Trickshop - Seven Keys to Baldpate

7 Theodoree Annemann’ Theodor Anne mann’ss

Keys to Baldpate

© Copyright 2006. All rights reserved. eManuscript Version

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Theodore Annemann’s

Seven Sev en Keys to Baldpate

© Copyright 2006 by TRICKSHOP.COM INC. All rights are are reserved. No part of this publication may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the express and prior written consent of the publisher. This eManuscript is licensed for individual, personal use only. It may not be resold or redistributed in any form. Please report any case of infringement to “[email protected]”. “[email protected]”. TRICKSHOP.COM INC. TRICKSHOP.COM P.O. Box 68441 Schaumburg, IL 60168-0441 http://www.trickshop.com/ [email protected]

Seven Keys to Baldpate

Few effects in mentalism have inspired more variations over the years than Theodore Annemann’s “Seven Keys to Baldpate.” These solutions have ranged from purely mechanical, marketed versions to variations on Annemann’s Annemann’s original handling. Ours falls into the latter category and in performance uses just one genuine padlock and seven keys; one that opens the lock and six that do not. There There are no switches involved,, no extra keys, no gimmicked locks, and no change bags or involved similar props. Plus, you start and nish clean. Theo. Annemann THE BASIC EFFECT

You begin by introducing a padlock and seven matching keys (or “ve” “ve” depending depending upon your preference) to your audience. You then proceed to demonstrate that while all seven keys “t” the lock – only one will actually ac tually open it. The keys are now gathered up, placed placed in a bag and mixed. Seven Seven different spectators (or ve) are now invited to each take a key. Once all of the keys have been taken, you divine which spectator has the working key. LATITUDE LA TITUDE IN PRESENTA PRESENTATION TION

Like all good magic, and mentalism for that matter, the plot is clearly c learly dened and easy for the audience to follow. It also offers you, as a performer, a good deal of latitude with regard to the presentational details. For For example, in order to add interest, the lock can be secured through a spectator’s buttonhole; through a spectator’s nger ring (make sure to avoid delicate settings and large stones); or even around the stem of a wine glass. In presentations like these, the spectator whose coat, ring or wine glass is used; is “inuenced” “inuenced” by the performer to select the key that will “free” “free” his/her property. The The lock can also be used to secure other things, like a small wooden chest that contains your written prediction revealing the name or “number” of the person who was able to successfully open it. This same chest could just as well contain a large denomination bill (or currency note). In that case, you would give the spectators “rst choice” of the keys and take the last one for yourself. Of course, only your key opens the chest, so you keep the money! We could go on, but you get the idea. The point here is simply this, in building your presentation; you you are not limited to the basic divination effect. Note: Although the title of Note: Although of the effect is “Seven Keys to Baldpate,” Baldpate,” some mentalists prefer prefer to perform it with just ve keys - an an idea which which Annemann himself suggested. suggested. Yo You’ll u’ll nd this this option referred referred to throughout throughout our description of the effect – usually in parenthesis.

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ANNEMANN’S ORIGINAL ROUTINE

Here is Theodore Annemann’s “Seven Keys to Baldpate,” rst published in his 1931 book, The Book Without a Name.

Seven Keys to Baldpate The mentalist states that he has discovered discovered such a force as metallic metallic sympathy which arises between any metal objects that must of necessity come into repeated contact with each other. With rapidly moving parts, this has been more or less catalogued as static electricity and produced through friction. But with articles that merely come into close contact through handling there exists a sympathy, even even though they be inanimate. In this case, the experiment shall be illustrated by a padlock and key. A genuine Yale, Yale, Corbin, or other well known k nown make of padlock is shown and a reward offered if anyone can prove or show that the lock is not just as it left the factory or has ever been tampered with. With the lock is a key on which has been tied a piece of colored ribbon to identify it from six other keys that are lying at hand. Announcing that the tagged key is the only one that can open the lock, the other six being odd keys, a spectator is asked to take the lock and try them one by one. As he tries each key and it fails to work, he drops it into a small bag and upon the last one actually tting and opening the lock, the ribbon is removed and that dropped in also among the others. Shaking the bag and mixing the keys well inside, the performer steps to each of seven people and they reach in and take one key from the bag in their closed st. Absolutely Absolutely no one sees the key removed by each until all seven are out. Taking T aking the wrist of the party who is still holding the padlock, the performer passes to each closed st in turn and merely holds his free hand near it. Suddenly he stops at one outstretched hand. “This hand holds the key that ts the lock,” he exclaims. The spectator hands the key directly to the party with the lock and holding the lock in full view the key is tried. The lock snaps open! And immediately the performer re-offers his reward if any of the other keys which are still being held, will open the lock. eManuscript © Copyright 2006 by Trickshop.com Inc. All rights reserved. -4-


