Ted Karmilovich's
Thoughts from Vegas Copyright 2011
17 The following is my handling for Charlie Buckner's "11" routine.
Effect: The performer places a boxed deck of cards on the table. Turning to one of the spectators he says, "Sir, you look like a seventeen. You're probably wondering what a seventeen is. We1l, a seventeen is a person who is very dorvn to earth. Friends and family are much more important to him than money or material things. Can I test my theory to see if you are, in fact,a seventeen?" The spectator agrees and the performer continues. "Sir, there are 52 cards in a deck of Cards. If I u,ere to ask you to name any card in the deck, rvhat card would you name?" The spectator thinks for a moment and names any card. In this example, let's assume he says the Eight of Diamonds.
"The Eight of Diamonds?" the performer asks. Removing the deck from the box with the cards face down he continues, "You'll notice that I've numbered the cards on the back. Each card has one number from 1-52 written in marker on it's back. The performer starts to shorv the backs from the top dorvn. "14,22,35,40, 8 which rvouid be the Trvo of Hearts (he says as he flashes it's face to the spectators), 10, 36,45 rvhich rvould be the Queen of Spades (he says as he flashes it's face to the spectators), 6,29,etc." The performer, in fact, shows the numbered backs of about 20 cards and then turns the entire deck face-up.
"You said the Eight of Diamonds," the perforrner continues as he iooks for the chosen card starting at the face of the deck. Once he comes to it, it is placed faceup on the table. He reminds the spectator that he thought he was a"7'f ." He asks tlie spectator to turn it over. Written in bold marker on the back of the card is the number 17! Background: In Charlie's original handling, he used TWO decks of cards although tle spectators oniy ever iaw one. One deck had all of the even cards on the face of the dbck rvith the number 1 1 printed on the backs. The second deck had all
of the odd cards on the face of the deck rvith the number 1 1 printed on their backs. The remaining cards in each deck had random numbers between 1 and 52 printed on their backs (excluding the number 11). In this version, the performer had to wait until a card was named before displaying the proper deck.
My handling involves the use of ONE deck. It is a BLAI'{K Phil Deck. I've never liked the idea of saying to someone, "You look like an 11." They might think you're talking about thEir looks. By calling someone a 17 , it causes them to wonder what exactly a 17 is. At this point, you can talk a little about numerology_ or what have you, anO it gives you the opportunity to do a brief cold reading based upon the spectator you're working with. Preparation: As mentioned earlier, you need to purchase a BLANK Phil Deck from ybur favorite dealer. You will print the number 17 on the backs of the 52 cards fto* the regular deck. I use the broadest-tipped pernaneot marker that wiii not bleed throu-sh the thin cards. (The exact marker I use is the Sharpie KING SIZE permanerit marker easily found at any office supply store. It provides a nice bold marking). The BLANK Phil Deck that I received came rvith the extra 26 cards being the Ace thru King of Hearts and Spades. On the backs of the Heafts_I printed random EVEI.{ numbdrs betrveen 1 and 52. An the backs of the Spades I printed random ODD numbers betrveen 1 and 52. I made sure to put the number 13 on one of the spades. The reason for this is that the card with the 13 on it's back will placed on top of the 52 regular cards rvith the remaining 25 cards on top of it. This allows me to shorv the nuribered cards after I've lemoved them from the box up until the number 13. I know not to go beyond this number as all of the other cards have 17 printed on their backs.
Here's the reason rvhy I numbered the extra hearts with even numbers and the extra spades with odd numbers: As I'm shorving the numbered backs,I can occasionally turn a card up to show its face as mentioned in the presentlti.on. If the spectator has narned a diamond or club I'm free to turn over any of the top cards._ Ii ttrey name a heart I knor,v NOT to turn over any of the even-numbered cards as I may inadvertently shorv their chosen card as not being a 17 (not good!). The same if a spade is named. Do not flash the face of any odd-numbered card as you may flash the face of their chosen card.
