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УОШ ^
M IK D
IS STILL МУ P L A Y ^ O U H O viticst
Vincent Hedan has presented his unique approach to mentalism everywhere in the world. In 2008, he received the First Prize in Mentalism at the French National Championship. Your mind is still my playground is the second book in this series. With these 11 original routines for close-up and parlour, beginners and professionals will discover simple and direct methods using easy-to-find props and exploring original themes designed to mystify the audience. Now it is your turn to play with the mind of your spectators!
YOtAt^ M II4 D
iS S TILL МУ PLA Y^O U H O
Vincent Hedan
cover photo: Tony Corgann cover & illustrations: Mai Taguay proofreading: David Jones & Raj Madhok
YOtAt^ M II4 D
iS S TILL МУ PLA Y^O U H O
Vincent Hedan
cover photo: Tony Corgann cover & illustrations: Mai Taguay proofreading: David Jones & Raj Madhok
These notes cover a 2-
This lecture, filmed live
hour lecture on close-up
for
and parlor magic.
p resen ts
Penguin
Magie,
V in cen t’ s
mentalism and ideas with new demonstrations and impossible effects.
Pi
is
an
memory effect with the
of poetry, tranquility and
-"
蛮哉
mathematical value.
б
■
decimals of this famous
G s 妬爸落0
Haiku is a pure moment 次 0 飛
impossible
refinement …
■H〇 IIc 1Л
These notes cover a 2-
This lecture, filmed live
hour lecture on close-up
for
and parlor magic.
p resen ts
Penguin
Magie,
V in cen t’ s
mentalism and ideas with new demonstrations and impossible effects.
Pi
is
an
memory effect with the
of poetry, tranquility and
-"
蛮哉
mathematical value.
б
■
decimals of this famous
G s 妬爸落0
Haiku is a pure moment 次 0 飛
impossible
refinement …
■H〇 IIc 1Л
W te o r
cohtehts
INTRODUCTION................................................................. 9 FATEFUL ENCOUNTER....................................................15 MENTAL CLUEDO........................................................... 31 VINTAGE............................................................................. 41 INTACTO............................................................................ 51 PHOTOGRAPHIC MEMORY................... :..................... 65 CHILDREN ARE WONDERFUL...................................... 75 YOUR WIFE IS YOUR WORST ENEMY..........................83 ASTROBOY......................................................................... 89 ASTROALPHABET............................................................ 97 A DISCREET WOMAN....................................................I l l THE PATH OF THE BOOK TEST.................................... 121 COUPLE CONFLICT........................................................133 ABETTER STORY.............................................................139
W te o r
cohtehts
INTRODUCTION................................................................. 9 FATEFUL ENCOUNTER....................................................15 MENTAL CLUEDO........................................................... 31 VINTAGE............................................................................. 41 INTACTO............................................................................ 51 PHOTOGRAPHIC MEMORY................... :..................... 65 CHILDREN ARE WONDERFUL...................................... 75 YOUR WIFE IS YOUR WORST ENEMY..........................83 ASTROBOY......................................................................... 89 ASTROALPHABET............................................................ 97 A DISCREET WOMAN....................................................I l l THE PATH OF THE BOOK TEST.................................... 121 COUPLE CONFLICT........................................................133 ABETTER STORY.............................................................139
тгм о и с п о н When I finished writing Your mind is my playground, I realized that I still had a multitude of ideas for this kind of format. Routines with original themes inspired by literature and cinema, that could be done with simple and direct methods, with few props, and that could be performed on stage or in close-up. It took me some time to choose the ideas that I wanted to collect in this second volume; as with the first one, I often provide the script that I use, followed by a detailed explanation of crucial points to which you have to pay special attention in order for the demonstration to function properly. 《 Fateful encounter》 is the result of my reflection on the famous chair test effect. It is an opportunity for me to discuss this classic and I describe a simple, direct, surefire and completely self-working method that you will be able to perform in all kinds of situations. In «Mental Cluedo», the basic idea with standard playing cards became a visual and entertaining routine using the famous board game. The method is self-working and you can adapt it to other universes, depending on your 4
audience. «Vintage» is a demonstration of the spectator’s luck, and proves that his lucky coin allows him to create an impossible coincidence. Thanks to a principle already
9
тгм о и с п о н When I finished writing Your mind is my playground, I realized that I still had a multitude of ideas for this kind of format. Routines with original themes inspired by literature and cinema, that could be done with simple and direct methods, with few props, and that could be performed on stage or in close-up. It took me some time to choose the ideas that I wanted to collect in this second volume; as with the first one, I often provide the script that I use, followed by a detailed explanation of crucial points to which you have to pay special attention in order for the demonstration to function properly. 《 Fateful encounter》 is the result of my reflection on the famous chair test effect. It is an opportunity for me to discuss this classic and I describe a simple, direct, surefire and completely self-working method that you will be able to perform in all kinds of situations. In «Mental Cluedo», the basic idea with standard playing cards became a visual and entertaining routine using the famous board game. The method is self-working and you can adapt it to other universes, depending on your 4
audience. «Vintage» is a demonstration of the spectator’s luck, and proves that his lucky coin allows him to create an impossible coincidence. Thanks to a principle already
9
used in the first volume of this series, this effect is really
«Astroalphabet» also talks about star signs, but its
easy to do.
explanation unveils a versatile and terribly efficient
«Intacto» is about the same theme and can be performed
method to divine a thought-of word, all the while making
alongside «Vintage.» The spectator's luck continues to
additional revelations on the word and the spectator.
guide him, despite the fact that his choice is free and kept
Designed as an opening trick, «A discreet woman» can
a secret.
also be presented when you need an audience member to
W ith《 Photographic memory,» the spectator handles your
join you on stage and you want to use this moment to
memories in the form of photographs, creating a strong
present a quick and impossible effect.
visual element representing the mechanisms of our
«The path of the book test» is a demonstration with
memory. The final prediction arrives as a surprise and
several phases in which you divine thought-of words
takes an unexpected form.
from a regular, borrowed book. In addition, you guess the
《 Children are wonderful» is an impossible demonstration
spectators7 questions and end up providing correct
using a toy known by everyone, an original method that
answers that will encourage them in their projects.
can be adapted to other effects, and a reflection on ESP
《 Couple conflict》 is an amusing effect involving a couple.
symbols in mentalism.
First based on reciprocity, this money game quickly sees a
The playful title of «Your wife is your worst enemy» (the first theoretical ess孕y in this new tome) actually is an
winner emerging. But you still get the last word, with a prediction that the couple can keep as a souvenir.
opportunity to have a serious discussion about our
«A better story» is the second theoretical essay in this
relationship with the audience. By better understanding
book. In it, we rediscover an old psychological concept
this interaction, we can easily improve the way we do our
and we try to imagine a new approach to better control
shows.
the audience's memories of your performance.
«Astroboy» has no connection to the famous hero by mangaka Osamu Tezuka. In this effect, you explain that
4
you have trained your intuition to find, like a sonar, the person to which you should give the envelope that belongs to her.
10
11
used in the first volume of this series, this effect is really
«Astroalphabet» also talks about star signs, but its
easy to do.
explanation unveils a versatile and terribly efficient
«Intacto» is about the same theme and can be performed
method to divine a thought-of word, all the while making
alongside «Vintage.» The spectator's luck continues to
additional revelations on the word and the spectator.
guide him, despite the fact that his choice is free and kept
Designed as an opening trick, «A discreet woman» can
a secret.
also be presented when you need an audience member to
W ith《 Photographic memory,» the spectator handles your
join you on stage and you want to use this moment to
memories in the form of photographs, creating a strong
present a quick and impossible effect.
visual element representing the mechanisms of our
«The path of the book test» is a demonstration with
memory. The final prediction arrives as a surprise and
several phases in which you divine thought-of words
takes an unexpected form.
from a regular, borrowed book. In addition, you guess the
《 Children are wonderful» is an impossible demonstration
spectators7 questions and end up providing correct
using a toy known by everyone, an original method that
answers that will encourage them in their projects.
can be adapted to other effects, and a reflection on ESP
《 Couple conflict》 is an amusing effect involving a couple.
symbols in mentalism.
First based on reciprocity, this money game quickly sees a
The playful title of «Your wife is your worst enemy» (the first theoretical ess孕y in this new tome) actually is an
winner emerging. But you still get the last word, with a prediction that the couple can keep as a souvenir.
opportunity to have a serious discussion about our
«A better story» is the second theoretical essay in this
relationship with the audience. By better understanding
book. In it, we rediscover an old psychological concept
this interaction, we can easily improve the way we do our
and we try to imagine a new approach to better control
shows.
the audience's memories of your performance.
«Astroboy» has no connection to the famous hero by mangaka Osamu Tezuka. In this effect, you explain that
4
you have trained your intuition to find, like a sonar, the person to which you should give the envelope that belongs to her.
10
11
The props remain simple and easy1to find. In some cases, I even provide you with a link to a website distributing the mentioned prop. These links are shortened to make it easier for you, you just need to copy them in your Internet browser (sometimes adding http:// in front of the link).
This book is a collection of effects that you can easily adapt and integrate to your arsenal, with interesting situations and themes that will engage your audience. The spirit of the first volume remains unchanged Respect your audience, treat each audience member as a new friend and know how to create a relationship that will serve the experience you are sharing with the people around you.
Vincent Hedan Paris, 2017
4
12
The props remain simple and easy1to find. In some cases, I even provide you with a link to a website distributing the mentioned prop. These links are shortened to make it easier for you, you just need to copy them in your Internet browser (sometimes adding http:// in front of the link).
This book is a collection of effects that you can easily adapt and integrate to your arsenal, with interesting situations and themes that will engage your audience. The spirit of the first volume remains unchanged Respect your audience, treat each audience member as a new friend and know how to create a relationship that will serve the experience you are sharing with the people around you.
Vincent Hedan Paris, 2017
4
12
rA T B ru L
в н с о и н ге ^
Effect «When I take the bus or the train and there is nobody sitting next to me, I observe the people looking for a seat and, in my head, I try to imagine who will come and sit next to me. O f course, when I see certain people I really hope that they will come and sit next to me, and for others I pray that they will sit somewhere else. Do you also do this? The spot where you sit is a choice to which most o f us do not pay attention, but it can be very important. During an accident, your position can literally be a question o f life or death. Or you could seat unknowingly next to your soul mate, or your future employer. i
In a moment, I will ask a couple to help me but, before that, I must trust this sealed envelope to someone who will play the part o f destiny.» The mentalist gives the envelope to a spectator in the first row, and a couple from the audience is chosen (let's call them Christian and Katalina). For the moment, they all remain in4 their seat. «As you can see, there are five chairs on stage, numbered from 1 to 5. I also have five small envelopes. Sir, since you are our destiny tonight, you will decide where our couple seats. On the envelope o f your choice, we will write «Woman»; on another,
15
rA T B ru L
в н с о и н ге ^
Effect «When I take the bus or the train and there is nobody sitting next to me, I observe the people looking for a seat and, in my head, I try to imagine who will come and sit next to me. O f course, when I see certain people I really hope that they will come and sit next to me, and for others I pray that they will sit somewhere else. Do you also do this? The spot where you sit is a choice to which most o f us do not pay attention, but it can be very important. During an accident, your position can literally be a question o f life or death. Or you could seat unknowingly next to your soul mate, or your future employer. i
In a moment, I will ask a couple to help me but, before that, I must trust this sealed envelope to someone who will play the part o f destiny.» The mentalist gives the envelope to a spectator in the first row, and a couple from the audience is chosen (let's call them Christian and Katalina). For the moment, they all remain in4 their seat. «As you can see, there are five chairs on stage, numbered from 1 to 5. I also have five small envelopes. Sir, since you are our destiny tonight, you will decide where our couple seats. On the envelope o f your choice, we will write «Woman»; on another,
15
we will write «Man»; then we will write «empty» on the
Once Christian and Katalina have looked at their number,
remaining three. These choices are entirely up to you.»
the mentalist claps his hands. The audience then sees
The mentalist mixes his five small envelopes and the spectator chooses one freely.
Christian and Katalina both moving toward the row of five chairs; Christian seats on chair 4 and Katalina seats on chair 3, next to him!
«Perfect, What do you want to write on this envelope? Woman, Man, or empty?» The spectator announces his choice and the mentalist writes it down on the envelope which is then put aside where everybody can see it. The mentalist mixes his four remaining envelopes and the spectator chooses one; he announces if he wants to w r ite 《Woman,» «Man» or «empty» on it, the mentalist writes down his choice and put it aside on the first envelope. This process continues until «Woman» has been written on an envelope, «Man» on another, and «empty» on the remaining envelopes. «You had a free choice o f the envelopes and a free choice as to what you wanted to write on each o f them. Destiny has made its choices. Christian, Katalina, could you please join me on stage? Christian, here are the five envelopes, please find the one that says «\Voman» and give it to Katalina. Then find the one that says «Man» and keep it for yourself. You can drop the three «empty» envelopes on the floor. In each envelope, there is a number from 1 to 5. Christian, Katalina, open your envelope and look at your number Then, when I clap my hands, please go sit on the chair on which is your number.»
16
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning…》 The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty•••»
17
we will write «Man»; then we will write «empty» on the
Once Christian and Katalina have looked at their number,
remaining three. These choices are entirely up to you.»
the mentalist claps his hands. The audience then sees
The mentalist mixes his five small envelopes and the spectator chooses one freely.
Christian and Katalina both moving toward the row of five chairs; Christian seats on chair 4 and Katalina seats on chair 3, next to him!
«Perfect, What do you want to write on this envelope? Woman, Man, or empty?» The spectator announces his choice and the mentalist writes it down on the envelope which is then put aside where everybody can see it. The mentalist mixes his four remaining envelopes and the spectator chooses one; he announces if he wants to w r ite 《Woman,» «Man» or «empty» on it, the mentalist writes down his choice and put it aside on the first envelope. This process continues until «Woman» has been written on an envelope, «Man» on another, and «empty» on the remaining envelopes. «You had a free choice o f the envelopes and a free choice as to what you wanted to write on each o f them. Destiny has made its choices. Christian, Katalina, could you please join me on stage? Christian, here are the five envelopes, please find the one that says «\Voman» and give it to Katalina. Then find the one that says «Man» and keep it for yourself. You can drop the three «empty» envelopes on the floor. In each envelope, there is a number from 1 to 5. Christian, Katalina, open your envelope and look at your number Then, when I clap my hands, please go sit on the chair on which is your number.»
16
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning…》 The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty•••»
17
The mentalist opens the three envelopes on which is written the word «empty»: they are actually really empty. They can be left with the audience. The spectator continues reading the prediction: «... He will be seated on chair number 4 ...»
Method If you really think about the extremely free conditions under which the effect is performed, you will realize it is impossible. Still, it is completely self-working and it does not require any expensive or secret prop. Finally, it will
The mentalist invites Christian to show his number to
never fail. Everything is made possible by a brilliant
everyone: indeed, he found the number 4 in his envelope!
principle used in «Blindsight,» a different effect created
The spectator continues reading the prediction: «... She
by mentalist Devin Knight. This principle has various
will be seated next to him, on chair number 3.»
applications and I use it here to perform an impossible chair test. Before going over the details of the method,
The mentalist invites Katalina to show her number to everyone: indeed, she found the number 3 in her
let's talk a bit about the classic mentalism effect of the chair test.
envelope! As its name implies, a chair test consists in predicting The spectator finishes reading the prediction: «Together, Christian and Katalina make a lovely couple.» Even the couple's first names are included in the prediction!I I No stooge, no preshow, no switch, no force, and everything can be examined because everything is normal. You can perform this effect anywhere, anytime because the preparation is very quick and simple.
where several spectators will sit. Despite the fact that this is considered to be a classic effect in mentalism, I am convinced that nobody is interested in chair tests. If your only power is to be able to predict where people seat, that is not very impressive. In addition, these effects are often long because you need to sit five spectators on five chairs. Finally, the procedures and methods are often too complicated for the audience and the mentalist, a fact that does not help make the experience entertaining. For all these reasons, I decided to modify a few things in the classic effect and in the method. First, although I use five chairs, I only sit two spectators. It is enough to «prove» your ability to predict their choices, it is much faster and it makes things more theatrical. Second, I provided context, a justification for
18
19
The mentalist opens the three envelopes on which is written the word «empty»: they are actually really empty. They can be left with the audience. The spectator continues reading the prediction: «... He will be seated on chair number 4 ...»
