want people to do when they give us information. We want it to mean something and to have substance, rather than be the result of a random babbling of nonsense.
Having tried both methods I have found that theatrically there is a better reaction when allowing the person to change his/her
mind with the stipulation that once spoken
it
cannot
be
changed. There is still the freedom associated with unlimited change, so there is nothing lost and only gain.
r:/ -2r0-
-211-
The took Of Lies
The Book Of Lies
M* Attention Grabbing Imagine showing a person a slip of paper then boldly saying:
"Here is ygU, answer to a question I have yet ta ask you, You donT even know your answer yet because you do not knaw the question, but I think I do," You're telling a person that you know their answer before they do. Challenge phrases like this really grab attention. Although this is a challenge phrase, it does not have to be delivered in a confrontational way, Deliver it calmly and in a matter of fact style.
This is yet another way that you can get away from the word prediction. It certainly has a lot more intrigue than saying "Here is a prediction!",yet they are both the same thing. When you say this to a person, trust me when I say that they want to see what is written on that piece of paper. Very few are ab'le to resist the lure of a person who could tell you what you would do before you know it yourself!
The
l$$msrk
Of
Liem
T$'xrm
Smmllq
Sf L$ms
Magic Eyes
I have yet to try it. The premise is simple. A Magic Eye book is given to the participant and he/she is asked to look at any page. He/she then stares at the image and, as the eyes' focus changes the word/picture/object will reveal itself. Then the mentalist will be able to instantly know what the participant is thinking of.
This is just an idea and
For those that do not know what a Magic Eye image is, it is a collage of confusing colours and shapes. But as you change your focus the jumbled collage becomes a three-dimensional image/word/object.
My idea is a book that has different coloured images and collages yet all of them force the same piece of informa'tion' However, you could show all the different patterns openly as the person has to shift their focus to see the hidden information and this can take ten seconds or longer.
There are programs out there that create Magic Eye images for you. Create a whole host of different pictures and then go to a self-publishing website and make a book full of them.
If you wanted to be an extra cunning fox you could have a page at the back of the book showing the different hidden images that you can find in the book.
rqFJ .ltl.
.
.r*..
'llt
-
Ttsm
Th*
Buok Of Lies
ffimok
ffif
l-$as
mtlrn
ci6ffi,$ Doing Business love using a peek wallet and I think that they are wonderful pieces of kit. However, what I don't like is their improper use. That is to say a use that is illogical in nature'
I
Often you will see a performer remove a business card from their wallet, give it to someone and have them place the same card back into their wallet. This just doesn't happen in the real world. What happens is that you take the card out of the wallet, and then give it to the person and... they get to keep it! Fret not. I have a solution.
The Mentallsf ris standing with a man called ThEm,
Mentalist:
"What kind of business are you in, Thom?"
Thom:
"I'm a plumber."
Mentalist:
Thom:
"No kidding, I might need your help with something professionallY soon. Do you have a business card?" "Yeah, let me grab
Thom goa, lnto hls wallet and finds rt rts to glm lt to thc Mentallst,
it."
a
business card and
Ytuw ffiwwk ffiS LIes
Mentalist:
Tlxm ffimepk #S
"Wait. Before you give it to me, I want you to draw something on the card. It will act as a reminder of who the card belongs to in my mind. So take this pen and draw something on the back of your business card, but don't show me."
Fhe Merx#'m/rsf fiands fl&onx a 6lae& rvrarker perx, draws smnrefhrrpg and fllem #lmrads flre pen back,
Mentalist:
"Thanks. Keep the business card drawingside down. I will give you a call soon.
"So that you remember me, I will draw something on my business card that will make you remember me, As you can see from the front of my card I am a mind reader, So just keep thinking of what it is you have just drawn. OK, I think
-214-
over, what did you
draw?"
Thom:
"I drew a sunset."
Mentalist:
"Don't be too shocked when you turn it
Yham fmr"ns thw mmrd over ernd on tfte ffiaek of tie nrenfmffsfk &r*simmss eard ffr*rw fiw a Crawimg wf a sr*ms*sf,.
Thom:
"Get out of here! That is crazyl"
Menta list:
"Hopefully that will make you remember me. Give me a call sometime."