You receive two Jokers with your BLANK Phil Deck. One I put aside. It's extra. I DO, however, use the other one. I place a number 77 on it's back, as well, just in case someone happens to name it. This routine ahvays gets a great reaction. Also,I find that if you're performing some other routine anA it doesn't rvork out, you can always say to the spectator, "You know why it didn't work? Because you're a 17 ..." and go right into this effect!
PROJECTION EPIC _ The perfotmer offers to perfoim a test of his thought projection skills. It will also test the ability of the specrarors to receive his thougfits.The performer removes a pen and a 3x5 pad from his pocket. He turns to one of the guests. "Ann, you're going to be test number 1." He prints a small number gle. on the top sheet of the pad and shows it to the group. "Itm going to print a 3digit number on this paper and I'm going to try to Gnd it to youl" Tle pbrfonner turns the pad to himself and rvrites something on it. He teari the page fiom the pad, crumples it up into a ball, and drops it in a glass.
"Ann, I'm going to try to send you the 3-digit number one digit at a time." He concentrates and Ann says_she gettin g a 3 , 2, and 4. He smiles and asks the group to remember that Ann got 324. The performer prints a number 2 on the new top sheet of the pad and shows it to "Paula, you're going to be test numb er 2," he says. He turns the pad to -eroup. himself and secretly rvrites something on it. This paper is aiso torn from the pad, crumpled into a ball, and dropped into the glass.
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the
"Pauia,I'r,e written down a word. It's a short word, but it's not a colnmon word. I'm going to try to send it to you." He concentrates. Paula announces that she got th9 word 'car' . "Did you see the word or did you see the object," the perforrner asks. "I saw acar," she says. The performer smiles. "Greai!" he says. The perforrner says that norv he rvill attempt to project a thought to everyone. Turning the.pad to himseif he says this rvill be test number 3. He writes something on the top sheet and tears it from the pad. Crumpling the paper into a ball, he dropi it into the -rlass ivith the trvo prior papers.
"I'm going to try to project
an object to all of you. I don't want you to be influaro.und you. so I'm going to think of something you could easily :.n..ed TYtJtilgfind outside. It'll be like a bird or a flower,but it won't be eitherbi those." UV.
He concentrates and he asks the members of the group to raise their hand once they have sornething. He rvaits for everyone to respond, but doesn't announce yet what he was sending, nor does he ask yet rvhat they received.
. He pours the crumpled balls from the glass onto the table. He picks one up and hands it to Ann. "Ann, you got the number 324. open up your paper and show everyoxe the number I rvas sending to you." She urrcrumptes the paper and printed beneath the number 1 (for test number 1) is the number tZ+t The performer picks up a second ball from the table. Handing it to Paula he reminds the group that she saw an image of a car. She opens her p-aper. Written un-
der the number 2 (for test number 2) is the word "auto"
!
The perforrner opens up the final paper ball. Showing it to the group he says, "And horv many of you got the tree I was sending?" There on the paper written under the number 3 is the rvord "tree." Amazingly, many in attendance received it!
This has been one of my favorite routines for many years. It was first shared rvith members of the PEA at the 1998 MOTM.
I've always felt that the standard Mental Epic routine made much more
sense as
a thought projection rather than a display of telepathy. In this routine you will also be working one behind.
I find this to be an ideal routine rvhen working for a small group of people. 6-12 rvould be about right. The perforuner removes the pen and pad from his pocket and rvrites a number 1 about trvo inches from the top of the the pad. He shows the number 1 to the group. Continuing as in the presentation, he turns the pad to himself saying he will jot down a 3-digit number. F{ere is what really occurs. The number 1 is turned into the word "tree." The single iine can either be used to make the letter "T" or the letter "R." After you've wriiten the word tree, place the number 3 above it. This paper is torn from the pad and is crumpled into a fairly LARGE ball. (Note: All three papers wili be crumpled into balls of various sizes (large, small, medium). The difference should be easily seen by YOU, and NOT your audience members.) Drop the ball into a glass. Send the first spectator the alleged 3-digit number and have them announce it. be great if the number 2 ii somewhere in their number. If not, don't worwouid It r;'. Either rvay, smile and continue on.