Method If you really think about the extremely free conditions under which the effect is performed, you will realize it is impossible. Still, it is completely self-working and it does not require any expensive or secret prop. Finally, it will
The mentalist invites Christian to show his number to
never fail. Everything is made possible by a brilliant
everyone: indeed, he found the number 4 in his envelope!
principle used in «Blindsight,» a different effect created
The spectator continues reading the prediction: «... She
by mentalist Devin Knight. This principle has various
will be seated next to him, on chair number 3.»
applications and I use it here to perform an impossible chair test. Before going over the details of the method,
The mentalist invites Katalina to show her number to everyone: indeed, she found the number 3 in her
let's talk a bit about the classic mentalism effect of the chair test.
envelope! As its name implies, a chair test consists in predicting The spectator finishes reading the prediction: «Together, Christian and Katalina make a lovely couple.» Even the couple's first names are included in the prediction!I I No stooge, no preshow, no switch, no force, and everything can be examined because everything is normal. You can perform this effect anywhere, anytime because the preparation is very quick and simple.
where several spectators will sit. Despite the fact that this is considered to be a classic effect in mentalism, I am convinced that nobody is interested in chair tests. If your only power is to be able to predict where people seat, that is not very impressive. In addition, these effects are often long because you need to sit five spectators on five chairs. Finally, the procedures and methods are often too complicated for the audience and the mentalist, a fact that does not help make the experience entertaining. For all these reasons, I decided to modify a few things in the classic effect and in the method. First, although I use five chairs, I only sit two spectators. It is enough to «prove» your ability to predict their choices, it is much faster and it makes things more theatrical. Second, I provided context, a justification for
18
19
the demonstration, allowing me to engage the audience
the number 3 on it, insert this paper in the «Woman»
and give meaning to the final revelation. In addition, I
envelope and seal it.
brought rhythm to the prediction, in order to control the revelation and increase its impact. Finally, I use Devin Knight’s principle to obtain a method that is both fooling and self-working, and I added some extra subtleties to further deceive the audience. Here is the method.
On the last small envelope, write down the word «Man.» Take a piece of paper whose size matches the size of the small envelope, write down the number 4 on it, insert this paper in the « Man» envelope and seal it.
You will need five small envelopes (I u s e 《 number 3,» kraft envelopes1, but you can use standard mail envelopes if you prefer), one big envelope for the prediction (I use an A4 format, close to the English letter format), a felt pen (I use a black Sharpie), five chairs, and seven sheets of paper (blank, А4/letter format). It is possible to perform this effect almost impromptu, simply by borrowing the necessary props. Finally, take a full sheet and create your prediction by Number five sheets from 1 to 5 and stick each sheet to the
writing down these four sentences, spacing them out on the paper:
front of a different chair, for example with tape. «The three «empty» envelopes are actually really empty... On three of the small envelopes, write down the word «empty》 on the address side, then seal these three empty
... He will be seated on chair number 4 ...
envelopes.
. . . She will be seated next to him, on chair number 3.
On one of the two remaining small envelopes, write
Together, Christian and Katalina make a lovely couple.»
down the word «Woman.» Take a piece of paper whose size matches the size of the small envelope, write down1
If you want to have the first names of the couple in your finale prediction, arrange to know them in advance. You could go to the couple before the show to chat normally, or ask them if they would be OK joining you on stage
1Available here: gg.gg/kraftl 20
later in the show; you can also ask an organizer (or 21
the demonstration, allowing me to engage the audience
the number 3 on it, insert this paper in the «Woman»
and give meaning to the final revelation. In addition, I
envelope and seal it.
brought rhythm to the prediction, in order to control the revelation and increase its impact. Finally, I use Devin Knight’s principle to obtain a method that is both fooling and self-working, and I added some extra subtleties to further deceive the audience. Here is the method.
On the last small envelope, write down the word «Man.» Take a piece of paper whose size matches the size of the small envelope, write down the number 4 on it, insert this paper in the « Man» envelope and seal it.
You will need five small envelopes (I u s e 《 number 3,» kraft envelopes1, but you can use standard mail envelopes if you prefer), one big envelope for the prediction (I use an A4 format, close to the English letter format), a felt pen (I use a black Sharpie), five chairs, and seven sheets of paper (blank, А4/letter format). It is possible to perform this effect almost impromptu, simply by borrowing the necessary props. Finally, take a full sheet and create your prediction by Number five sheets from 1 to 5 and stick each sheet to the
writing down these four sentences, spacing them out on the paper:
front of a different chair, for example with tape. «The three «empty» envelopes are actually really empty... On three of the small envelopes, write down the word «empty》 on the address side, then seal these three empty
... He will be seated on chair number 4 ...
envelopes.
. . . She will be seated next to him, on chair number 3.
On one of the two remaining small envelopes, write
Together, Christian and Katalina make a lovely couple.»
down the word «Woman.» Take a piece of paper whose size matches the size of the small envelope, write down1
If you want to have the first names of the couple in your finale prediction, arrange to know them in advance. You could go to the couple before the show to chat normally, or ask them if they would be OK joining you on stage
1Available here: gg.gg/kraftl 20
later in the show; you can also ask an organizer (or 21
someone else from the group) to point out a couple
transfer the envelopes one by one from your left hand to
whose first names he knows. Once you have obtained the
your right hand and ask the spectator to say stop
two first names, add them to the last sentence of your
whenever he wants. His choice is really free so you can
prediction. Of course, you can also decide to do without
insist on the fairness of the procedure. However this
the first names, the main effect will still remain very
choice is also not very important so don’t overdo it.
strong.
Once the spectator has chosen his envelope among the
To finish the preparation, you must dry your felt pen so
five, ask him if he wants to write down the word Woman,
that it does not write at all anymore. I explain an
Man or Empty on it. Regardless of the envelope he has
alternative solution in the final notes.
chosen and regardless of the word he wants to write down, take your dry felt pen and «write down» the spectator's choice on the envelope, on top of what you
Let’s see the effect.
wrote down earlier. Since you are really writing down
The beginning of the script aims at giving a context and a
(with a dry felt pen) the spectator’s word, there is no
justification
the
inconsistency in the pen's motions. Once you are done
consequences of a choice, for example where you decide
《 writing down,» put the envelope aside by laying it
to sit. Once the introduction is over, designate one of the
down on the first chair near you, with the writing facing
audience members, he will play the part of destiny and
downward.
to
the
demonstration:
what
are
he is the one you trust with the prediction envelope.
(By pure chance, the spectator will sometimes name the
Designate the couple that you identified earlier and say
same word as the one already written on the chosen
that you need their help but they can stay seated for now.
envelope, when this lucky coincidence occur, take
Show the five numbered chairs. Also show your five small envelopes and mix them. Of course, do not let the audience see that you have already written something on it.
advantage of it by briefly letting the writing be seen. However, be careful not to emphasize this moment too much, otherwise the audience will request to see each envelope.«It is better to simply let what you have just written down be seen, for example when you lay down
When you are done mixing the small envelopes, have one
the envelope. Since I started to perform this effect, I have
chosen by your spectator/destiny. If he is close to you,
always been able to show at least one of the envelopes;
you can fan the envelopes and ask him to touch the one
on several occasions, I was even lucky enough to be able
he wants; if he is too far away from you to do that.
to show all five!)
22
23
someone else from the group) to point out a couple
transfer the envelopes one by one from your left hand to
whose first names he knows. Once you have obtained the
your right hand and ask the spectator to say stop
two first names, add them to the last sentence of your
whenever he wants. His choice is really free so you can
prediction. Of course, you can also decide to do without
insist on the fairness of the procedure. However this
the first names, the main effect will still remain very
choice is also not very important so don’t overdo it.
strong.
Once the spectator has chosen his envelope among the
To finish the preparation, you must dry your felt pen so
five, ask him if he wants to write down the word Woman,
that it does not write at all anymore. I explain an
Man or Empty on it. Regardless of the envelope he has
alternative solution in the final notes.
chosen and regardless of the word he wants to write down, take your dry felt pen and «write down» the spectator's choice on the envelope, on top of what you
Let’s see the effect.
wrote down earlier. Since you are really writing down
The beginning of the script aims at giving a context and a
(with a dry felt pen) the spectator’s word, there is no
justification
the
inconsistency in the pen's motions. Once you are done
consequences of a choice, for example where you decide
《 writing down,» put the envelope aside by laying it
to sit. Once the introduction is over, designate one of the
down on the first chair near you, with the writing facing
audience members, he will play the part of destiny and
downward.
to
the
demonstration:
what
are
he is the one you trust with the prediction envelope.
(By pure chance, the spectator will sometimes name the
Designate the couple that you identified earlier and say
same word as the one already written on the chosen
that you need their help but they can stay seated for now.
envelope, when this lucky coincidence occur, take
Show the five numbered chairs. Also show your five small envelopes and mix them. Of course, do not let the audience see that you have already written something on it.
advantage of it by briefly letting the writing be seen. However, be careful not to emphasize this moment too much, otherwise the audience will request to see each envelope.«It is better to simply let what you have just written down be seen, for example when you lay down
When you are done mixing the small envelopes, have one
the envelope. Since I started to perform this effect, I have
chosen by your spectator/destiny. If he is close to you,
always been able to show at least one of the envelopes;
you can fan the envelopes and ask him to touch the one
on several occasions, I was even lucky enough to be able
he wants; if he is too far away from you to do that.
to show all five!)
22
23
You will repeat this sequence three more times: the
and Katalina both moving toward the row of five chairs;
spectator chooses an envelope, he chooses what he wants
Christian seats on chair 4 and Katalina seats on chair 3,
to write (Woman, Man, Empty), you write it down with
next to him!
the dry pen and you put the envelope aside on the first chair. Of course, the spectator can only say «Woman» once, «Man» once and «Empty» three times. When you are left with only one envelope in your hands, write down the last remaining word on it and lay down this envelope with the others, on the first chair. For you, the method is over. For the audience, the effect is only
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning•••» The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty...»
starting. You open the three envelopes on which is written the Have the couple join you on stage and ask the man to mix the envelopes a little bit. This will prevent some of the most observant spectators from noticing that the
word «empty»: they are actually really empty. They can be left with the audience.
words are not in the order given by your spectator/
The spectator continues reading the prediction: «... He
destiny.
will be seated on chair number 4 ...»
Tell the man to find the «Woman» envelope and to pass it
Invite Christian to show his number to everyone: indeed,
on to his wife. Then he has to find the «Man» envelope
he found the number 4 in his envelope!
and keep it to himself. Finally, he can drop the three
The spectator continues reading the prediction: «... She
«Empty» envelopes on the floor.
will be seated next to him, on chair number 3.»
Continue:
Invite Katalina to show her number to everyone: indeed,
«In each envelope, there is a number from 1 to 5. Christian,
she found the number 3 in her envelope!
Katalina, open your envelope and look at your number. Then,
The spectator finishes reading the prediction: «r〇gef/zer,
when I clap my hands, please go sit on the chair on which is
Christian and Katalina make a lovely couple.»
your number， Once Christian and Katalina have looked at their number, you clap your hands. The audience then sees Christian
24
Final notes 25
You will repeat this sequence three more times: the
and Katalina both moving toward the row of five chairs;
spectator chooses an envelope, he chooses what he wants
Christian seats on chair 4 and Katalina seats on chair 3,
to write (Woman, Man, Empty), you write it down with
next to him!
the dry pen and you put the envelope aside on the first chair. Of course, the spectator can only say «Woman» once, «Man» once and «Empty» three times. When you are left with only one envelope in your hands, write down the last remaining word on it and lay down this envelope with the others, on the first chair. For you, the method is over. For the audience, the effect is only
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning•••» The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty...»
starting. You open the three envelopes on which is written the Have the couple join you on stage and ask the man to mix the envelopes a little bit. This will prevent some of the most observant spectators from noticing that the
word «empty»: they are actually really empty. They can be left with the audience.
words are not in the order given by your spectator/
The spectator continues reading the prediction: «... He
destiny.
will be seated on chair number 4 ...»
Tell the man to find the «Woman» envelope and to pass it
Invite Christian to show his number to everyone: indeed,
on to his wife. Then he has to find the «Man» envelope
he found the number 4 in his envelope!
and keep it to himself. Finally, he can drop the three
The spectator continues reading the prediction: «... She
«Empty» envelopes on the floor.
will be seated next to him, on chair number 3.»
Continue:
Invite Katalina to show her number to everyone: indeed,
«In each envelope, there is a number from 1 to 5. Christian,
she found the number 3 in her envelope!
Katalina, open your envelope and look at your number. Then,
The spectator finishes reading the prediction: «r〇gef/zer,
when I clap my hands, please go sit on the chair on which is
Christian and Katalina make a lovely couple.»
your number， Once Christian and Katalina have looked at their number, you clap your hands. The audience then sees Christian
24
Final notes 25
I chose the words Woman, Man and Empty because they
and «write down» the word WOMAN underneath. Do
have different lengths, and the motions to write them are
not overact this moment, it is mostly an interior
very different. When you write down the word Empty
monologue. When you are done, put the envelope aside
with the dry pen, the audience can see that you are
(or show it to the audience if, by chance, the spectator
writing five letters. When you write down the word Man
had chosen the WOMAN envelope and asked you to
with the dry pen, the audience can see that you are
write down the word WOMAN). Later, when the small
writing three letters. Thanks to these obvious differences,
envelopes have been mixed and seen by the audience,
the audience is less likely to suspect that you are writing
everybody will see your scribbled mistake. If they saw
a different word.
you making a mistake in real time, it reinforces the impression that all the envelopes have been written on in front of them, and not beforehand.
When I perform this effect, I actually use an additional subtlety to further convince the audience that I am really writing in real time. During the preparation, write down «Man» on one of the envelopes, and «Empty» on three other envelopes. However, do not write down «Woman» on the fifth envelope. First, write down EMP, then strike it, then write down WOMAN underneath. Looking at this envelope, one must have the impression that you started to write down EMPTY, that you stopped before the end, stroke it then wrote down WOMAN underneath. During the presentation, follow the description above. Then, when the spectator/destiny tells you to write down the word WOMAN on one of the envelopes, here is what you do. With the dry pen, start by «writing down» the word EMPTY. After writing down the letter P, stop as if you realized that you were being absentminded and you made a mistake, «strike» what you have just written 26
27
I chose the words Woman, Man and Empty because they
and «write down» the word WOMAN underneath. Do
have different lengths, and the motions to write them are
not overact this moment, it is mostly an interior
very different. When you write down the word Empty
monologue. When you are done, put the envelope aside
with the dry pen, the audience can see that you are
(or show it to the audience if, by chance, the spectator
writing five letters. When you write down the word Man
had chosen the WOMAN envelope and asked you to
with the dry pen, the audience can see that you are
write down the word WOMAN). Later, when the small
writing three letters. Thanks to these obvious differences,
envelopes have been mixed and seen by the audience,
the audience is less likely to suspect that you are writing
everybody will see your scribbled mistake. If they saw
a different word.
you making a mistake in real time, it reinforces the impression that all the envelopes have been written on in front of them, and not beforehand.
When I perform this effect, I actually use an additional subtlety to further convince the audience that I am really writing in real time. During the preparation, write down «Man» on one of the envelopes, and «Empty» on three other envelopes. However, do not write down «Woman» on the fifth envelope. First, write down EMP, then strike it, then write down WOMAN underneath. Looking at this envelope, one must have the impression that you started to write down EMPTY, that you stopped before the end, stroke it then wrote down WOMAN underneath. During the presentation, follow the description above. Then, when the spectator/destiny tells you to write down the word WOMAN on one of the envelopes, here is what you do. With the dry pen, start by «writing down» the word EMPTY. After writing down the letter P, stop as if you realized that you were being absentminded and you made a mistake, «strike» what you have just written 26
27
Here is a tip to avoid having to use a dry pen. It requires less preparation and will allow you to perform the effect in an even more impromptu fashion. You will need to train a little bit for this but it is quite simple: use a regular pen and pretend to write, without ever putting any ink on the paper! To make the illusion even more convincing, hold the pen normally but extend your pinky. The tip of the pen will never touch the paper but your pinky is used as a stopper. By doing this, you will have the good distance between your hand and the paper (otherwise you might give the impression that your hand is flying over the paper), and the nail of your pinky will produce a sound similar to the pen's sound.