This can be built into a real astonishing effect effect for any audience and it is far from from being hard. The necessaries are one lock, six odd keys that will not t and seven that will. The bag is a changing bag – the new P and L Spirit Bag, which is the daintiest and nicest bit of such work ever produced. I have found no bag better for this effect. It looks rather silly to drop seven keys into a bag big enough to change a rabbit and this new type typ e just lls the bill. Now follow this routine closely: prepare by dropping six of the duplicates into one side of the bag and then change over so the bag is now empty. You are ready. Have Have a ribbon tied to the other correct key to prevent its being mixed among the six odd ones. Show the lock and explain about the keys. The spectator comes up. Ask him to try the six odd keys one by one and as he nds they won’t won’t work he drops them singly into the empty side of the bag you are holding. He now tries the seventh and the lock opens. Just at the moment the lock opens you change hands with the bag and switch sides bringing the six duplicates up. The The spectator then removes the ribbon and drops the key in among the others. As he drops it in, ask him to scoop them out and count them aloud again. Seven. And one of them ts the lock. Really all seven do that very thing! The performer now passes among the spectators spectators and asks a man to reach in and take any one he wishes and keep it in his closed st. Your telling this rst man what to do serves as a slight pause and the bag is switched side for side again. Now the performer passes to six other people in turn and each remove a key until the last is taken. I advise doing this haphazardly and not in a straight row. This is simply because b ecause the rst selected key k ey is always the right one and you should be able to eventually pass one or two duds b efore stopping at the correct one. The selecting done, the tricky work is done and the nish is played up as strongly as desired desired to a climax as of course, the right party is known and the other six won’t t the lock. Thus you start with seven unprepared unprepared keys and a lock and end the same way. way. The use of the bag is merely incidental and is never mentioned but just used and that’s all. It might be a good plan when passing from hand to hand at the nish in search of the key, to pass two duds and hit it the third time. To Too o much play is bore b ore some. When you touch the rst hand, shake your head and say,“No, there there isn’t a thing here. It can’t be the key. Try Try it.” The party with the lock tries and it doesn’t t. This occurs with the second in the same manner. But with the third one the performer becomes elated and declares that this must be the key itself. It is tried – and works.



Various strong presentation points are in this and will be worked up by the enterprising performer. One is that during the entire effect from start to nish you need never so much as touch a key or the lock. They are lying in full view and are rst picked up by the spectator s pectator.. Throughout the routine you only carry them and mix them. The trying of the keys and the opening of the lock is done by your audience and what could be more fair? Of course, you can use ve keys instead of seven but then I wouldn’ wouldn’tt have had such a good title for this real little mystery.



THE CHALLENGE Even today, 75 years later, Annemann’ Annemann’s construction of this routine still stands up to critical analysis. If there is an obstacle or challenge in the original handling for the contemporary performer, performer, it is in the use of seven duplicate keys and a change bag to force the rst key. The more practical approach, and one that has been adopted by some performers, is to force the last key. Most of these variations, however, however, still require the use of a changing device to bring the working key – sometimes a duplicate - into play at the appropriate appropriate moment. THE SOLUTION Our solution builds on this thinking; while eliminating the need for a change bag, envelope, envelope, purse purse or other device. In addition, no duplicate keys are required,, so you start and nish clean. There is absolutely NOTHING to get rid required of, or for anyone to discover at the end of the effect. With this handling, only one part of Annemann’s Annemann’s original routine is modied – the point where the keys are gathered up and placed in a bag prior to having them selected by the spectators. Everything else remains remains essentially the same.



Photo 1 WHAT WHA T YOU’LL NEED… N EED…

The Padlock and Keys

As already discussed, you’ll you’ll need one padlock with one working key; key ; as well as six matching keys (or four) that t the lock, but will not open it. See Photo 1. You have two options in this th is regard. You can buy one lock that comes with two working keys and have the other keys custom cut by a locksmith or the key-making department at your local hardware store. If you do, the blank key k ey stock must match the working key; otherwise have them copy the working key, too, so it matches the others. Easier Easier yet, simply buy three or four identical padlocks (depending upon whether you wish to use seven or ve keys in your presentation). Take T ake one lock with one of the keys that open it, and add the odd keys from the other packages. How much will all of this set you back? Well, the 40mm Master Lock pictured in Photo 2 at right runs about $4, so you’re you’re