Next, print the number 2 on the new top sheet and show it to the group saying this will be test number tr,vo with a different spectator. As you're commenting on the fact that you will write dou'n a word to send them you actually do this: You're going to transform that number 2 into the 3-di-sit number that the first spectator, got. So, as in the above example a 3 is placed in front of the 2 and a 4 is p_iaged ilgtrt after it. You now have the number 324 and you write a 1 above it. This is norv the paper for the first spectator.
If the first spectator says that she got 278, then just put 78 after the 2 and a 1 above the 3-digits. If the spectator says that she gat 592, then just put 59 in front of the 2 and a 1 above the 3-digits. Either way, transform the number 2 into the first spectators number and put a 1 above it. Now, rvhat tf a2 isn't included in the first spectator's number? Then just make it as close as possible. If it's731, make Ltl32. If it's 835, make tt825. Etc. etc.
It doesn't have to be perfect
as the spectator is
trying to use THEIR intuitive skills.
Tear the paper from the pad, crumple it into a SMALL (relatively speaking) ball and drop it into the glass. Have them announce their rvord-
Pick up the pad and announce the third test. This will be the only time that the group witi trtOi see what number is written on the pad. Previously, you showed the 1 for test number 1, and the2 for test number 2. As you patter about what you're going to send (setting up the psychologicai force for tree), you turn the pad to yourself and do this: Print a number 2 atthe top and underneathit, the rvord chosenby the second spectator. Ttre word can be identical, however, I find it plays stronger if it's slightly off (carlauto, baby/infant, phone/cell, etc.) This paper is torn from the pad, crumpled into a MEDiUM-size ball (compared to the first two), and dropped into the glass.
Finish as in the above presentation, handing the smallest ball to the first spegtgtor, the medium to the second spectator, and finally opening the iast ball yourself. Everything can be completely examined and left with the spectators if you wish.
A ferv final notes... the routine can be done completely impromptu. All you need is a pen and a pad, or three pieces of paper, or three business cards, etc. I use the tree as my psychological force, but you can any of the standards (rose, red, etc.) For people who want to maximize the number of group hits, I su.ggest using triangle (yilu Can either change the number 1 into the word triangle or into an actual picture of a triangle).
5
DIRECTOR'S CUT
3.0
The following is my handling for Simon Shaw's excellent Director's Cut. The perforrner says to the group. "You know, when I first signed up for Netflix years ago, they gave me these promotional movie cards." The performer displays the cards and mentions some of the movie tities.
He gives the cards a series of cuts and holds the deck face down in his hand. He asks 3 people, one at a time, to cut off a small group of cards and hoid them so that the face of the card they cut to i.s against their chest.
With the small group of cards remaining in his hand the performer demonstrates what he would like each spectator to do. "Peek at the card you cut to and then mix up your cards." The performer mixes the remaining cards in his hand and tables them.
He takes the cards from the first spectator and says, "I'm going to move the cards from one hand to the other, one at a time. When you see the card that you're focused on simply say in your mind,'That's itl'. I'm going to try to watch your body language to determine rvhat movie you're thinking of." The perfcrmer slorvly moves the cards from one hand to the other all the while watching the specta-
tor's eyes. "Your pupils got larger on one image," he says. Turning the cards to himself he looks through them and removes one card. ".What movie were you thinking of," he asks. The spectator says, for instance, "The Godfather." The performer turns around the card. It's The Godfather! He places these cards down and takes the cards from the second spectator offering the same test. Slowly he moves the cards from one hand to the other without seeing their faces. "Hmmm. I didn't get anything that time." The perforuner places the cards aside.
"Have you seen this movie," he asks. The spectator confirms that she has. "Pick a scene from the movie and visualize tt in your mind."