28
«
Here is a tip to avoid having to use a dry pen. It requires less preparation and will allow you to perform the effect in an even more impromptu fashion. You will need to train a little bit for this but it is quite simple: use a regular pen and pretend to write, without ever putting any ink on the paper! To make the illusion even more convincing, hold the pen normally but extend your pinky. The tip of the pen will never touch the paper but your pinky is used as a stopper. By doing this, you will have the good distance between your hand and the paper (otherwise you might give the impression that your hand is flying over the paper), and the nail of your pinky will produce a sound similar to the pen's sound.
28
«
M£»4r>4t CLUEOO Effect The mentalist shows cards from a game of Cluedo and shuffles them. He also puts a small black envelope on the table. «A murder has been committed and I need the help o f a talented detective to solve the case. Someone with intuition, and a bit o f luck (that is always useful). Sir, would you be our detective? Take the cards please. The first step o f your investigation consists in eliminating the false leads, to avoid heading in the wrong direction from the beginning. In order to do this, deal the cards one by one, faces toward the table, to form a pile. Using your intuition, you can decide to put aside any card at any moment; just push it aside. I want to help you so I can tell you this: at least half o f these cards are false leads.» The spectator therefore deals the cards into a pile on the table, eliminating several of them in the process. «Perfect, I can see that your intuition is flawless. But every detective aho needs a bit o f luck. Take the pile you dealt and now deal it into three regular piles: one pile for the assassin's identity, one for the weapon and one for the location. Perfect, I think we are getting close. Let see the elements o f the crime contained in the envelope. We can see that the murder
31
M£»4r>4t CLUEOO Effect The mentalist shows cards from a game of Cluedo and shuffles them. He also puts a small black envelope on the table. «A murder has been committed and I need the help o f a talented detective to solve the case. Someone with intuition, and a bit o f luck (that is always useful). Sir, would you be our detective? Take the cards please. The first step o f your investigation consists in eliminating the false leads, to avoid heading in the wrong direction from the beginning. In order to do this, deal the cards one by one, faces toward the table, to form a pile. Using your intuition, you can decide to put aside any card at any moment; just push it aside. I want to help you so I can tell you this: at least half o f these cards are false leads.» The spectator therefore deals the cards into a pile on the table, eliminating several of them in the process. «Perfect, I can see that your intuition is flawless. But every detective aho needs a bit o f luck. Take the pile you dealt and now deal it into three regular piles: one pile for the assassin's identity, one for the weapon and one for the location. Perfect, I think we are getting close. Let see the elements o f the crime contained in the envelope. We can see that the murder
31
was committed by the Colonel Mustard, with the pistol, in the kitchen.
Method This effect is completely self-working. At first, I designed
Now let’s see the conclusion o f your investigation.》
it for standard playing cards, then I introduced the
The top card of each of the spectator's piles is turned face
Cluedo theme to make the procedure and the revelation
up: he managed to find the correct assassin, the correct
more entertaining. Of course, you can adapt the idea to
weapon and the correct location!
other cards (Tarot, etc.). Cluedo has the advantage of being a simple game that everybody knows and whose rules can be easily understood. You can find the Cluedo cards in the complete board game, or you can buy separately on the Internet2. You could even borrow them on site if your host has the game on his shelf!
The deck I use (and to which I provided a link) contains duplicates of all the cards. Arrange three cards in the following order, starting from the back: Colonel Mustard, pistol, kitchen. Insert this small packet in the prediction envelope.
2 Available here: gg.gg/cluedol 32
33
was committed by the Colonel Mustard, with the pistol, in the kitchen.
Method This effect is completely self-working. At first, I designed
Now let’s see the conclusion o f your investigation.》
it for standard playing cards, then I introduced the
The top card of each of the spectator's piles is turned face
Cluedo theme to make the procedure and the revelation
up: he managed to find the correct assassin, the correct
more entertaining. Of course, you can adapt the idea to
weapon and the correct location!
other cards (Tarot, etc.). Cluedo has the advantage of being a simple game that everybody knows and whose rules can be easily understood. You can find the Cluedo cards in the complete board game, or you can buy separately on the Internet2. You could even borrow them on site if your host has the game on his shelf!
The deck I use (and to which I provided a link) contains duplicates of all the cards. Arrange three cards in the following order, starting from the back: Colonel Mustard, pistol, kitchen. Insert this small packet in the prediction envelope.
2 Available here: gg.gg/cluedol 32
33
Now create a second packet, this time containing fifteen
aside. The position and quantity of these eliminated cards
cards (four weapons, six suspects and seven locations),
have no importance, the spectator just has to deal the top
arranging it in the following order, starting from the
three cards then some cards on top. You can help him by
back: kitchen, pistol, mustard, rest of the packet. You are
telling him: «In my opinion, at least half o f these cards can be
ready.
eliminated, these are suspicious testimonies and leads that are dead ends.» This procedure is more famous under a slightly different form. Usually, the spectator is required to deal and stop before the end, anytime he wants. He can deal cards one by one, two by two or three by three; he can deal them from the top, bottom or center of the deck. The procedure I describe in this Cluedo effect is different (the spectator eliminates cards instead of stopping dealing) but the result is as certain (the top three cards are the ones that you want to force) and as apparently chaotic (the audience feels as if any card could have ended up in the final pile).
Start the effect by putting the envelope on the table. Shuffle the packet without disturbing the top three cards, which is quite easy to do during an overhand shuffle, a riffle shuffle or even a Hindu shuffle. Announce that you will need an intuitive and lucky detective then hand the packet to a spectator. Explain to him that first he will use his intuition to
When the spectator is dealing and eliminating cards, explain to him that he must now rely on his luck to solve the crime. Invite him to take the pile he has just dealt and to deal these cards into three regular piles. One for the assassin, one for the weapon and one for the location. Since the three force cards were under the pile at the beginning*, each will be at the top of a different pile at the end of this dealing procedure.
eliminate false leads. Ask him to deal the cards one by one on the table to form a face down pile. Once he has dealt the top three cards, continue by saying he has to eliminate cards representing false leads by putting them 34
35
Now create a second packet, this time containing fifteen
aside. The position and quantity of these eliminated cards
cards (four weapons, six suspects and seven locations),
have no importance, the spectator just has to deal the top
arranging it in the following order, starting from the
three cards then some cards on top. You can help him by
back: kitchen, pistol, mustard, rest of the packet. You are
telling him: «In my opinion, at least half o f these cards can be
ready.
eliminated, these are suspicious testimonies and leads that are dead ends.» This procedure is more famous under a slightly different form. Usually, the spectator is required to deal and stop before the end, anytime he wants. He can deal cards one by one, two by two or three by three; he can deal them from the top, bottom or center of the deck. The procedure I describe in this Cluedo effect is different (the spectator eliminates cards instead of stopping dealing) but the result is as certain (the top three cards are the ones that you want to force) and as apparently chaotic (the audience feels as if any card could have ended up in the final pile).
Start the effect by putting the envelope on the table. Shuffle the packet without disturbing the top three cards, which is quite easy to do during an overhand shuffle, a riffle shuffle or even a Hindu shuffle. Announce that you will need an intuitive and lucky detective then hand the packet to a spectator. Explain to him that first he will use his intuition to
When the spectator is dealing and eliminating cards, explain to him that he must now rely on his luck to solve the crime. Invite him to take the pile he has just dealt and to deal these cards into three regular piles. One for the assassin, one for the weapon and one for the location. Since the three force cards were under the pile at the beginning*, each will be at the top of a different pile at the end of this dealing procedure.
eliminate false leads. Ask him to deal the cards one by one on the table to form a face down pile. Once he has dealt the top three cards, continue by saying he has to eliminate cards representing false leads by putting them 34
35
Final notes It is possible to have a final coincidence that is even more perfect. Open the envelope: the audience sees that it contains three cards. Each is placed face up in front of the spectator^ piles. He turns over the top card of each of his piles: he found the correct elements of the crime! In addition, his assassin card is in front of yours, his weapon card is in front of yours and his location card is in front of yours! In order to achieve this, prepare the effect as described below and follow the same procedure. When the spectator deals his three piles, watch the end of his elements of the crime: Colonel Mustard, pistol, kitchen.
dealing.
Finally, ask the spectator to turn over the top card of each
If he deals his last card on the last pile, put the first
of his piles: these are the same as the prediction!
prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the second pile, you will need to adjust your prediction. He put his last card on pile number 2, so take your prediction packet and transfer 2 cards from the bottom to the top. In order to do this, you Could casually cut your packet after taking it out of the envelope. Personally, I prefer to fan the three cards between my hands; the bottom two cards are held by my left hand and the top card is held by my right hand.
36
37
Final notes It is possible to have a final coincidence that is even more perfect. Open the envelope: the audience sees that it contains three cards. Each is placed face up in front of the spectator^ piles. He turns over the top card of each of his piles: he found the correct elements of the crime! In addition, his assassin card is in front of yours, his weapon card is in front of yours and his location card is in front of yours! In order to achieve this, prepare the effect as described below and follow the same procedure. When the spectator deals his three piles, watch the end of his elements of the crime: Colonel Mustard, pistol, kitchen.
dealing.
Finally, ask the spectator to turn over the top card of each
If he deals his last card on the last pile, put the first
of his piles: these are the same as the prediction!
prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the second pile, you will need to adjust your prediction. He put his last card on pile number 2, so take your prediction packet and transfer 2 cards from the bottom to the top. In order to do this, you Could casually cut your packet after taking it out of the envelope. Personally, I prefer to fan the three cards between my hands; the bottom two cards are held by my left hand and the top card is held by my right hand.
36
37
usually contains six suspects, four weapons and seven locations, allowing you to create one hundred and sixtyeight different predictions.
Cluedo is such a popular game that it has been adapted to the universes of Star Wars, Harry Potter and others. This gives you the opportunity to customize the effect depending on the audience in front of you.
When I regroup the cards, those in my left hand go over those in my right hand. After this, put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the first pile, you will need to adjust your prediction. He put his last card on pile number 1, so take your prediction packet and transfer 1 card from the bottom to the top. In order to do this, you can use the same technique as before. Then put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position.
Since the cards are normal, you can change your prediction and your force cards every time. Cluedo 38
39
usually contains six suspects, four weapons and seven locations, allowing you to create one hundred and sixtyeight different predictions.
Cluedo is such a popular game that it has been adapted to the universes of Star Wars, Harry Potter and others. This gives you the opportunity to customize the effect depending on the audience in front of you.
When I regroup the cards, those in my left hand go over those in my right hand. After this, put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the first pile, you will need to adjust your prediction. He put his last card on pile number 1, so take your prediction packet and transfer 1 card from the bottom to the top. In order to do this, you can use the same technique as before. Then put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position.
Since the cards are normal, you can change your prediction and your force cards every time. Cluedo 38
39
Ш ГА ^В
El Effect
«Imagine if luck allowed you to find the right lottery numbers! The probabilities are extremely low, but if you are the luckiest person here tonight, then maybe... To be as lucky as you can, you will need the help o f a lucky coin. Do you have some pocket change on you? That is already lucky! Choose one o f your coins and put away the others. You chose a one-euro coin? Perfect, this will be your lucky coin. Please join me on stage. We will play a very easy lottery. In order to play, I will write down digits from zero to nine on this sheet o f paper Please hold it behind your back, numbers facing down. Here, take this pen and be careful not to stain your fingers. Behind your back, try to trace a small line on the numbers side and we will take the two numbers that are the closest to your line. Are you done? Г11 take the pen back, thank you. If you were a normal person, the result would be due to chance. But since you have ajucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have. A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
41
Ш ГА ^В
El Effect
«Imagine if luck allowed you to find the right lottery numbers! The probabilities are extremely low, but if you are the luckiest person here tonight, then maybe... To be as lucky as you can, you will need the help o f a lucky coin. Do you have some pocket change on you? That is already lucky! Choose one o f your coins and put away the others. You chose a one-euro coin? Perfect, this will be your lucky coin. Please join me on stage. We will play a very easy lottery. In order to play, I will write down digits from zero to nine on this sheet o f paper Please hold it behind your back, numbers facing down. Here, take this pen and be careful not to stain your fingers. Behind your back, try to trace a small line on the numbers side and we will take the two numbers that are the closest to your line. Are you done? Г11 take the pen back, thank you. If you were a normal person, the result would be due to chance. But since you have ajucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have. A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
41
Do you remember your lucky coin? The chances o f such a
The paper must be opaque enough to prevent anyone
coincidence are extremely low, but with some luck, who
from seeing the digits when looking at the other side. Use
knows... What is the year engraved on your lucky coin?
the regular pen again to trace a hesitating line between
2002!»
zero and two, as if it had been done while holding everything behind your back (this is what the spectator will believe he is doing later). Put the regular pen away,
Method
you will not need it again.
This effect requires some preparation but, once you are
Now you need to collect five coins, all from 2002: a two-
ready, you will never need to prepare again. You will
euro coin, a one-euro coin, a fifty-cent coin, a twenty-cent
need a notepad (I use an A4 format for stage; use the
coin and a ten-cent coin. (Of course, adapt these coins to
format that is the most appropriate to your situation), a
your currency. You need the top four or five coins in your
regular felt pen and a second, identical, dry felt pen. Use
own currency, all dated from 2002.) To succeed in
the regular pen to write down digits from zero to nine on
collecting the correctly dated coins, start by looking in
the sheet of paper, creating two rows of five digits, in the
your own change. If you cannot find all the necessary
order 30617 95284.
coins, ask your close ones. If this still does not succeed in providing all the necessary coins, be aware that you can also buy a full set from 2002 in a coin shop.
You will store these five coins in an index that will stay in your pocket. This index is easy to make and it will only cost you two playing
cards.
Start
by
cutting about a third of the width of a playing card.
42
43
Do you remember your lucky coin? The chances o f such a
The paper must be opaque enough to prevent anyone
coincidence are extremely low, but with some luck, who
from seeing the digits when looking at the other side. Use
knows... What is the year engraved on your lucky coin?
the regular pen again to trace a hesitating line between
2002!»
zero and two, as if it had been done while holding everything behind your back (this is what the spectator will believe he is doing later). Put the regular pen away,
Method
you will not need it again.
This effect requires some preparation but, once you are
Now you need to collect five coins, all from 2002: a two-
ready, you will never need to prepare again. You will
euro coin, a one-euro coin, a fifty-cent coin, a twenty-cent
need a notepad (I use an A4 format for stage; use the
coin and a ten-cent coin. (Of course, adapt these coins to
format that is the most appropriate to your situation), a
your currency. You need the top four or five coins in your
regular felt pen and a second, identical, dry felt pen. Use
own currency, all dated from 2002.) To succeed in
the regular pen to write down digits from zero to nine on
collecting the correctly dated coins, start by looking in
the sheet of paper, creating two rows of five digits, in the
your own change. If you cannot find all the necessary
order 30617 95284.
coins, ask your close ones. If this still does not succeed in providing all the necessary coins, be aware that you can also buy a full set from 2002 in a coin shop.
You will store these five coins in an index that will stay in your pocket. This index is easy to make and it will only cost you two playing
cards.
Start
by
cutting about a third of the width of a playing card.