Photo 2

looking at somewhere between $12 and $16 for your lock and keys. k eys. The Bag

Almost any small paper sack will do, from a 10-5/8” (27 cm) plain brown paper pap er lunch bag to a colorful 9-3/8” (24 cm) party bag, b ag, like the one pictured in Photo 1. The slightly smaller size of these “goodie bags” makes them well suited to this effect. They also add a nice splash of color to the proceedings. To see what’s available in your area, visit your local party part y goods depot, larger craft shop, or any other store where birthday party supplies are sold. Ribbon

You’ll also require a small piece of ribbon, yarn or some form of key tag to attach to the working key. k ey. Whatever you use, make sure it can easily be removed by the spectator with a minimum of effort. eManuscript © Copyright 2006 by Trickshop.com Inc. All rights reserved. -8-


Left thumb clips rst (lowermost) key at base of two middle ngers, just before hand turns over.

Photo 3

Photo 4

HANDLING THE KEYS

After a spectator tries out the six odd (non-working) keys in the lock, gather them up on your left palm. Make sure to place the rst key near the nger palm position, at the base of the two middle ngers. The rest of the keys can go anywhere on your outstretched hand. Although Although no special order or arrangement is needed, make sure part par t of the rst key is exposed. You’ll see why in a moment. See Photo 3. You are now going to apparently “dump” all of the odd keys into the paper bag. However, as your

Photo 5

left hand turns over over,, your thumb clips the rst key – holding it against the ngers and lets the rest of the keys fall into the bag. See Photos 4 and 5. This simple action is completely masked by the back bac k of the left hand; which is to the audience. Without hesitation, you you are now going to transfer the grip of the bag from the right hand to the left. To To do this, rst curl your left ngers inward to hold the key. This is “not” a nger palm; rather your ngers merely form a small ledge which the key rests on. Next, move your left thumb to the outside of the bag – pressing inward against the outer wall. At the same time, atten out and press your left ngers with the key inward against the inner wall of the bag. The pressure of your thumb on the outside and ngers on the inside of the bag will hold the Photo 6

key securely in place. This key will also be completely concealed from all angles. See Photo 6.



Photo 7

Photo 8

From the audience’s audience’s point of view, all that has happened to this point p oint is that the six odd keys have been gathered up and dropped into the paper p aper bag. Now,, have the spectator demonstrate that the correct (working) key with the ribbon attached actually Now DOES open the lock. After the lock is closed again, ask your helper to remove the ribbon and hand you the key. Extend your right hand, palm up and take tak e the key. k ey. If necessary, maneuver it to the nger palm position at the base of your two middle ngers, as shown in Photo 7. You’ ou’re re now going to execute the illusion of dropping the working key into the bag with the other keys. In reality, reality, however however,, you’re you’re going to retain the working key in the right hand by once again clipping it with your thumb as the hand turns over. See Photo 8. At this very same moment, release release the key your left hand is holding against the interior of the bag. The The illusion is perfect. per fect. The audience SEES the right hand go in and then, they HEAR the key fall as it hits the other keys on the bottom of the bag. Practice Practice the timing until you get it down, pat. pat. Magicians will immediately recognize this ploy from the Miser’s Dream; since this auditory illusion forms the basis of that trick. As before, you are going to immediately transfer the grip of the bag – this time from the left to the right hand. The actions with the key in your right hand are exactly as already described for the left hand. Curl Curl your right ngers inward to form a ledge, move your thumb to outside of the bag, press press the outside of the bag inward with your right thumb as you atten out your right ngers and press the key against the interior of the bag. The pressure from both sides securely holds the working key in place, while concealing it from all angles.

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That’ss it. You’ That’ ou’re re now set to nish the routine. routine. Shake the bag to mix the keys and have six (or (or four) spectators at random each take a key. Keep the pace brisk by encouraging spectators to reach in and “grab” “g rab” a key. Remember, Remember, we are one key short at the bottom of the bag; so you don’t want the sixth (or fourth) spectator probing around to discover that there’s only one key at the bottom – not two. After After the sixth key (or fourth, if you’re you’re working with ve total) is taken, let the concealed key secretly fall from your right hand to the bottom of the bag. To cover the sound of the key dropping, shake the bag a couple of times to bounce it. Smile and say,“I think there’s just one key left.” Look Look inside the bag as if you’ve lost count. You’ ou’re re now prepared to force the correct (working) key on anyone you choose. This handling is far easier that it sounds in print, so try running through it with the properties in hand. We’re We’ re condent you’ll like it once you tr y it. Perhaps most important of all, this modied handling enables you to perform “Seven Keys to Baldpate” the way you might if you genuinely had ESP – with a real padlock, just seven keys and an ordinary paper bag. GOOD LUCK!

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Trickshop - Seven Keys to Baldpate

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