"You're visualizing two people, yes?" She nods indicating he is correct. "One is male, one is female, but ybur more focused on the female." He is correct again! "She has red hair and a big smile. It's Julia Roberts and Richard Gere. Are you thinking of Pretty Woman?" She is!
He now turns to the third and final person. We're not even going to use your cards. Picture a scene and concentrate. "f'm sensing sand- This is taking place out west. And Clint Eastrvood. You're thinking of lJnforgiven?" He is!
is a powerful routine that builds! First you demonsrrate your ability to read .bodyJStlanguage-.Next, you pick up on
scenes that are being menially transmitted you. .And finally, you don't evertouch the third spectatois cards, -but are able to tune in on their thoughts as well!
Method: Stack-the catt in alphabetical order face dorvn from the top of the deck dorvn to the bottom. False shuffle, cut, etc. coming back to the origin aI A-Z g'rdgr.. Have 3 pe-ople cut off a small packet of cards ho'iding the cut-to iard against their chest as in the presentation. Have them iook at the card they cut to and remember it. Tell them to then shuffle their cards. You demonstrate this with the cards left in your hand, in reality, shuffling the top card of the group to the bonom. Place the cards on the table' gl^ancing at this_face card. It will tell you what card the THIRD person is thinking of (if.you see-Vertigo, you know they cut to the card above it, Unforgiven. If yousee Silence of the Lambs, they've cu1 to Rain Man, etc.) You now ktio* the third person's movie, so you're way ahead Take the cards from the FIRST spectator moving them from hand-to-hand, faces toward the spectator, and simpiy spell in your mind one ietter for each card you
move. In the aboveexample you lvould be iaying to yourself,'oA, B, C, D, E,-F, G." Since you ended on G, you now know they're thiirking of the Godfather. ' Turn the cards around, find and remove turn the card around for the reveal.
it.
Have then announce their movie and
Now do the same with second spectator starting off with the next letter. In the above example you rvouid be saying to yourself, ,+I,I, J, K, L, M, N, O, p.,, put the cards dorvn and go into the visuaiization to reveal pretty womani You now have the final person think of their movie and you reveal it without even touching their cards!
7
HORIZONTAL CHANGE BAG Over 30 years ago I saw a famous mentalist making a gle,st tgpjqance on the old Merv Griffin S[ow. He was using the change bag made by U.F. Grant at the time. For those who remember, this was basically a clear bag made of stiff clear plastic rvith a red ribbon border around it. What I found fascinating was the rvay this mentalist used it. I have never to this day seen anyone else present it like this- Most performers have folded slips and urk u spectitor to reaih down into the bag and remgve a_slip. 4nd-? number of siips are generally removed, opened, and read aloud to show that all of the slips contain different words, numbers, etc. Using this stiff clear bag, this mentalist had presidents' names written on pieces of card itigfrtty smaller than business cards. Foice names were in one side, and the different names were in the other. Holding the bag horizontaily, a spectator could be asked to read some of rhe names loud. The top names were all different, but directiy underneath them (also face up) were the force names. These could not be seen as the cards with the different names were on top. The perfonner would then turn the stiff horizontai bag over (so all of the names *.r" ,ro,r face down), and he rvould have the host reach into the upper level of the bag and remove a card (it, of course, being a card with a force name on it).
I owned one of the Grant force bags and used it like this for many years. I recenrly repiaced it by making my own force ba&s with_3 qrgducl-I found in Staples. The product is Staples' Heavy Duty 9xl2 Job Ticket Holder. You get ten in a package.
Trim the edges of the front of one to use as an insert in another. You now have a sturdy, clear,"horizantalchange bag. The cards you use in the bag could either be all the ru*" color or different colors to emphasize the fact that all of the choices are "different." Also, if you intend to use the same cards over and over, you could.giue the different .ru*" cards to the insert thus eiiminating any chance of the cards sliding over to the side revealing all of the same names underneath.
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