42
43
Then fold this card in half along the length. Insert a
To perform the effect, ask some audience members to
second card in the first one and stapled the whole thing,
stand up if they have some pocket change on them. Ask
with a staple at each end and a staple in the middle. You
another spectator to point to one of these spectators at
obtain two compartments on each side of this «index,»
random. Invite the designated spectator to choose a
allowing you to store the ten-cent coin, twenty-cent coin,
«lucky coin» among his change. You need him to choose
fifty-cent coin and one-euro coin.
a coin whose value is ten cents or more. If you want to guide him in this direction, say something like: «The more expensive the coin, the luckier it will be!» All this sequence is done while the spectator is still standing in the audience, away from you. Later, the audience will remember that you would have had no way of influencing the spectator or of seeing his coin in advance. When his choice is done, have him put the rest of his change away and ask him the value of his coin. If he still chose a coin whose value is inferior to ten cents, now is the time to encourage him to choose a bigger coin to get more luck. As soon as you know the value of his coin, your right
Place this index, as Well as the two-euro coin and the dry pen, in your right pocket.
hand goes into your pocket to get the corresponding coin (let’s say, the one-euro coin) in the index. In the mean time, ask the spectator to join you, pointing to a spot on
You will also need a table (or a chair, or a stool) on your right side. You are ready.
your left side. The right hand gets out of your pocket, secretly holding the coin and openly holding the dry pen. When the spectator arrives near you, your left hand takes the pen from your right hand and gives it to the spectator. In the same continuing action, your left hand extends toward his coin and you say: «1^ me ZieZp уом
f/n’s " . 》
He gives you his coin (or you take it from him). The left hand will then pretend to transfer this coin to your right hand but will instead secretly keep it, and the right hand 44
45
Then fold this card in half along the length. Insert a
To perform the effect, ask some audience members to
second card in the first one and stapled the whole thing,
stand up if they have some pocket change on them. Ask
with a staple at each end and a staple in the middle. You
another spectator to point to one of these spectators at
obtain two compartments on each side of this «index,»
random. Invite the designated spectator to choose a
allowing you to store the ten-cent coin, twenty-cent coin,
«lucky coin» among his change. You need him to choose
fifty-cent coin and one-euro coin.
a coin whose value is ten cents or more. If you want to guide him in this direction, say something like: «The more expensive the coin, the luckier it will be!» All this sequence is done while the spectator is still standing in the audience, away from you. Later, the audience will remember that you would have had no way of influencing the spectator or of seeing his coin in advance. When his choice is done, have him put the rest of his change away and ask him the value of his coin. If he still chose a coin whose value is inferior to ten cents, now is the time to encourage him to choose a bigger coin to get more luck. As soon as you know the value of his coin, your right
Place this index, as Well as the two-euro coin and the dry pen, in your right pocket.
hand goes into your pocket to get the corresponding coin (let’s say, the one-euro coin) in the index. In the mean time, ask the spectator to join you, pointing to a spot on
You will also need a table (or a chair, or a stool) on your right side. You are ready.
your left side. The right hand gets out of your pocket, secretly holding the coin and openly holding the dry pen. When the spectator arrives near you, your left hand takes the pen from your right hand and gives it to the spectator. In the same continuing action, your left hand extends toward his coin and you say: «1^ me ZieZp уом
f/n’s " . 》
He gives you his coin (or you take it from him). The left hand will then pretend to transfer this coin to your right hand but will instead secretly keep it, and the right hand 44
45
will put down its coin (supposedly the spectator's coin) on the table/chair/stool on your right side, to isolate it until the end. Since this sequence is not a coin change to create an effect, and since nobody knows what is about to happen, you can perform this false transfer calmly. If you are good with coin magie, you already master a variety of techniques adapted to this situation, but refrain from using flourishes or parasites moves, in order to avoid being suspected by the audience. Your left hand still hides the spectator’s coin. When you fetch the notepad on which you previously wrote down the digits, get rid of the coin. Be careful not to let the digits be seen for now. Take the pen back from the spectator, uncap the pen and pretend to write two rows of five digits. Still, do not let them be seen. Ask the spectator to hold this sheet of paper behind his back, horizontally, digits facing down. i Give him the pen and tell him to be careful not to stain his fingers (no risk here...)• He is invited to trace a small line at random, on the numbers side. The spectator does it and you get the pen back from it then put it away.
When the spectator brings the paper in front of him, show the line he is supposed to have traced at random. This line connects the zero and the two. Move on to the final revelation: «If you were a normal person, the result would be due to chance. But since you have a lucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have.
4
A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
46
47
will put down its coin (supposedly the spectator's coin) on the table/chair/stool on your right side, to isolate it until the end. Since this sequence is not a coin change to create an effect, and since nobody knows what is about to happen, you can perform this false transfer calmly. If you are good with coin magie, you already master a variety of techniques adapted to this situation, but refrain from using flourishes or parasites moves, in order to avoid being suspected by the audience. Your left hand still hides the spectator’s coin. When you fetch the notepad on which you previously wrote down the digits, get rid of the coin. Be careful not to let the digits be seen for now. Take the pen back from the spectator, uncap the pen and pretend to write two rows of five digits. Still, do not let them be seen. Ask the spectator to hold this sheet of paper behind his back, horizontally, digits facing down. i Give him the pen and tell him to be careful not to stain his fingers (no risk here...)• He is invited to trace a small line at random, on the numbers side. The spectator does it and you get the pen back from it then put it away.
When the spectator brings the paper in front of him, show the line he is supposed to have traced at random. This line connects the zero and the two. Move on to the final revelation: «If you were a normal person, the result would be due to chance. But since you have a lucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have.
4
A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
46
47
Do you remember your lucky coin? The chances o f such a
Final notes
coincidence are extremely low, but with some luck, who knows... What is the year engraved on your lucky coin? 2002!» When you talk about the digits the spectator generated, you must give the impression that you are thinking out
If the spectator has some troubles reading the date on a coin that is too small, you can help him by using the camera on your smartphone; zoom in on his coin to make the date easier to read.
loud, as if you were trying to find meaning in his result. Never touch the coin that you put aside at the beginning.
In Your mind is my playground (the first volume of this
Mention it, point to it, but let the spectator be the one to
series), I suggested an additional subtlety for the dry pen.
take it and look at it.
Using the normal pen, create a small stain on your forefinger, as if you had touched the tip by accident. During the effect, take the dry pen and remove its cap to «write down» the digits. At this moment, pretend to notice that you have just stained your finger and show the ink on your forefinger. This detail will prevent the audience from thinking about a dry pen. Give it to the spectator and tell him to be more careful than you and not to stain his fingers.
Of course, the spectator will go back to his seat holding your coin from 2002 and you will have to find another one. You cannot change it back to his true coin, there are very few chances that it will be from the same year. 4
As an alternative, you can perform «Intacto» (the next effect in this book) as a bet in which the spectator bets «his» one-euro coin; since you win this bet, you get the money and you get to keep your precious coin from 2002.
48
49
Do you remember your lucky coin? The chances o f such a
Final notes
coincidence are extremely low, but with some luck, who knows... What is the year engraved on your lucky coin? 2002!» When you talk about the digits the spectator generated, you must give the impression that you are thinking out
If the spectator has some troubles reading the date on a coin that is too small, you can help him by using the camera on your smartphone; zoom in on his coin to make the date easier to read.
loud, as if you were trying to find meaning in his result. Never touch the coin that you put aside at the beginning.
In Your mind is my playground (the first volume of this
Mention it, point to it, but let the spectator be the one to
series), I suggested an additional subtlety for the dry pen.
take it and look at it.
Using the normal pen, create a small stain on your forefinger, as if you had touched the tip by accident. During the effect, take the dry pen and remove its cap to «write down» the digits. At this moment, pretend to notice that you have just stained your finger and show the ink on your forefinger. This detail will prevent the audience from thinking about a dry pen. Give it to the spectator and tell him to be more careful than you and not to stain his fingers.
Of course, the spectator will go back to his seat holding your coin from 2002 and you will have to find another one. You cannot change it back to his true coin, there are very few chances that it will be from the same year. 4
As an alternative, you can perform «Intacto» (the next effect in this book) as a bet in which the spectator bets «his» one-euro coin; since you win this bet, you get the money and you get to keep your precious coin from 2002.
48
49
!I
1НГАСГ0 Effect The mentalist holds a transparent plastic bag containing about fifty folded papers. «Orw day, while walking atmmd my tidghbcrrhood, a woman walked past me from behind, walking much faster than me. She was almost running and she slightly brushed me on the way. At the very moment she walked past me, I saw a white envelope fall from her pocket. This was a window envelope and I saw bank notes through the little transparent window. By the time the envelope hit the floor, I had kept on walking and I went past it. The woman did not notice anything and she was still far away ahead o f me. I then turned my head around to pick up the envelope and give i
it back to its owner. I was not trying to be a good little Samaritan, I just thought that this was probably a sum o f money that she needed. Before I could reach the envelope, a man walking behind me had taken it. He looked at me and made a sign so I would not say anything. As I continued to walk toward the owner of the envelope (I was going in this direction anyway), the man caught up with me and offered to share the money. I told him that I was not interested and this money would surely be missed by its owner. The man walked away and I saw him catching up with the woman, giving her the money back and point his finger at me. 51
!I
1НГАСГ0 Effect The mentalist holds a transparent plastic bag containing about fifty folded papers. «Orw day, while walking atmmd my tidghbcrrhood, a woman walked past me from behind, walking much faster than me. She was almost running and she slightly brushed me on the way. At the very moment she walked past me, I saw a white envelope fall from her pocket. This was a window envelope and I saw bank notes through the little transparent window. By the time the envelope hit the floor, I had kept on walking and I went past it. The woman did not notice anything and she was still far away ahead o f me. I then turned my head around to pick up the envelope and give i
it back to its owner. I was not trying to be a good little Samaritan, I just thought that this was probably a sum o f money that she needed. Before I could reach the envelope, a man walking behind me had taken it. He looked at me and made a sign so I would not say anything. As I continued to walk toward the owner of the envelope (I was going in this direction anyway), the man caught up with me and offered to share the money. I told him that I was not interested and this money would surely be missed by its owner. The man walked away and I saw him catching up with the woman, giving her the money back and point his finger at me. 51
The woman walked toward me and thanked me. The man had explained to her that we had both found her money and that we caught up with her to give it back to her. Was this woman unlucky for losing this money, or lucky for getting it back? Was the man lucky to have found the money
Method No stooge, no paper switch, no preshow, no sleight of hand, and the spectator really has a free choice at every step.
before me, or unlucky that I convinced him to give it back? Is
This
this story true? (It is.)
«Vintage» (described earlier in the book) because both
Luck is capricious and we don't always draw a good numbers
effect
can
be
performed
alongside
demonstrations talk about luck. Actually, the Spanish movie Intacto inspired the title of this routine. Released in
A spectator is chosen at random.
2001, it focuses on a secret group of people who use luck
«1 would like to put your luck to the test, this time without
as a tool of power. I strongly recommend that you watch
risking any money. Can you please think o f any number
it, the theme is beautifully treated and, of course, many
between one and fifty, without telling anyone? You can change
scenes lend themselves very well to a magic adaptation.
your mind if you want. When you are certain o f your choice,
The preparation for this effect can seem long but it is
join me.»
worth the effort as the effect is very direct and
Once the spectator is standing next to him, the mentalist
impossible. You will also only need to do the preparation once, then you will be set forever. You will need a forcing
mixes the papers in the bag. t «Put your hand in the bag and remove two papers at random
bag; I use Eran Blizovsky’s model3. This bag has three
please. Perfect Now unfold them and show us the numbers.
transparent plastic bag.
separated compartments and it looks just like an ordinary
They are different and none o f them is yours, correct? You will also need pieces of paper folded twice and Now focus on your number, let it be the only thing that you see
numbered. These pieces of paper form three groups. The
in your head, as if it was carved in stone, high as a building.
first group is called the odd group and it contains sixteen
Put your hand in the bag again. This time, take only one paper.
papers, ail showing an odd number between one and
Perfect, keep it in your hands, I don’t want to touch it.
fifty, and they are all different. The third group is called
For the first time, can you please tell us your number? Unfold
the even group and it contains sixteen papers, all
the paper you are holding. It is exactly the same number!» 3 Available here: gg.gg/bageran 52
53
The woman walked toward me and thanked me. The man had explained to her that we had both found her money and that we caught up with her to give it back to her. Was this woman unlucky for losing this money, or lucky for getting it back? Was the man lucky to have found the money
Method No stooge, no paper switch, no preshow, no sleight of hand, and the spectator really has a free choice at every step.
before me, or unlucky that I convinced him to give it back? Is
This
this story true? (It is.)
«Vintage» (described earlier in the book) because both
Luck is capricious and we don't always draw a good numbers
effect
can
be
performed
alongside
demonstrations talk about luck. Actually, the Spanish movie Intacto inspired the title of this routine. Released in
A spectator is chosen at random.
2001, it focuses on a secret group of people who use luck
«1 would like to put your luck to the test, this time without
as a tool of power. I strongly recommend that you watch
risking any money. Can you please think o f any number
it, the theme is beautifully treated and, of course, many
between one and fifty, without telling anyone? You can change
scenes lend themselves very well to a magic adaptation.
your mind if you want. When you are certain o f your choice,
The preparation for this effect can seem long but it is
join me.»
worth the effort as the effect is very direct and
Once the spectator is standing next to him, the mentalist
impossible. You will also only need to do the preparation once, then you will be set forever. You will need a forcing
mixes the papers in the bag. t «Put your hand in the bag and remove two papers at random
bag; I use Eran Blizovsky’s model3. This bag has three
please. Perfect Now unfold them and show us the numbers.
transparent plastic bag.
separated compartments and it looks just like an ordinary
They are different and none o f them is yours, correct? You will also need pieces of paper folded twice and Now focus on your number, let it be the only thing that you see
numbered. These pieces of paper form three groups. The
in your head, as if it was carved in stone, high as a building.
first group is called the odd group and it contains sixteen
Put your hand in the bag again. This time, take only one paper.
papers, ail showing an odd number between one and
Perfect, keep it in your hands, I don’t want to touch it.
fifty, and they are all different. The third group is called
For the first time, can you please tell us your number? Unfold
the even group and it contains sixteen papers, all
the paper you are holding. It is exactly the same number!» 3 Available here: gg.gg/bageran 52
53
showing an even number between one and fifty, and they
the columns and the rows as shown in the illustration.
are all different.
This allows you to easily find any group. For example,
The second group is called the force group and it contains sixteen identical papers. This group is special because it changes
depending
on
the
spectator's
group twenty-five will be in the second column, on the fifth line.
thought-of
—
number. This means that you will need fifty force groups:
V
one for each possible number.
0
A —
z .........
h
^
1
_
画_
----------------- -------------------------
Before you print, cut and fold each group, you must
v m m m m
create an index to store these groups. The index I use does not cost much, it is practical and easy to build. You will need a rectangle of foam measuring thirty-four centimeters by twenty-five centimeters, with a thickness of one or two centimeters. Although this might seem difficult to find, you can do what I did and use the foam from a flat pillow. Cut the foam at the right size. The color of the foam does not matter because it will never be
^тштттштл
WMMMk
丨
...........
----------------- -------------------------
h (〇
^ 2 Q i
---------------------------------------------------------------------------------------------------------
—
seen by the audience. Once you have your foam rectangle measuring
thirty-four
centimeters
by
twenty-five
centimeters, take a fine point felt pen and draw the lines
To transport and protect the index, create a box out of
you see on the illustration.
cardboard, measuring about thirty-four centimeters by about twenty-five centimeters, with a thickness of about
Each line is five-centimeter long; the space between each column is one centimeter; the space between each line is two centimeters. When you are done tracing the lines, use a scalpel or a very sharp blade and transform each line into a slit that goes through the entire thickness of the foam. Each of these slits will be a compartment in which you will store a group. With a thicker felt pen, number 54
four centimeters. The lid of the box closes everything up like a shoe box. The shallowness of the box maintains everything in place when the lid is closed and it prevents the paper groups from leaving their compartments. This box is never seen by the audience, you can hide it in your suitcase. You could also lay it flat on a chair or a stool whose back is turned toward the audience; by placing 55
showing an even number between one and fifty, and they
the columns and the rows as shown in the illustration.
are all different.
This allows you to easily find any group. For example,
The second group is called the force group and it contains sixteen identical papers. This group is special because it changes
depending
on
the
spectator's
group twenty-five will be in the second column, on the fifth line.
thought-of
—
number. This means that you will need fifty force groups:
V
one for each possible number.
0
A —
z .........
h
^
1
_
画_
----------------- -------------------------
Before you print, cut and fold each group, you must
v m m m m
create an index to store these groups. The index I use does not cost much, it is practical and easy to build. You will need a rectangle of foam measuring thirty-four centimeters by twenty-five centimeters, with a thickness of one or two centimeters. Although this might seem difficult to find, you can do what I did and use the foam from a flat pillow. Cut the foam at the right size. The color of the foam does not matter because it will never be
^тштттштл
WMMMk
丨
...........