Isn't that so much more meaningful and congruent than what I mentioned at the start of this rant?
a business card from the person and you would normally put that in your wallet, which is exactly where it goes. Whilst there, you would normally take out your business card in order to complete the exchange, which is exactly what
You get
happens.
I have it."
Ff*w;f!,fmnfa{ist kands the drawing face down
it
over. "
Ttr* M*wtwdrsf pfaces flfiorp'pk r,ard intw Efle peek sectrrmm sf his mra/Seg mnd ffien nenrswffis cpne sf #prs &mrsiness cmrds frorm flre area wfler"e fte grefs */bm peek"
enta list:
"Before you turn
Thot'ru
Let me also give you my business card."
M
Menta list:
$-fimw
to Thom.
The person draws an image so that you remember who they are, and this will perhaps increase your chances of using them. Who doesn't want to be remembered, right? responsc you draw an image for them to remember you. What irnirt;r.worrlrl a mind reader draw to get remembered in
In
-210-
The
Smsl$-(
Of !-ies
this situation? obviously, it is the image that the person just drawn as your aide-m6moire.
Y'ke
Equally, if you do ever need any work done, you will have a massive folder full of cards that you can draw upon and rekindle that connection in order to get a good deal. For this reason I recommend that you keep att or thL business cards as you will be able to talk to the contact about the actual image that he/she has drawn, rf , for some reason, the person doesn't have a business card then you can always offer one of your business cards and ret them write down their phone number on it. As soon as they do this treat it as though it is their business card.
&-*wm
,a
It just all makes sense.
Another added bonus is that you get to have all of their contact details on their business card. This can be added to your database of email, postal addresses and phone numbers. when you call to tell him about your special offers you will not be doing so cold, as you have made a connection and the person will remember you.
ffiff
dp rr eietrf#tu
has
Plus, you get to buird a bit of rapport with the person by asking about their profession and then explaining that you may have a use for their skill in the future.
ffimm$s
Mischievous Reasoning Often when I use a peek wallet in the presence of my peers I get asked the question: "Hottv da yau
justify them writing samething dawn?"
My answer to that is that there are many ways to justify the writing down of information. Hector Chadwick (Help Net
Song?) has a great phrase in his book, as do other people in their books. Here is one justification that
I have used a lot:
The Mentalist has just walked over to a small graup of peaple and has introduced himself,
Mentalist:
"Right, who is the most mischievous out of you lot? Who is the cheeky fox or the naughty minx?"
George:
"I think that would be Sally."
Sam:
"Yeah, Sally."
Sally is sntiling and not denying that she is ffie mischievous one of the group. The Mentalist starts talking to S.rlly:
-220-
-lZL-
I
l$-frw $Smulk
Menta list:
Sally:
ffif
ll-kw
fi-fims
comment as Sally starts conforming to character]" Menta Iist:
nt?rn
"Right, your friends have voted you as the most mischievous and, therefore, most entertaining so you will be great for what I am about to do with you."
"Iinsert some form of inappropriate
"OK, Sally, just think of a word, any word in the world and keep saying it over and over again in your head.
ffiwqsB{ {3{i' }L$em
e)6ht#tu Superman
I Ain't
This could either be reasoning for placing a billet in your wallet (for later use of the wallet's billet index) or for having a business card placed in the wallet to peek it. The phrase for using it as a Peek is:
you are thinking of the word...
rxCIur &mfureem fwo preces of pfasfrc and thick feaff*mr". Tkwrw is no way I can glef mn by snrrm*rndmd a* ft, I't'p* nclt Serpermffinf'" Jclmk aecidenfmf
...hold on. You know what? you,re the kind of person to pretend to get this wrong just for a good old laugh.
The phrase for using it as a place to store your billet (ready to switch) is:
I am getting a definite impression of the type of word you are thinking of. I think
I'm going to get you to write this down proof that I have read your mind.,,
as
"f;frgh*/ r?
fs
"Rrgtrffu rmy ldea rs nsw &mfiwEen fwm pleemm of,pfastre and snrrmunded #*y tf*rek leal,ther' ?Trere ss mm way tha* yoxt car s6# ff, Ycvu'r'm n*f Se.rpern*,#sn arffi you? ffifio EooCf'"
it. You have the group select the most mischievous member. Have a bit of fun with him/her and make that person the'star' before you imply that the person may try to mess this up' This is exactly what a mischievous person would do for a giggle. The group will agree that he/she might do that, as they have concluded that the person is mischievous. so nothing looks out of place and you are just seeking a litfle protection. Plus a lot of comedy and social interaction can occur using this reasoning and approach.
