Tell Monte Sleight of Mind of Mind for the for the Intrepid Mentalist
John Hostler
Conceived at Deception Labs, Site 23 Edited by Pollo Delmar
Copyright © 2015 by John Hostler. All rights reserved under International under International and Pan‐ Pan‐American Copyright conventions. No part of this publication may be distributed or republished or republished in any form without written permission from the author. Thieves will be identified, captured by a team of surly orchid enthusiasts, and forced to edit my next book.
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Contents…
WHY NOW? ............................................................................................................................................................. .............................................................................................................................................................33 WHY THIS? .............................................................................................................................................................. ..............................................................................................................................................................33 BASIC EFFECT .........................................................................................................................................................4 .........................................................................................................................................................4 BACKGROUND........................................................................................................................................................ BACKGROUND........................................................................................................................................................4 4 In for a for a Penny, In for a for a Pound............................................................................................................................ Pound ............................................................................................................................55 Humming Along .................................................................................................................................................6 .................................................................................................................................................6 Rainbow’s End (A Pot of Gold).......................................................................................................................... Gold) ..........................................................................................................................77 Finding the Key................................................................................................................................................... Key ...................................................................................................................................................8 8 PROPS AND PREPARATION................................................................................................................................... PREPARATION ...................................................................................................................................8 8 Cards, Cards, Cards............................................................................................................................................. Cards .............................................................................................................................................8 8 The One‐ One‐Way Blister ...........................................................................................................................................9 ...........................................................................................................................................9 Positional Markers .............................................................................................................................................9 .............................................................................................................................................9 The Notebook..................................................................................................................................................... Notebook.....................................................................................................................................................9 9 Predictions......................................................................................................................................................... Predictions .........................................................................................................................................................10 10 PERFORMANCE AND METHOD ............................................................................................................................13 ............................................................................................................................13 Phase 1: Introduction and Preparation ............................................................................................................13 ............................................................................................................13 Phase 2: Calibration........................................................................................................................................... Calibration ...........................................................................................................................................15 15 Phase 3: Demonstration.................................................................................................................................... Demonstration....................................................................................................................................17 17 Phase 4: Final Revelation ..................................................................................................................................18 ..................................................................................................................................18 IMPROMPTU VARIATION .....................................................................................................................................22 .....................................................................................................................................22 Prediction .......................................................................................................................................................... ..........................................................................................................................................................22 22 Cards .................................................................................................................................................................. ..................................................................................................................................................................22 22 Performance...................................................................................................................................................... Performance ......................................................................................................................................................22 22 HOT TIPS ............................................................................................................................................................... ...............................................................................................................................................................24 24
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WHY NOW? While the basic framework for Tell Monte bloomed nearly a decade ago, this performance piece has been “held tight” – until now – for three for three very good reasons. First, while straightforward and absolutely inexplicable from the audience’s standpoint, Tell Monte is a complex beast with many moving parts. It is suitable for neither for neither the the beginner nor beginner nor the the faint of heart. Second, as the vast majority of magicians and mentalists have gravitated to video‐ video‐based instruction, Tell Monte remains something that can only be taught through the written word. (This works out well, since I don’t “do video” – but bodes poorly for the for the financial return on time invested in this manuscript!) Third, it wasn’t until fall 2015 that I conjured up the determination to articulate the knotty series of verbal, physical, and theatrical gymnastics in which you are about to engage. Few will invest in this publication, and even fewer will fewer will dedicate themselves to mastering the framework. Those who do will be very, very happy.
WHY THIS? Opening Remarks Opening Remarks and Industrial Pontification Tell Monte was born of the desire to marry a convincing “tell‐ “tell‐reading” demonstration to a kicker prediction kicker prediction climax… something so unexpected and baffling that it just might convince an audience the performer read performer read minds rather than rather than tells. I found the ambiguity inherent in such a demonstration intriguing: Would the performer be performer be received as a debunker playing debunker playing a clairvoyant, or a or a clairvoyant masquerading as a debunker? Of course, I am far from far from the first to leverage this ambiguity. Nor am Nor am I the first to recognize the basic human craving for mystery for mystery and astonishment… or the or the tendency for audiences for audiences to suspend disbelief even when pummeled with “for entertainment “for entertainment purposes only” disclaimers.