----------------- -------------------------
h (〇
^ 2 Q i
---------------------------------------------------------------------------------------------------------
—
seen by the audience. Once you have your foam rectangle measuring
thirty-four
centimeters
by
twenty-five
centimeters, take a fine point felt pen and draw the lines
To transport and protect the index, create a box out of
you see on the illustration.
cardboard, measuring about thirty-four centimeters by about twenty-five centimeters, with a thickness of about
Each line is five-centimeter long; the space between each column is one centimeter; the space between each line is two centimeters. When you are done tracing the lines, use a scalpel or a very sharp blade and transform each line into a slit that goes through the entire thickness of the foam. Each of these slits will be a compartment in which you will store a group. With a thicker felt pen, number 54
four centimeters. The lid of the box closes everything up like a shoe box. The shallowness of the box maintains everything in place when the lid is closed and it prevents the paper groups from leaving their compartments. This box is never seen by the audience, you can hide it in your suitcase. You could also lay it flat on a chair or a stool whose back is turned toward the audience; by placing 55
your jacket or an opaque fabric on the back of the chair or stool, the box remains hidden from the audience while still being visible and accessible for you.
In order to prepare the papers, I made the task easier for you by preparing a PDF. You just have to download it at this address: gg.gg/intactol. Bring this file to a printer or a photocopy shop so that they print it as an A3 format; this will ensure that each box on the first page measures eight centimeters by eight centimeters. You obtain a pile of eighty A3 sheets of paper. Ask the printer to use his cutting blade or guillotine machine to cut this pile along each of the visible lines on the first page. If he doesn't mix the papers in the process, you will end up with twelve piles of eighty squares. Take the pile marked by the number one. The top sixteen
Take the pile marked by the word «odd.» The top sixteen
squares of this pile are all numbered with a one. Take all
squares of this pile are all numbered with an odd
the «one》 squares, fold each of them twice (with the
number. Take all the « odd» squares, fold each of them
number inside) and gather these sixteen folded papers.
twice (with the number inside) and gather these sixteen
They form packet number one. Insert this group in slit
folded papers. They form the odd group. Place this group
number one in your foam index.
in the first exterior compartment of your force bag.
Continue and take the pile marked by the number two.
Finally, take the pile marked by the word «even.» The top
The top sixteen squares of this pile are all numbered with
sixteen squares of this pile are all numbered with an even
a two. Take all the « two» squares, fold each of them
number. Take all the « even» squares, fold each of them
twice (with the number inside) and gather these sixteen
twice (with the number inside) and gather these sixteen
folded papers. They form packet number two. Insert this
folded papers. They form the even group. Place this
group in slit number two in your foam index. Do the
group in the second exterior compartment of your force
same for each number, creating fifty packets.
bag.
56
57
your jacket or an opaque fabric on the back of the chair or stool, the box remains hidden from the audience while still being visible and accessible for you.
In order to prepare the papers, I made the task easier for you by preparing a PDF. You just have to download it at this address: gg.gg/intactol. Bring this file to a printer or a photocopy shop so that they print it as an A3 format; this will ensure that each box on the first page measures eight centimeters by eight centimeters. You obtain a pile of eighty A3 sheets of paper. Ask the printer to use his cutting blade or guillotine machine to cut this pile along each of the visible lines on the first page. If he doesn't mix the papers in the process, you will end up with twelve piles of eighty squares. Take the pile marked by the number one. The top sixteen
Take the pile marked by the word «odd.» The top sixteen
squares of this pile are all numbered with a one. Take all
squares of this pile are all numbered with an odd
the «one》 squares, fold each of them twice (with the
number. Take all the « odd» squares, fold each of them
number inside) and gather these sixteen folded papers.
twice (with the number inside) and gather these sixteen
They form packet number one. Insert this group in slit
folded papers. They form the odd group. Place this group
number one in your foam index.
in the first exterior compartment of your force bag.
Continue and take the pile marked by the number two.
Finally, take the pile marked by the word «even.» The top
The top sixteen squares of this pile are all numbered with
sixteen squares of this pile are all numbered with an even
a two. Take all the « two» squares, fold each of them
number. Take all the « even» squares, fold each of them
twice (with the number inside) and gather these sixteen
twice (with the number inside) and gather these sixteen
folded papers. They form packet number two. Insert this
folded papers. They form the even group. Place this
group in slit number two in your foam index. Do the
group in the second exterior compartment of your force
same for each number, creating fifty packets.
bag.
56
57
Do a small mark on the bag, next to the handle, on the
Show your bag by shaking it a bit and explain that you
odd compartment side, to be able to find it easily. The
have about fifty papers mixed inside. Pretend to realize
central compartment remains empty.
that the pen is useless right now; your free hand takes the pen and puts it into the index box; your other hand keeps
You are ready. This preparation requires a bit of arts and craft but it is still easy, cheap and quick. In addition, as mentioned before, you will only need to do this preparation once.
the bag visible from the audience. In the box, you drop the pen and take the small packet corresponding to the spectator^ number. It is quite easy to hide it in finger palm; don7t worry, the audience has no reason to suspect that you are palming something.
To perform the effect, start by holding the transparent bag in one hand, as well as a pen. Have someone selected at random in the audience. Ask him to think of any number between one and fifty then ask him to join you. When he arrives next to you, have the audience applaud him and use the Dunninger's subtlety. This ploy consists in using the applauds7 sound as a cover while you ask a quick question to the spectator; at the same time, shake his hand to greet him. Even if the audience sees you talking to the spectator, they cannot hear you and they will assume that you are simply greeting the spectator on stage. If you feel uncomfortable using this discreet ploy, or if your circumstances prevent you from using it, don^ worry, you can also openly ask the spectator to name his number out loud so that everyone knows his choice.
Open the bag's central compartment (it is empty) and put your hand (with the palmed packet) inside as if you
In any case, the spectator is standing next to you and you know his number (secretly or openly).
wanted to mix the papers a little bit. Once in the bag, your hand releases its packet and you really mix them. The transparency of the bag and the front compartment
58
59
Do a small mark on the bag, next to the handle, on the
Show your bag by shaking it a bit and explain that you
odd compartment side, to be able to find it easily. The
have about fifty papers mixed inside. Pretend to realize
central compartment remains empty.
that the pen is useless right now; your free hand takes the pen and puts it into the index box; your other hand keeps
You are ready. This preparation requires a bit of arts and craft but it is still easy, cheap and quick. In addition, as mentioned before, you will only need to do this preparation once.
the bag visible from the audience. In the box, you drop the pen and take the small packet corresponding to the spectator^ number. It is quite easy to hide it in finger palm; don7t worry, the audience has no reason to suspect that you are palming something.
To perform the effect, start by holding the transparent bag in one hand, as well as a pen. Have someone selected at random in the audience. Ask him to think of any number between one and fifty then ask him to join you. When he arrives next to you, have the audience applaud him and use the Dunninger's subtlety. This ploy consists in using the applauds7 sound as a cover while you ask a quick question to the spectator; at the same time, shake his hand to greet him. Even if the audience sees you talking to the spectator, they cannot hear you and they will assume that you are simply greeting the spectator on stage. If you feel uncomfortable using this discreet ploy, or if your circumstances prevent you from using it, don^ worry, you can also openly ask the spectator to name his number out loud so that everyone knows his choice.
Open the bag's central compartment (it is empty) and put your hand (with the palmed packet) inside as if you
In any case, the spectator is standing next to you and you know his number (secretly or openly).
wanted to mix the papers a little bit. Once in the bag, your hand releases its packet and you really mix them. The transparency of the bag and the front compartment
58
59
reinforce the illusion that nothing special is happening.
Now open the central compartment of the bag. Ask the
Remove your empty hand from the bag.
spectator to focus on his number then to put his hand in
For you7 the method is over. For the audience, the effect is only starting now.
the bag, to mix the papers and to take only one. He takes out one paper and announces his thought-of
If the spectator’s number is even, open the odd compartment of the bag (you know which one it is thanks
number out loud. Finally, he unfolds the paper and shows everyone that he picked the right one.
to the mark that you previously made on the bag). Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them. Since the parity of the numbers in this compartment is different from the parity of the spectator's number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. If the spectator’s number is odd, open the even compartment of the bag. Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them.
Since
the
parity
of
the
numbers
in
this
compartment is different from the parity of the spectator’s number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. This phase allows you to prove that all the numbers in the bag are different.
60
61
reinforce the illusion that nothing special is happening.
Now open the central compartment of the bag. Ask the
Remove your empty hand from the bag.
spectator to focus on his number then to put his hand in
For you7 the method is over. For the audience, the effect is only starting now.
the bag, to mix the papers and to take only one. He takes out one paper and announces his thought-of
If the spectator’s number is even, open the odd compartment of the bag (you know which one it is thanks
number out loud. Finally, he unfolds the paper and shows everyone that he picked the right one.
to the mark that you previously made on the bag). Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them. Since the parity of the numbers in this compartment is different from the parity of the spectator's number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. If the spectator’s number is odd, open the even compartment of the bag. Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them.
Since
the
parity
of
the
numbers
in
this
compartment is different from the parity of the spectator’s number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. This phase allows you to prove that all the numbers in the bag are different.
60
61
Final notes Once the effect is over, you can put the transparent bag on the index inside the box. On top of the bag, put the paper corresponding to
the
spectator’s thought-of
number, along with the two papers he took out at the beginning. Later, when you are putting your things away for the night, take the thought-of number and fold it back. Add to it the papers from the central compartment, recreating a packet of sixteen folded papers, all numbered the same way. Put this packet back in its slit in the foam index. You are left with the two papers that the spectator took at the beginning. Fold each of them back. If they are odd, put them in the odd compartment of the bag; if they are even, put them in the even compartment of the bag. This cleaning sequence prevents you from mixing the papers accidentally^ and from forgetting which is which (you would then be forced to open each and every paper to check that everything is in place).
62
Final notes Once the effect is over, you can put the transparent bag on the index inside the box. On top of the bag, put the paper corresponding to
the
spectator’s thought-of
number, along with the two papers he took out at the beginning. Later, when you are putting your things away for the night, take the thought-of number and fold it back. Add to it the papers from the central compartment, recreating a packet of sixteen folded papers, all numbered the same way. Put this packet back in its slit in the foam index. You are left with the two papers that the spectator took at the beginning. Fold each of them back. If they are odd, put them in the odd compartment of the bag; if they are even, put them in the even compartment of the bag. This cleaning sequence prevents you from mixing the papers accidentally^ and from forgetting which is which (you would then be forced to open each and every paper to check that everything is in place).
62
Effect The mentalist shows two boxes, both the size of a shoebox. He opens one of them and shows that it contains dozens of photographs. The mentalist explains that he has been taking one photo per day for one year, collecting three hundred and sixty-five different photos. Some of these memories are happy, others are sad, some are important, others are trivial. On some of these photos, the mentalist can be seen in his everyday life; on others, we can see his close ones, or places he visited, or activities that he did, etc.
65
Effect The mentalist shows two boxes, both the size of a shoebox. He opens one of them and shows that it contains dozens of photographs. The mentalist explains that he has been taking one photo per day for one year, collecting three hundred and sixty-five different photos. Some of these memories are happy, others are sad, some are important, others are trivial. On some of these photos, the mentalist can be seen in his everyday life; on others, we can see his close ones, or places he visited, or activities that he did, etc.
65
About fifty of these photos are given to a spectator who is invited to mix them then to let them fall in a mess on the table. The mentalist explains: 《 These photos allowed me to keep a connection with my memories. Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
«This photo is part o f the memories that I did not forget. I was
To mimic this mental process o f selection over time, we will
at a fair on July 4th with my family and I had won this plush
eliminate all the photos that are currently facing down and we
toy at a shooting range. I had always wanted to shoot a toy gun
will only keep those that are visible. Chance (and your mix)
when I was a kid and win the big prize, even if I would actually
will dictate our choices, but this process is as chaotic as
never win anything. This plush toy is not great and I am sure
memory itself.»
it is quite cheap, but at least I managed to win it on this day.»
All the face down photos on the table are put back in the
The mentalist opens the second box; it had been visible
box. The spectator takes those that are visible, mixes
the whole time on the table. It contains the exact same
them again and let them fall in a mess on the table. Once % again, the face down photos are eliminated and put back
panda as in the photograph!
in the box. This elimination process continues until there is only one photo on the table. On this particular photo, the mentalist can be seen holding a plush toy (a panda) and the photo is dated from July 4th.
66
67
About fifty of these photos are given to a spectator who is invited to mix them then to let them fall in a mess on the table. The mentalist explains: 《 These photos allowed me to keep a connection with my memories. Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
«This photo is part o f the memories that I did not forget. I was
To mimic this mental process o f selection over time, we will
at a fair on July 4th with my family and I had won this plush
eliminate all the photos that are currently facing down and we
toy at a shooting range. I had always wanted to shoot a toy gun
will only keep those that are visible. Chance (and your mix)
when I was a kid and win the big prize, even if I would actually
will dictate our choices, but this process is as chaotic as
never win anything. This plush toy is not great and I am sure
memory itself.»
it is quite cheap, but at least I managed to win it on this day.»
All the face down photos on the table are put back in the
The mentalist opens the second box; it had been visible
box. The spectator takes those that are visible, mixes
the whole time on the table. It contains the exact same
them again and let them fall in a mess on the table. Once % again, the face down photos are eliminated and put back
panda as in the photograph!
in the box. This elimination process continues until there is only one photo on the table. On this particular photo, the mentalist can be seen holding a plush toy (a panda) and the photo is dated from July 4th.
66
67
Method
prediction would be the particular drawing seen in the
I was inspired by the classic procedure where playing
photo. The possibilities are endless and can easily be adapted to your personality and needs.
cards are dropped on the table in a mess, falling face up and face down; the cards that fall face down are
Regarding the photographs, you are free to use the
eliminated until there is only one card left, corresponding
format that you prefer: standard photos (about ten
to the prediction. In my effect, the photographs make the
centimeters by fifteen centimeters), photo booth, Polaroid
experience a bit more visual; by using memories and our
(old or modern). In the case of Polaroid, it is not easy to
link to memory, the script becomes more engaging for the
create a double sided Polaroid. However you could print
audience; finally, the prediction is a surprising, threedimensional
object.
For
all
these
reasons,
this
demonstration is perfect for parlor or stage.
your photos on a thick paper cut to the size of a Polaroid, therefore making it easier to create a double sided Polaroid to force to the spectator. If you want, you can also add a date to the photographs.
The props used in this routine are simple and easy to find. You will need about one hundred different photos. One of the photos will be forced to the spectator and actually is a 《 double sided» photo, meaning that the same image can be seen on both sides; the other photos are normal and all have a blank back. Since the forced photo is linked to your prediction, it must contain one
The hundred photos are stored in a mess, in the first box. Since you begin with two identical boxes, the audience thinks that the second box contains the second half of your three hundred and sixty-five photos. Thanks to this, the prediction will come as a surprise, preventing the audience from being one step ahead of you and knowing what the ending will be.
striking visual element. In my case, it is a plush toy that I
Place your prediction object in the second box, and you
am holding in the photo and that is in the prediction box.
are ready to start.
You could also use a photo of you in front of a famous landmark, in which case the prediction could be a miniature of this landmark. Or it could be a photo of you
To perform the effect, take the two boxes and put them,
with a celebrity, and the prediction would be a readable
one on top of the other, on the table. Open the top box
signature that this particular celebrity left you. Or the
(the one containing the photos) and introduce this idea
photo could be showing you alongside your nephew
that you had of taking one photo per day for a year.
while he is doing a child's drawing with you, and your 68
69
Method
prediction would be the particular drawing seen in the
I was inspired by the classic procedure where playing
photo. The possibilities are endless and can easily be adapted to your personality and needs.
cards are dropped on the table in a mess, falling face up and face down; the cards that fall face down are
Regarding the photographs, you are free to use the
eliminated until there is only one card left, corresponding
format that you prefer: standard photos (about ten
to the prediction. In my effect, the photographs make the
centimeters by fifteen centimeters), photo booth, Polaroid
experience a bit more visual; by using memories and our
(old or modern). In the case of Polaroid, it is not easy to
link to memory, the script becomes more engaging for the
create a double sided Polaroid. However you could print
audience; finally, the prediction is a surprising, threedimensional
object.