While the phrase is a bit of fun and brings a comedic level to the performance, it highlights that the item is protected from view. In fact unless you are superhuman there is no way for you to see it. I like this use of subtle cultural reference to convey a complex message in a short phrase or word.
-222-
-zz3-
That is
Try it - it is funl
Ytum ffimok
The
Of Lies
Mother Of All 'Know
ffimmk
ffif
n-ies
It AIls'
I am sure that a lot of you reading this will be aware of 'The Mother Of All Book Tests' by Ted Karmilovich. Well I don't think that I give too much away when I say that it is a gaffed book and, if you know the first letter of the word the person has looked at, you know what word it is. There are a number of clever methods out there to obtain the first letter of the word, but none that I find are fun enough not to be suspicious.
The Mentalrsf llas asked a participamf fo c&mmse a urmrd from a bookn fakes out a &usfr*ess card and beEins to write something on the hac$r of rf, Mentalist:
"So you have a word in your mind. I have written something down on the back of this card that will amaze you.
Don't say what the word is that you are thinking of, but what is the first letter?" Ted:
,,P."
The Mentalist twrns thw card around f's reareal thaf rs reads "[ K{$EW YHAT!* This gets & grCIas} from f&e persol4, but you quickly iwmp in, sayingt Mentallst:
.
lll.
"Oh, you think it is a joke. No, seriously, I knew you would choose a word beginning wlth 'P' and, of all the words ln that book
-llt-
Yhw ffimmk ffif t-ies
i
'lll$*w &mqpflq ffi$f
that begin with 'P', you are the type of
ntlpn
person to think of the word 'Perspective'."
Ted:
"YES! That is the word
ol."
While this seems like
$-$mm
e.)r6)rffi.s
I was thinking You're Doing What Now?
a
groaner joke,
it
does have
Whenever I am performing an effect where the illusion is that I am somehow controlling the choice of a participant, I use this wonderful phrase:
an
interesting theatrical composition. The person thinks of a word, You then write something on the back of a business card. The person knows deep down that there is no way you can know the word he is thinking of. What builds tension is that you might be able to do it. You reveal that you can't and it was a joke, apparently. The person asserts the assumption that it is impossible for the mentalist to know their word. You then reveal their word and the effect is even stronger.
n'-[
psyehalwg&waIly rffiffir]oeuvre ta rmy desfred destinafrmn""'
wr'fy'
yffie.,
I just think it sounds pretty!
a similar note, if I am
placing someone into suggestible state or false hypnosis I use this phase:
On
a
trance,
".f an? jusf 9lorr*6r fo plmee yoer info m p$easanf stafe of *rw I mera bi I i*y"*
What a wonderfully ambiguous statement racing
-236-
I
I
-22'
-
to get their mind
The
Smmk
"[.ke
Sf Lies
BeroX<
Of
]-$ms
PARTING WORDS
"It
is good to have an end to journey towards; but it is the journey that matters in the end."
- Ursula K, LeGuin
-zza-
-220-
Thm ffimo$< Of Lies
Thw
W*m$q ffijfl $-$es
nthn
e.)6b6ilfu Parting Words There you have it. The'Book Of Lies'Ladies and Gentlemen.
I stated at the beginning of this book, I would love to think that anyone who read this book cover to cover would be able to find a piece of gold by the time they get to the end' There are pieces in here that I still use and pieces that I think are worth more to the working professional than the price of the book
As
alone.
For me this book is an attempt to show the mentalist that playing cards and ESP cards do not need to be used at all. I won't argue this point as it is a personal decision to make. But hopefully this book can help to redress the balance of the masses of playing card and ESP card effects out there.
Also this book is the last in the Pleiades Collection of books. That means that if you have all of the books in this collection you have everything you need to start solving the puzzle. The
end result to the lucky code cracker is the secret to
'
my
Homage to Crowley' effect.
This book title was named in homage to Crowley, as it is the name of one of his very own books. I leave you with some parting words from his Book Of Lies:
"I am annoyed about the number 89,"
- zto.
-ztl-