About that craving… As we spiral deeper into deeper into the 21st century, with all of its technological and scientific achievements, “organic” astonishment continues to dissipate. Anything is possible. What would it take for Apple for Apple or Pfizer or Pfizer to shock‐ shock‐and‐ and‐awe our jaded our jaded world? Perhaps a time machine or a or a cure for cancer… for cancer… but, for the for the moment, these advances remain fodder for fodder for the the cartoon cast of Family Guy. Our intentional Our intentional blurring of the distinction between fantasy and reality with concoctions like CGI and reality television has only deepened the groove. Not only is anything possible, we’re no longer sure longer sure what “anything” actually is. In my estimation, this has led to nothing less profound than a mild brand of the dystopian dull portrayed in books and films like The Giver . The preceding paragraphs could lead to a much deeper rabbit deeper rabbit hole, so I’ll leave it at that. My point is simple, and you’re here for a for a performance piece – not the ramblings of an old neo‐ neo‐hippie. So I’ll conclude my introductory remarks with this bit of pontifical pith: 3
The replenishment of humankind’s of humankind’s vanishing sense vanishing sense of mystery of mystery is a noble cause, and one likely requiring – requiring – at this hour in hour in history – some calculated ambiguity on the part of mentalists of mentalists and magicians. How this admittedly broad notion might be interpreted, embraced, or throttled or throttled by members of the skeptic community (JREF, CSI, etc.) – some among the intended audience of this publication – remains to be seen. I have no sixth sense, after all…?! after all…?! Regardless, the routine you now hold in your hands your hands represents my small contribution to the cause.
BASIC EFFECT The magician places a row of five different, readily available objects on the table top – let’s say a wedding ring, folded dollar bill, dollar bill, cell phone, car key, car key, and a wristwatch. These serve as positional markers for the for the demonstration. He then hands a packet of five standard ESP (Zener) cards to a volunteer and volunteer and turns his back to the table. The volunteer freely volunteer freely shuffles the cards – consisting of a Circle, Cross, Wavy Lines, Square, and Star – Star – and deals one in front of each object. She then fixes one of the five symbols in her mind her mind (without in any way indicating its position or identity) or identity) and turns the cards face‐ face‐down. The magician claims to identify the volunteer’s verbal “tells” by instructing her to her to 1) swap various cards and 2) repeat statements verbatim about these swaps. These statements may be true or false; or false; only the volunteer knows. volunteer knows. Upon fully calibrating the volunteer, the magician – still facing away from the table – again instructs her to her to move cards and repeat statements such as “My card is now in front of the of the watch.” This time, he unfailingly differentiates truth from lie. Cards are eliminated until the volunteer’s selection is successfully identified. To conclude, the magician reveals that he has also predicted the selection and another personal another personal fact about the volunteer first divulged during the course of the demonstration. Of course, in the tradition of all self‐ self‐respecting magic copywriters, I’ve omitted something critical from the above description: The prediction has been sitting in sitting in plain sight, contained in (or written (or written on) one – yes, ONLY one – of the of the five five objects. No equivoque, multiple outs, electronics, magnets, threads, granules, daub, pre‐ pre‐show work, stooges, secret partners, trap doors, or flying or flying monkeys are employed – and the bulk of this demonstration is genuinely conducted “sight unseen.”
BACKGROUND Strong differences of opinion persist between performers who favor “workers” favor “workers” (characterized by portability, reliability, ease of execution, and instant reset) and those who prefer “impact prefer “impact at any cost” (characterized by less practical means but, often, greater mystery). greater mystery). Readers more firmly entrenched in the former camp former camp may require a stiff drink before proceeding. Those in the latter will latter will find much to chew on, as Tell Monte leverages a healthy stew of subterfuge, gaffs, mathematics, and one simple sleight to achieve its ends.
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