For
all
these
reasons,
this
demonstration is perfect for parlor or stage.
your photos on a thick paper cut to the size of a Polaroid, therefore making it easier to create a double sided Polaroid to force to the spectator. If you want, you can also add a date to the photographs.
The props used in this routine are simple and easy to find. You will need about one hundred different photos. One of the photos will be forced to the spectator and actually is a 《 double sided» photo, meaning that the same image can be seen on both sides; the other photos are normal and all have a blank back. Since the forced photo is linked to your prediction, it must contain one
The hundred photos are stored in a mess, in the first box. Since you begin with two identical boxes, the audience thinks that the second box contains the second half of your three hundred and sixty-five photos. Thanks to this, the prediction will come as a surprise, preventing the audience from being one step ahead of you and knowing what the ending will be.
striking visual element. In my case, it is a plush toy that I
Place your prediction object in the second box, and you
am holding in the photo and that is in the prediction box.
are ready to start.
You could also use a photo of you in front of a famous landmark, in which case the prediction could be a miniature of this landmark. Or it could be a photo of you
To perform the effect, take the two boxes and put them,
with a celebrity, and the prediction would be a readable
one on top of the other, on the table. Open the top box
signature that this particular celebrity left you. Or the
(the one containing the photos) and introduce this idea
photo could be showing you alongside your nephew
that you had of taking one photo per day for a year.
while he is doing a child's drawing with you, and your 68
69
«These photos allowed me to keep a connection with my
will dictate our choices, but this process is as chaotic as
memories. Some o f these events are engraved in my memory.
memory itself,»
But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Some o f these memories are happy, others are sad, some are important, others are trivial»
The procedure is justified. It seems logical to eliminate all the photos facing down, as if they had been forgotten, and to keep the photos facing up, representing the most persistent memories. The photos facing down on the table are put back inside the box. The spectator takes the
This introduction allows you to present the objects and
photos facing up, mixes them again and drops them
the theme. Everybody takes photos, everybody has them
again as a mess on the table. Once again, the photos
at home, whether it is in their smartphone, on their
facing down are eliminated and put back inside the box.
fridge, on their nightstand. It is a modern ritual that we
This elimination process continues until there are only
all understand and with which we create a strong
two, three or four photos left facing up (including the
emotional link.
force photo). Now the procedure will change a little bit.
Take about fifty photos in the box (including the force
If there are only two photos facing up on the table,
double sided photo) and give them to the spectator. The
perfect. If there are three or four photos facing up on the
group of photos that you give him is already a mess, with
table, look at them, designate one or two normal photos
photos facing down, others facing up, and you invite him
and say that you prefer to put these away because there
to mix this packet then to progressively drop them on the
are bad memories.
table, as if they were «raining» on the table. Some photos will land facing up, others will land facing down. «Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
Now you are left with only two photos facing up, including the one you want to force. Give these two photos face up to the spectator and ask him to hold them under the table (or behind his back). Invite hirt^ to mix these two photos upside down then to bring them back in front of everyone. While he is mixing the photos, announce that whichever photo is facing
To mimic this mental process o f selection over time, we will
down will be eliminated. Since the force photo is double
eliminate all the photos that are currently facing down and we
sided, it will never be eliminated. The spectator brings
will only keep those that are visible. Chance (and your mix)
both photos back from under the table. If one of them is
70
71
«These photos allowed me to keep a connection with my
will dictate our choices, but this process is as chaotic as
memories. Some o f these events are engraved in my memory.
memory itself,»
But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Some o f these memories are happy, others are sad, some are important, others are trivial»
The procedure is justified. It seems logical to eliminate all the photos facing down, as if they had been forgotten, and to keep the photos facing up, representing the most persistent memories. The photos facing down on the table are put back inside the box. The spectator takes the
This introduction allows you to present the objects and
photos facing up, mixes them again and drops them
the theme. Everybody takes photos, everybody has them
again as a mess on the table. Once again, the photos
at home, whether it is in their smartphone, on their
facing down are eliminated and put back inside the box.
fridge, on their nightstand. It is a modern ritual that we
This elimination process continues until there are only
all understand and with which we create a strong
two, three or four photos left facing up (including the
emotional link.
force photo). Now the procedure will change a little bit.
Take about fifty photos in the box (including the force
If there are only two photos facing up on the table,
double sided photo) and give them to the spectator. The
perfect. If there are three or four photos facing up on the
group of photos that you give him is already a mess, with
table, look at them, designate one or two normal photos
photos facing down, others facing up, and you invite him
and say that you prefer to put these away because there
to mix this packet then to progressively drop them on the
are bad memories.
table, as if they were «raining» on the table. Some photos will land facing up, others will land facing down. «Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
Now you are left with only two photos facing up, including the one you want to force. Give these two photos face up to the spectator and ask him to hold them under the table (or behind his back). Invite hirt^ to mix these two photos upside down then to bring them back in front of everyone. While he is mixing the photos, announce that whichever photo is facing
To mimic this mental process o f selection over time, we will
down will be eliminated. Since the force photo is double
eliminate all the photos that are currently facing down and we
sided, it will never be eliminated. The spectator brings
will only keep those that are visible. Chance (and your mix)
both photos back from under the table. If one of them is
70
71
facing down, it is eliminated; if both photos are facing up, tell the spectator to repeat the procedure. By making him do it under the table or behind his back, you prevent the audience and the spectator from noticing the double sided photo. In the beginning, the gaffed photo was hidden in the mess of the photos falling down on the table but it does not function as well when there are only a few photos left at the end. Finally, the spectator only has one photo face up and one face down, the latter being eliminated. You successfully forced the photo corresponding to your prediction. Talk about the specific memory linked to this photo then open the second box and show that it contains your prediction.
4
72
facing down, it is eliminated; if both photos are facing up, tell the spectator to repeat the procedure. By making him do it under the table or behind his back, you prevent the audience and the spectator from noticing the double sided photo. In the beginning, the gaffed photo was hidden in the mess of the photos falling down on the table but it does not function as well when there are only a few photos left at the end. Finally, the spectator only has one photo face up and one face down, the latter being eliminated. You successfully forced the photo corresponding to your prediction. Talk about the specific memory linked to this photo then open the second box and show that it contains your prediction.
4
72
ш и о п е н a^ e
vtomst^ruL Effect «Do you remember this toy for children where you had to put the right shape in the corresponding hole cut out in the lid o f the box? Like many other toys for children, this is also an opportunity to learn something, for example to recognize tree dimensional shapes corresponding to a two-dimensional hole, or to memorize colors' names. Once you have learned what was to be learned, you move on to something else. Can you imagine being stuck with the same toys for our entire life?» Upon saying this, the mentalist puts this very toy on the table. t
75
ш и о п е н a^ e
vtomst^ruL Effect «Do you remember this toy for children where you had to put the right shape in the corresponding hole cut out in the lid o f the box? Like many other toys for children, this is also an opportunity to learn something, for example to recognize tree dimensional shapes corresponding to a two-dimensional hole, or to memorize colors' names. Once you have learned what was to be learned, you move on to something else. Can you imagine being stuck with the same toys for our entire life?» Upon saying this, the mentalist puts this very toy on the table. t
75
«1 have been stuck with this toy for my entire life. The good thing is that I became really good at it. I can even play it with my back turned and my eyes closed. Let me show you. Miss, can you please help me with this? I will leave the box and the elements with you: there is a blue cylinder, an orange cross, a red triangle, a green square and purple star.
Method This effect was bom from a reflection on ESP symbols. I did not feel comfortable with these cards because the majority of the general public does not really know where they are coming from. If you use these cards without explaining what they are, they seem strange and
As I was saying, I can play this game blind so I will turn my
maybe gaffed. If you explain their origins, you must go
back in order not to be able to see anything. Take one o f the
into a short historical lecture about Karl Zener and Joseph
shapes, whichever one you want. Got one? Perfect, put it on
Banks Rhine's experiments at Duke University, in the
your lap please. Now take the other colored shapes and put
United States.
them away in the box then close the lid.
To solve this, I started to look for a different origin for
Take the shape that you have chosen and focus on it First on
these symbols, or for other symbols. My search for other
the shape, then on the color. Perfect, that is a very clear image. Now focus on the corresponding hole in the lid o f the box and
symbols became Danger, one of my creations, now permanently out of stock.
think about its position. You are doing a great job.
In my search for a different origin for the classic ESP
If I understood what you send me mentally, you chose the
symbols, my first finding was to notice that the circle, the
purple star. Is this correct? Awesome. You can put it in the box,
cross, the triangle and the square can all be found on the
it goes through the hole in the middle o f the lid.»
controller of consoles such as the PS2, PS3 and PS4. In addition, each of these symbols has a precise color on the controller. I would bet that Sony’s consoles are more famous than ESP symbols, in popular culture. The second finding in my search for origins became the effect described here, using a classic toy from our childhood. Even people who never played with it will have seen it or will instantly understand how to use it. So you will need this toy to perform the effect. If you don't already have it at home, you can easily find it on the
76
77
«1 have been stuck with this toy for my entire life. The good thing is that I became really good at it. I can even play it with my back turned and my eyes closed. Let me show you. Miss, can you please help me with this? I will leave the box and the elements with you: there is a blue cylinder, an orange cross, a red triangle, a green square and purple star.
Method This effect was bom from a reflection on ESP symbols. I did not feel comfortable with these cards because the majority of the general public does not really know where they are coming from. If you use these cards without explaining what they are, they seem strange and
As I was saying, I can play this game blind so I will turn my
maybe gaffed. If you explain their origins, you must go
back in order not to be able to see anything. Take one o f the
into a short historical lecture about Karl Zener and Joseph
shapes, whichever one you want. Got one? Perfect, put it on
Banks Rhine's experiments at Duke University, in the
your lap please. Now take the other colored shapes and put
United States.
them away in the box then close the lid.
To solve this, I started to look for a different origin for
Take the shape that you have chosen and focus on it First on
these symbols, or for other symbols. My search for other
the shape, then on the color. Perfect, that is a very clear image. Now focus on the corresponding hole in the lid o f the box and
symbols became Danger, one of my creations, now permanently out of stock.
think about its position. You are doing a great job.
In my search for a different origin for the classic ESP
If I understood what you send me mentally, you chose the
symbols, my first finding was to notice that the circle, the
purple star. Is this correct? Awesome. You can put it in the box,
cross, the triangle and the square can all be found on the
it goes through the hole in the middle o f the lid.»
controller of consoles such as the PS2, PS3 and PS4. In addition, each of these symbols has a precise color on the controller. I would bet that Sony’s consoles are more famous than ESP symbols, in popular culture. The second finding in my search for origins became the effect described here, using a classic toy from our childhood. Even people who never played with it will have seen it or will instantly understand how to use it. So you will need this toy to perform the effect. If you don't already have it at home, you can easily find it on the
76
77
Internet4. The model I use has an advantage: the colored
Put the cylinder, the cross, the triangle and the square in
shapes are pierced, which will make the method easier.
the box, then put the prepared star inside as well. Gently close the lid without breaking the thread. Put the coin on the lid with some wax. You are ready.
The secret of this effect was inspired by the genius of Bruno Copin and Gaetan Bloom, each of them having explored very original uses for the invisible thread. To
When you want to perform the effect, take the coin and
prepare the effect, take the purple star, it will be the shape
put it in the left pocket of your pants. Take the box and
that you will force. Cut about one meter and a half of
put it on the table. Start talking about the toy, open the lid
invisible thread, push one end through the hole in the
and remove the five colored shapes from it, being careful
colored shape, then stick both ends of the thread to a
not to break the thread. Be aware of the position of the
piece of adhesive tape by rolling the thread around it a
thread, to avoid accidentally pulling on it and making the
few times, then stick the tape on a coin. You have created
purple star move, which would be an entirely different
an invisible loop; the force shape is at one end of this loop
effect. The purple star is put at the right end of the row
and the coin is at the other end.
you are forming on the table. The box and the lid are put on the left side of the table. A spectator is chosen at random and you have her sit at the table, on your left side. Turn toward your right to turn your back to the audience. While doing this, the fork of your left thumb will find the thread near your pocket and you will pinch it slightly. The thread between your hand and the star should not be tensed, to avoid making the star move. Ask the ^»ectator to take any shape she wants on the table. If you feel the thread being pulled and breaking, perfect, it means that the spectator has taken the star and you can tell her to put her chosen shape on her lap. If you do not feel the thread break, it means that she took
4 Available here: gg-gg/shapes 78
another shape that the star so you tell her to put her 79
Internet4. The model I use has an advantage: the colored
Put the cylinder, the cross, the triangle and the square in
shapes are pierced, which will make the method easier.
the box, then put the prepared star inside as well. Gently close the lid without breaking the thread. Put the coin on the lid with some wax. You are ready.
The secret of this effect was inspired by the genius of Bruno Copin and Gaetan Bloom, each of them having explored very original uses for the invisible thread. To
When you want to perform the effect, take the coin and
prepare the effect, take the purple star, it will be the shape
put it in the left pocket of your pants. Take the box and
that you will force. Cut about one meter and a half of
put it on the table. Start talking about the toy, open the lid
invisible thread, push one end through the hole in the
and remove the five colored shapes from it, being careful
colored shape, then stick both ends of the thread to a
not to break the thread. Be aware of the position of the
piece of adhesive tape by rolling the thread around it a
thread, to avoid accidentally pulling on it and making the
few times, then stick the tape on a coin. You have created
purple star move, which would be an entirely different
an invisible loop; the force shape is at one end of this loop
effect. The purple star is put at the right end of the row
and the coin is at the other end.
you are forming on the table. The box and the lid are put on the left side of the table. A spectator is chosen at random and you have her sit at the table, on your left side. Turn toward your right to turn your back to the audience. While doing this, the fork of your left thumb will find the thread near your pocket and you will pinch it slightly. The thread between your hand and the star should not be tensed, to avoid making the star move. Ask the ^»ectator to take any shape she wants on the table. If you feel the thread being pulled and breaking, perfect, it means that the spectator has taken the star and you can tell her to put her chosen shape on her lap. If you do not feel the thread break, it means that she took
4 Available here: gg-gg/shapes 78
another shape that the star so you tell her to put her 79
chosen shape inside the box. Let her take the shapes one by one and, whenever you feel the thread breaking, tell her to put this particular shape on her lap. You must give the impression that you randomly decide when to tell her to put her chosen shape on her lap. When she is done, invite her to close the lid and to take her chosen shape from her lap to focus on it. Reveal the color and the shape, then ask the spectator to put it in the corresponding hole in the middle of the lid (since you know where this particular hole is). This moment serves as a marker for the end of the effect, the audience applauds and that is when you face them again. Thank the spectator for her help and let her return to her seat.
Final notes Before I came up with this effect, I had never been comfortable
w ith' the
invisible
thread,
levitation
demonstrations or the haunted deck. The use presented in this effect is different and original, as the thread is a secret signal indicating an action performed by the spectator. Since the thread breaks every time and the spectator should not feel any resistance from the thread, I would advise you to use the thinnest thread possible. It will be less visible and it will break easily when the spectator makes her choice.
80
chosen shape inside the box. Let her take the shapes one by one and, whenever you feel the thread breaking, tell her to put this particular shape on her lap. You must give the impression that you randomly decide when to tell her to put her chosen shape on her lap. When she is done, invite her to close the lid and to take her chosen shape from her lap to focus on it. Reveal the color and the shape, then ask the spectator to put it in the corresponding hole in the middle of the lid (since you know where this particular hole is). This moment serves as a marker for the end of the effect, the audience applauds and that is when you face them again. Thank the spectator for her help and let her return to her seat.
Final notes Before I came up with this effect, I had never been comfortable
w ith' the
invisible
thread,
levitation
demonstrations or the haunted deck. The use presented in this effect is different and original, as the thread is a secret signal indicating an action performed by the spectator. Since the thread breaks every time and the spectator should not feel any resistance from the thread, I would advise you to use the thinnest thread possible. It will be less visible and it will break easily when the spectator makes her choice.
80
YOU^ W irg IS YOUn VfOT^ST ЕНВШ Surely you have heard that comment several times: «J i i： г л
have shown this new effect to my wife, she was not impressed.» O r :《 My
i" /шј done rt.》 Although I do
understand that a performer would want to show a new effect to the people close to him (I did this in the past too), I really think that this is a bad idea, for several reasons that I will discuss here. I will then try to suggest solutions to this plague.
Let's start by examining the reasons why people close to you are not impressed, or why they understood how your new effect was done. First, there is an obvious reason: if your first audience is dose to you, chances are you did not practice enough. It does not mean that you are bad or that the effect is difficult. It just means that a demonstration of magic or mentalism should not be presented immediately. The effect, the presentation and the method must be practiced and rehearsed, as we all know, at least to avoid revealing the method accidentally. Second, there is a psychological reason: if your first audience is close to you, chances are this person will not believe in your new powers. For example, when I imagined my memory effect with Pi and performed it to
83
YOU^ W irg IS YOUn VfOT^ST ЕНВШ Surely you have heard that comment several times: «J i i： г л
have shown this new effect to my wife, she was not impressed.» O r :《 My
i" /шј done rt.》 Although I do
understand that a performer would want to show a new effect to the people close to him (I did this in the past too), I really think that this is a bad idea, for several reasons that I will discuss here. I will then try to suggest solutions to this plague.
Let's start by examining the reasons why people close to you are not impressed, or why they understood how your new effect was done. First, there is an obvious reason: if your first audience is dose to you, chances are you did not practice enough. It does not mean that you are bad or that the effect is difficult. It just means that a demonstration of magic or mentalism should not be presented immediately. The effect, the presentation and the method must be practiced and rehearsed, as we all know, at least to avoid revealing the method accidentally. Second, there is a psychological reason: if your first audience is close to you, chances are this person will not believe in your new powers. For example, when I imagined my memory effect with Pi and performed it to
83
my magician friends right after creating it, they would
you can try, fail, succeed and eventually let an effect
say: «Hmmf I like [or, I don't like] this new effect and I wonder
grow. It does not mean that you should never practice
what is the method,» This is a normal reaction because,
beforehand, without an audience. It just means that the
from one day to the next, I announced that I had
life or the death of an effect should not be determined by
memorized the first 10,000 decimals of Pi. If you add Pi to
a clumsy trial in front of someone who can tell your
your repertoire then you go to your spouse and tell them
mood even when you are facing away.
that you memorized Pi, of course they will not believe you. On the other hand, now when I perform Pi for strangers, their first reaction is to think that I am crazy to
Even if your close ones are not your first audience,
have memorized Pi. They don't see it as an effect so they
spectators can influence your style and your repertoire in
are not looking for the method anymore and they are
a profound way. When I was living in South Korea in
impressed by the demonstration.
2009, I did not speak Korean well enough to perform in
Third, there is a relational reason: if your first audience is someone close to you, chances are this person knows you well and that undermines their appreciation of your performance. Someone close to you is defined by their ability to feel when you are having a bad day, when you are having a good day, when you need to talk or be supported. It also means that the people close to us are good at reading our unconscious signals. A stranger might have trouble at first identifying your lie, but someone dose to you knows you so well that he or she might be able to spot a tension in your body or your face, a strange turn of phrase that does not match your usual speech pattern, and so on. The cruel paradox is that a positive and smart relationship with someone is precisely what makes them unfit as a first audience.
this language. On the other side, obviously Koreans did not speak my language, French. I could have used English as an international language, but most Koreans did not master this language to a level allowing me to perform script-based effects, and my own level of English was far from being perfect at the time. As a consequence of this situation, I found myself relying solely on quick visual
effects
that
did
not
require
any
spoken
presentation and very few interactions with the audience, all of which being very different from my natural style. Being able to entertain an audience without language being an obstacle is a precious talent that wUJ allow you to travel all over the world and I do not mean to say that such a talent should be ignored. But I know I do not have this talent; consequently, my effects strayed away from my personal preferences.
A solution to this «first audience» problem consists in finding a location where you are comfortable and where 84
85
my magician friends right after creating it, they would
you can try, fail, succeed and eventually let an effect
say: «Hmmf I like [or, I don't like] this new effect and I wonder
grow. It does not mean that you should never practice
what is the method,» This is a normal reaction because,
beforehand, without an audience. It just means that the
from one day to the next, I announced that I had
life or the death of an effect should not be determined by
memorized the first 10,000 decimals of Pi. If you add Pi to
a clumsy trial in front of someone who can tell your
your repertoire then you go to your spouse and tell them
mood even when you are facing away.
that you memorized Pi, of course they will not believe you. On the other hand, now when I perform Pi for strangers, their first reaction is to think that I am crazy to
Even if your close ones are not your first audience,
have memorized Pi. They don't see it as an effect so they
spectators can influence your style and your repertoire in
are not looking for the method anymore and they are
a profound way. When I was living in South Korea in
impressed by the demonstration.
2009, I did not speak Korean well enough to perform in
Third, there is a relational reason: if your first audience is someone close to you, chances are this person knows you well and that undermines their appreciation of your performance. Someone close to you is defined by their ability to feel when you are having a bad day, when you are having a good day, when you need to talk or be supported. It also means that the people close to us are good at reading our unconscious signals. A stranger might have trouble at first identifying your lie, but someone dose to you knows you so well that he or she might be able to spot a tension in your body or your face, a strange turn of phrase that does not match your usual speech pattern, and so on. The cruel paradox is that a positive and smart relationship with someone is precisely what makes them unfit as a first audience.
this language. On the other side, obviously Koreans did not speak my language, French. I could have used English as an international language, but most Koreans did not master this language to a level allowing me to perform script-based effects, and my own level of English was far from being perfect at the time. As a consequence of this situation, I found myself relying solely on quick visual
effects
that
did
not
require
any
spoken
presentation and very few interactions with the audience, all of which being very different from my natural style. Being able to entertain an audience without language being an obstacle is a precious talent that wUJ allow you to travel all over the world and I do not mean to say that such a talent should be ignored. But I know I do not have this talent; consequently, my effects strayed away from my personal preferences.
A solution to this «first audience» problem consists in finding a location where you are comfortable and where 84
85
Even without going as far as performing in a foreign country with no common language, the audience can influence
your
evolution.
If
your
spectators
are
intellectuals and art amateurs, you will tend to grow in this direction. If your audience loves comic books and niche cinema, you will develop stories and presentations within this universe. It is not a problem in and of itself, but should an audience influence the preferences of an artist? In the previous book, I wrote: «When you spend your life wanting to be the other one (the one that is trendy or the one that impresses), you risk forgetting who you are.» I would now add this: when you spend your life wanting to satisfy the audience, you risk forgetting who you are. If you already have a good idea of your style, preferences and inclinations, focus on them and create in this direction. The world is big enough and diversified enough for your creation to find its audience. When I first created Haiku, I hesitated for a long time before performing it because I feared that people would not be interested in Japanese poetry from the seventeenth century, that they would find it ridiculous or pretentious, or both. More than ten years later, it has become one of my most original effects and I love performing it in front of the proper audience.
86
4
Even without going as far as performing in a foreign country with no common language, the audience can influence
your
evolution.
If
your
spectators
are
intellectuals and art amateurs, you will tend to grow in this direction. If your audience loves comic books and niche cinema, you will develop stories and presentations within this universe. It is not a problem in and of itself, but should an audience influence the preferences of an artist? In the previous book, I wrote: «When you spend your life wanting to be the other one (the one that is trendy or the one that impresses), you risk forgetting who you are.» I would now add this: when you spend your life wanting to satisfy the audience, you risk forgetting who you are. If you already have a good idea of your style, preferences and inclinations, focus on them and create in this direction. The world is big enough and diversified enough for your creation to find its audience. When I first created Haiku, I hesitated for a long time before performing it because I feared that people would not be interested in Japanese poetry from the seventeenth century, that they would find it ridiculous or pretentious, or both. More than ten years later, it has become one of my most original effects and I love performing it in front of the proper audience.
86
4
AST^OBOY Effect «An important part o f what I do is based on intuition and people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain, I am not sure I agree: For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not. If I ask you what the weather is like right now, you observe your surroundings and you can give me an answer based on your experience and your observation. Each time, you were able to answer my question by actively and consciously thinking. For me, intuition is the same type o f thinking, except this time your intellectual process is passive and unconscious. For example, I am sure you already had a feeling that someone was lying to you or was hiding something from you. This is because you are capable o f analyzing a multitude o f factors unconsciously: the tone o f the voice o f this person, his or her body language, the movements o f his or her eyes, the breathing rhythm. All these elements are perceived by your brain without you payings attention to it. When this unconscious analysis is done, your brain sends you an «intuition,» meaning the result o f its process, without you actively participating in this process.
89
AST^OBOY Effect «An important part o f what I do is based on intuition and people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain, I am not sure I agree: For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not. If I ask you what the weather is like right now, you observe your surroundings and you can give me an answer based on your experience and your observation. Each time, you were able to answer my question by actively and consciously thinking. For me, intuition is the same type o f thinking, except this time your intellectual process is passive and unconscious. For example, I am sure you already had a feeling that someone was lying to you or was hiding something from you. This is because you are capable o f analyzing a multitude o f factors unconsciously: the tone o f the voice o f this person, his or her body language, the movements o f his or her eyes, the breathing rhythm. All these elements are perceived by your brain without you payings attention to it. When this unconscious analysis is done, your brain sends you an «intuition,» meaning the result o f its process, without you actively participating in this process.
89
Unfortunately for us, two things are responsible for intuition
Method
not being always accurate. First, our brain can make a mistake; it forgets details, or rushes the thinking process, etc. Second, we
No stooge, no nail writer, no preshow, no sleight of hand.
sometimes decide not to follow our intuition, even when it is
This effect is an interesting way to choose a member of
correct.»
the audience to do an experiment on stage with her.
The mentalist starts to walk around the audience while
Instead of just picking someone at random, an effect
talking.
occurs during the selection process. The script I use
«The good news is that this intuition can be enhanced. If you consciously train your brain to make fewer mistakes, it will be
provides part of the method; the final revelation is achieved through mechanical means.
less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious
You will need a triple out envelope. I use the one
thinking process.»
described by Ted Lesley in his book Paramiracles; it is
The mentalist keeps walking among the spectators.
simple to make and easy to use. In the first compartment
《 Right now, I have the intuition that this envelope is for someone special in this room".»
of the triple envelope, insert a paper on which is written the word Aries. In the second compartment of the triple envelope, insert a paper on which is written the word
The mentalist stops next to a person in the audience.
Taurus. In the third compartment of the triple envelope,
«... and I think this person is you. What is your star sign
insert a paper on which is written the word Gemini.
please? »
If you want, you can even write each prediction as a
The spectator replies that she is a Gemini. The mentalist
sentence, like: «She will be [star sign].» In this case,
opens the envelope. Inside is a piece of paper on which is
obviously you will have to stop next to a woman in the
written: «She will be a Gemini.»
audience.
The mentalist concludes: «Here is the result o f a good
Finally, you could also decide to write the prediction in
intuition. I feel you will be perfect for the next experience, come
front of everyone. Prepare the triple envelope but only
and join me!»
put the Aries and Taurus predictions inside. In front of the audience, write down Gemini on a piece of paper, place it in the third compartment of the envelope while talking and do the revelation at the end.
90
91
Unfortunately for us, two things are responsible for intuition
Method
not being always accurate. First, our brain can make a mistake; it forgets details, or rushes the thinking process, etc. Second, we
No stooge, no nail writer, no preshow, no sleight of hand.
sometimes decide not to follow our intuition, even when it is
This effect is an interesting way to choose a member of
correct.»
the audience to do an experiment on stage with her.
The mentalist starts to walk around the audience while
Instead of just picking someone at random, an effect
talking.
occurs during the selection process. The script I use
«The good news is that this intuition can be enhanced. If you consciously train your brain to make fewer mistakes, it will be
provides part of the method; the final revelation is achieved through mechanical means.
less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious
You will need a triple out envelope. I use the one
thinking process.»
described by Ted Lesley in his book Paramiracles; it is
The mentalist keeps walking among the spectators.
simple to make and easy to use. In the first compartment
《 Right now, I have the intuition that this envelope is for someone special in this room".»
of the triple envelope, insert a paper on which is written the word Aries. In the second compartment of the triple envelope, insert a paper on which is written the word
The mentalist stops next to a person in the audience.
Taurus. In the third compartment of the triple envelope,
«... and I think this person is you. What is your star sign
insert a paper on which is written the word Gemini.
please? »
If you want, you can even write each prediction as a
The spectator replies that she is a Gemini. The mentalist
sentence, like: «She will be [star sign].» In this case,
opens the envelope. Inside is a piece of paper on which is
obviously you will have to stop next to a woman in the
written: «She will be a Gemini.»
audience.
The mentalist concludes: «Here is the result o f a good
Finally, you could also decide to write the prediction in
intuition. I feel you will be perfect for the next experience, come
front of everyone. Prepare the triple envelope but only
and join me!»
put the Aries and Taurus predictions inside. In front of the audience, write down Gemini on a piece of paper, place it in the third compartment of the envelope while talking and do the revelation at the end.
90
91
«The good news is that this intuition can be enhanced. I f you Let's now see the script and the way it contributes to the method. 《 An important part o f what I do is based on intuition and
consciously train your brain to make fewer mistakes, it will be less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious thinking process.»
people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain. I am not sure I agree. For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not.» The beginning of the script introduces the theme of intuition. After this, the question about seasons seems
After explaining your approach of intuition, here you are explaining that you trained in order to enhance this intuition and it is understood that this is thanks to this ability that you are able to do what you do. «Right now, I have the intuition that this envelope is for someone special in this room...»
rhetorical, but you actually ask people who were born in
Stop next to one of the people who raised their hand at
Spring to raise their hand. Take this opportunity to spot
the beginning.
one or two spectators bom during Spring, as the envelope will be given to this person at the end. The following part of the script (where I explain my approach of intuitign) is actually my real opinion on the subject, allowing me to sound credible when I express it. It is up to you to decide what you have to say about this phenomenon. In a way, this part of the script is also linked to the method: it gives more time between the
«... and I think this person is you. What is your star sign please? » Since this person was born during Spring, their sign has to be Aries, Tauras or Gemini. When the star sign is announced, corresponding
simply
open
compartment
the and
envelope take
the
to
the
correct
prediction out of the envelope. Reveal that your intuition was correct.
moment when the spectators raised their hand and the moment when you do the revelation. Start walking around the audience. Your arms naturally remain on the sides of your body and one of your hands holds the envelope. The envelope is seen but you are not drawing any particular attention to it right now.
92
93
«The good news is that this intuition can be enhanced. I f you Let's now see the script and the way it contributes to the method. 《 An important part o f what I do is based on intuition and
consciously train your brain to make fewer mistakes, it will be less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious thinking process.»
people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain. I am not sure I agree. For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not.» The beginning of the script introduces the theme of intuition. After this, the question about seasons seems
After explaining your approach of intuition, here you are explaining that you trained in order to enhance this intuition and it is understood that this is thanks to this ability that you are able to do what you do. «Right now, I have the intuition that this envelope is for someone special in this room...»
rhetorical, but you actually ask people who were born in
Stop next to one of the people who raised their hand at
Spring to raise their hand. Take this opportunity to spot
the beginning.
one or two spectators bom during Spring, as the envelope will be given to this person at the end. The following part of the script (where I explain my approach of intuitign) is actually my real opinion on the subject, allowing me to sound credible when I express it. It is up to you to decide what you have to say about this phenomenon. In a way, this part of the script is also linked to the method: it gives more time between the
«... and I think this person is you. What is your star sign please? » Since this person was born during Spring, their sign has to be Aries, Tauras or Gemini. When the star sign is announced, corresponding
simply
open
compartment
the and
envelope take
the
to
the
correct
prediction out of the envelope. Reveal that your intuition was correct.
moment when the spectators raised their hand and the moment when you do the revelation. Start walking around the audience. Your arms naturally remain on the sides of your body and one of your hands holds the envelope. The envelope is seen but you are not drawing any particular attention to it right now.
92
93
Final notes In my head, I perform this effect as if I was a human sonar. I walk around the audience while talking, letting my intuition work in the background, and I find the right person. This is the subtext in my head and this is what guides my presentation. I was not born during Spring but I use this season in my script. If you prefer, you can use another season and adapt the star signs.
4
94
Final notes In my head, I perform this effect as if I was a human sonar. I walk around the audience while talking, letting my intuition work in the background, and I find the right person. This is the subtext in my head and this is what guides my presentation. I was not born during Spring but I use this season in my script. If you prefer, you can use another season and adapt the star signs.
4
94
ASrnOALP^ABer Effect A spectator is chosen at random in the audience and she joins the mentalist. He asks her to focus and think of a word that has a connection with her. The spectator writes down her word and keeps the paper for future verification. Now the mentalist focuses on her. «Think of your word". There is an N in your word, correct? Without telling me anything, please think o f the position o fN in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The N is at the end o f your word, correct? Now please think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking o f ... an I. There is an I in the middle o f your word, correct? It is almost over. I am making you work a lot and you are doing great.
4
Please, think o f the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image
97
ASrnOALP^ABer Effect A spectator is chosen at random in the audience and she joins the mentalist. He asks her to focus and think of a word that has a connection with her. The spectator writes down her word and keeps the paper for future verification. Now the mentalist focuses on her. «Think of your word". There is an N in your word, correct? Without telling me anything, please think o f the position o fN in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The N is at the end o f your word, correct? Now please think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking o f ... an I. There is an I in the middle o f your word, correct? It is almost over. I am making you work a lot and you are doing great.
4
Please, think o f the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image
97
o f an ant, does it make sense? A is the second letter o f your
Method
word, correct? No stooge, no force, no preshow. You are able to divine To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
the word of the spectator and, during this process, you also able to guess various things she is thinking of,
Ah, now I understand, this is not just any word, correct? This
creating a demonstration of mind reading that is very
is your star sign. You are thinking o f Capricorn, you are a
convincing.
Capricorn, correct? Thank you very much for your help!»
This idea was bom from the fact that I wanted to do a divination that would go beyond the frame of usual demonstrations. In general, a word is chosen at random and as very little connection to the spectator; in addition, it is divined in a very straightforward way, despite the fact that you could milk that moment a lot more. At the beginning, I used these techniques in my book test Babel Any word was chosen on any line, in any book, then I would divine it in several steps. I had combined various revelation techniques based on the fact that the spectator had a free choice in a limited group of words; I then wrote down a different revelation script for each word of this group. In «Astroalphabet,» the spectator's choice is also made in a limited group, unbeknownst from the audience. Your instructions are very precise and guide her toward this group, creating an alternative reality that she is the only one experiencing. When she joins you, tell her: «In a moment, I will ask you to think o f a word. Not any word: a word that has a connection with you.»
98
99
o f an ant, does it make sense? A is the second letter o f your
Method
word, correct? No stooge, no force, no preshow. You are able to divine To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
the word of the spectator and, during this process, you also able to guess various things she is thinking of,
Ah, now I understand, this is not just any word, correct? This
creating a demonstration of mind reading that is very
is your star sign. You are thinking o f Capricorn, you are a
convincing.
Capricorn, correct? Thank you very much for your help!»
This idea was bom from the fact that I wanted to do a divination that would go beyond the frame of usual demonstrations. In general, a word is chosen at random and as very little connection to the spectator; in addition, it is divined in a very straightforward way, despite the fact that you could milk that moment a lot more. At the beginning, I used these techniques in my book test Babel Any word was chosen on any line, in any book, then I would divine it in several steps. I had combined various revelation techniques based on the fact that the spectator had a free choice in a limited group of words; I then wrote down a different revelation script for each word of this group. In «Astroalphabet,» the spectator's choice is also made in a limited group, unbeknownst from the audience. Your instructions are very precise and guide her toward this group, creating an alternative reality that she is the only one experiencing. When she joins you, tell her: «In a moment, I will ask you to think o f a word. Not any word: a word that has a connection with you.»
98
99
Give her something to write on. Of course, this is a gaffed
You can then follow this summarized script and make it a
prop that will allow you to know what she will be
step-by-step revelation. Let's break the script down:
writing. You are free to use any prop that you like and that allows you to read the spectator's writing: Henri
«N. Position. Last letter.»
Beaumont's Hpad5, center tear, Brown Hornet by John
This tells you to announce there is an N in the word.
Riggs6, etc. At the top of the sheet of paper that you give
Then you should tell the spectator to think about the
her, you previously wrote «your star sign,» which will of
position of N. Then you should announce that N is the
course encourage her to write down her star sign.
last letter. Let's look at the full script:
Therefore her choice is limited to twelve words. For each
«Think o f your word. •• There is an N in your word, correct?»
of these twelve words, I designed a specific revelation
The spectator is forced to confirm because you are right.
sequence. If you want, you can memorize these twelve sequences; after performing the effect a few times, you will see that they are quite easy to remember. You could also simply write them down or print them on a crib, allowing you to peek at your script to follow the right steps. Once the spectator has written her word, you know it secretly. Let's imagine she wrote down Capricorn. Here is the summarized script:
《 Without telling me any thing, 卩lease think o f the 卩。 sition o f N in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end of your zoord.» I know that N is at the end of her word. With a sufficiently long word, nobody thinks of the actual numerical position of the final letter. The spectator does not know exactly how many letters are in her word so she cannot really think of the numerical position and she is forced to think of the fact that this letter is at the end. She
N. Position. Last letter. Central vowel. I
will be surprised that I am able to feel this thought process and she will react in a positive way. This technique is the second part of «Brain Game 4»7 by 4
Second letter. Insect. ANT
5Available here: gg.gg/henril 61 discuss this great prop on my website's blog. 100
Banachek.
7 Banachek, «Brain Game 4,» Psychological Subtleties 1, 2010, Magic Inspirations, page 64. 101
Give her something to write on. Of course, this is a gaffed
You can then follow this summarized script and make it a
prop that will allow you to know what she will be
step-by-step revelation. Let's break the script down:
writing. You are free to use any prop that you like and that allows you to read the spectator's writing: Henri
«N. Position. Last letter.»
Beaumont's Hpad5, center tear, Brown Hornet by John
This tells you to announce there is an N in the word.
Riggs6, etc. At the top of the sheet of paper that you give
Then you should tell the spectator to think about the
her, you previously wrote «your star sign,» which will of
position of N. Then you should announce that N is the
course encourage her to write down her star sign.
last letter. Let's look at the full script:
Therefore her choice is limited to twelve words. For each
«Think o f your word. •• There is an N in your word, correct?»
of these twelve words, I designed a specific revelation
The spectator is forced to confirm because you are right.
sequence. If you want, you can memorize these twelve sequences; after performing the effect a few times, you will see that they are quite easy to remember. You could also simply write them down or print them on a crib, allowing you to peek at your script to follow the right steps. Once the spectator has written her word, you know it secretly. Let's imagine she wrote down Capricorn. Here is the summarized script:
《 Without telling me any thing, 卩lease think o f the 卩。 sition o f N in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end of your zoord.» I know that N is at the end of her word. With a sufficiently long word, nobody thinks of the actual numerical position of the final letter. The spectator does not know exactly how many letters are in her word so she cannot really think of the numerical position and she is forced to think of the fact that this letter is at the end. She
N. Position. Last letter. Central vowel. I
will be surprised that I am able to feel this thought process and she will react in a positive way. This technique is the second part of «Brain Game 4»7 by 4
Second letter. Insect. ANT
5Available here: gg.gg/henril 61 discuss this great prop on my website's blog. 100
Banachek.
7 Banachek, «Brain Game 4,» Psychological Subtleties 1, 2010, Magic Inspirations, page 64. 101
However, to be sure to get a positive answer, I never
The audience does not know the length of her word or its
explicitly ask her to confirm the thought process that I
spelling. For them, the word could contain several
have just described. I immediately follow up with:
vowels and I was able to divine the correct one.
«The N is at the end o f your word, correct?»
«It is almost over. I am making you work a lot and you are
Again, she has no other choice than to agree. Even if she
doing great,»
did not think of the fact that this letter was at the end of
Although this sentence is not a revelation and is not part
her word, she cannot deny the fact that this letter is the
of the method, it is essential. The spectator has been
last one. I announce something that is probable but
helping you since the beginning by behaving properly, by
uncertain and I don’t ask for confirmation, then I
following your instructions and by confirming your
announce something with which I know she will have to
revelations. Let her understand that you appreciate her
agree. This is a technique by Luke Jermay that he calls
cooperation and treat her as a friend in order to avoid her
《 Gagging A Spectators (for now it has only been
trying to cause any trouble.
published in his French anthologies); it will be used again in this series of revelations.
«Pleasef think of the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter.
«Nozv please think o f a vowel in the middle o f your word. Do
Do you have one? I don't know about you, but I get the image
you have one? Don't tell me. You hesitated a little bit then you
o f an ant, does it make sense?»
changed your mind and ended up thinking o f ... an L There is an I in the middle o f your word, correct?»
This technique is called «Animal Brain Game»8, by Brad Henderson. You guide the spectator to the letter A then
I combine «Gagging a spectator》 with another of his
you ask her to think of an insect starting with this letter
techniques, «Jermay’s Brain Game». By asking him to
and the only really common choice is to think of the word
think of a vowel in the middle of the word (Capricorn), I
Ant. Of course, she could think of Adelgid or Aphid but
know she is going to think of the letter I. When I
then you would be the unluckiest person in the world
announce that I felt her hesitate and change her mind, I
and she wpuld be an entomologist. That being said, she
don’t ask her to confirm (《 Gagging a spectator》 ).I simply
could be stuck and unable to think of the word Ant. If
sound like I am describing her thought process the way I
you see her starting to confirm your announcement,
felt it. Then I ask a question to which the answer has to be positive, by announcing that there is an I in the middle of her word. 102
8 Brad Henderson, « Animal Brain Game,» Psychological Subtleties 3, 2009, Magic Inspirations, page 75. 103
However, to be sure to get a positive answer, I never
The audience does not know the length of her word or its
explicitly ask her to confirm the thought process that I
spelling. For them, the word could contain several
have just described. I immediately follow up with:
vowels and I was able to divine the correct one.
«The N is at the end o f your word, correct?»
«It is almost over. I am making you work a lot and you are
Again, she has no other choice than to agree. Even if she
doing great,»
did not think of the fact that this letter was at the end of
Although this sentence is not a revelation and is not part
her word, she cannot deny the fact that this letter is the
of the method, it is essential. The spectator has been
last one. I announce something that is probable but
helping you since the beginning by behaving properly, by
uncertain and I don’t ask for confirmation, then I
following your instructions and by confirming your
announce something with which I know she will have to
revelations. Let her understand that you appreciate her
agree. This is a technique by Luke Jermay that he calls
cooperation and treat her as a friend in order to avoid her
《 Gagging A Spectators (for now it has only been
trying to cause any trouble.
published in his French anthologies); it will be used again in this series of revelations.
«Pleasef think of the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter.
«Nozv please think o f a vowel in the middle o f your word. Do
Do you have one? I don't know about you, but I get the image
you have one? Don't tell me. You hesitated a little bit then you
o f an ant, does it make sense?»
changed your mind and ended up thinking o f ... an L There is an I in the middle o f your word, correct?»
This technique is called «Animal Brain Game»8, by Brad Henderson. You guide the spectator to the letter A then
I combine «Gagging a spectator》 with another of his
you ask her to think of an insect starting with this letter
techniques, «Jermay’s Brain Game». By asking him to
and the only really common choice is to think of the word
think of a vowel in the middle of the word (Capricorn), I
Ant. Of course, she could think of Adelgid or Aphid but
know she is going to think of the letter I. When I
then you would be the unluckiest person in the world
announce that I felt her hesitate and change her mind, I
and she wpuld be an entomologist. That being said, she
don’t ask her to confirm (《 Gagging a spectator》 ).I simply
could be stuck and unable to think of the word Ant. If
sound like I am describing her thought process the way I
you see her starting to confirm your announcement,
felt it. Then I ask a question to which the answer has to be positive, by announcing that there is an I in the middle of her word. 102
8 Brad Henderson, « Animal Brain Game,» Psychological Subtleties 3, 2009, Magic Inspirations, page 75. 103
pause and treat this revelation as a success. If you see her hesitating,
Final notes
move on with the following question,
therefore gagging her. «A is the second letter o f your word, correct?»
What do you do if the spectator does not write down her star sign? Personally, even if I would be bothered by this «incident/» the situation would mainly annoy me because
Once again, you announce something true so you get a
it could indicate that the spectator will be difficult to
confirmation from her.
work with and this could create an uncomfortable
«To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
relationship. If the spectator decides, for whichever reason, to write down something else than her star sign, it is not much of a problem. You will still know her word,
Ah, now I understand, this is not just any word, correct? This
unbeknownst to her. After this, you have several options.
is your star sign. You are thinking o f Capricorn, you are a
First, you could just divine her word, this is still a strong
Capricorn, correct? Thank you very much for your help!»
effect. Second, you could use the same techniques
You end by revealing the full thought-of word, which is a
described previously, improvising the links. For example,
strong revelation for everyone. In addition, the audience
if she wrote down Ambitious (a word that still has a
is impressed by the fact that you first divined the
connection to her but that is not her star sign), you could
connection between the spectator and her word (it is her
improvise the following revelation:
star sign).
«Think o f your word... There is an S in your word, correct? Without telling me anything, please think o f the position o f S in your word. That is surprising, you are not thinking o f the fact that S is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The S is at the end o f your word, correct? Now please4think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking of … an I. There is an I in the middle of your word, correct?
104
105
pause and treat this revelation as a success. If you see her hesitating,
Final notes
move on with the following question,
therefore gagging her. «A is the second letter o f your word, correct?»
What do you do if the spectator does not write down her star sign? Personally, even if I would be bothered by this «incident/» the situation would mainly annoy me because
Once again, you announce something true so you get a
it could indicate that the spectator will be difficult to
confirmation from her.
work with and this could create an uncomfortable
«To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
relationship. If the spectator decides, for whichever reason, to write down something else than her star sign, it is not much of a problem. You will still know her word,
Ah, now I understand, this is not just any word, correct? This
unbeknownst to her. After this, you have several options.
is your star sign. You are thinking o f Capricorn, you are a
First, you could just divine her word, this is still a strong
Capricorn, correct? Thank you very much for your help!»
effect. Second, you could use the same techniques
You end by revealing the full thought-of word, which is a
described previously, improvising the links. For example,
strong revelation for everyone. In addition, the audience
if she wrote down Ambitious (a word that still has a
is impressed by the fact that you first divined the
connection to her but that is not her star sign), you could
connection between the spectator and her word (it is her
improvise the following revelation:
star sign).
«Think o f your word... There is an S in your word, correct? Without telling me anything, please think o f the position o f S in your word. That is surprising, you are not thinking o f the fact that S is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The S is at the end o f your word, correct? Now please4think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking of … an I. There is an I in the middle of your word, correct?
104
105
It is almost over. I am making you work a lot and you are doing
Now that we have seen how to use the script of
great.
revelations for Capricorn from the summarized script,
Please, think o f the first letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image o f an
here are the summarized scripts for all the star signs. You will notice that not all of them have the same quantity of revelations.
ant, does it make sense? A is the first letter o f your word, correct? To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you. Ah, now I understand, this is not just any word, correct? This is one o f your character traits. You are thinking o f Ambitious, you are Ambitious, correct? Thank you very much for your help!» It still functions perfectly. If the spectator writes down an interesting word and you are able to draw some conclusions about her, exploit that moment.
1
Actually, you could decide to use a different limited group, other than star signs. For example, write down «An emotion» ahead of time on the paper, o r 《 Character trait,» o r 《Mother’s first name.» All these groups are sufficiently limited to plan different scripts or at least to prepare properly then use the right technique at the right time, all the while being able to finish by revealing the connection with the spectator.
106
107
It is almost over. I am making you work a lot and you are doing
Now that we have seen how to use the script of
great.
revelations for Capricorn from the summarized script,
Please, think o f the first letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image o f an
here are the summarized scripts for all the star signs. You will notice that not all of them have the same quantity of revelations.
ant, does it make sense? A is the first letter o f your word, correct? To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you. Ah, now I understand, this is not just any word, correct? This is one o f your character traits. You are thinking o f Ambitious, you are Ambitious, correct? Thank you very much for your help!» It still functions perfectly. If the spectator writes down an interesting word and you are able to draw some conclusions about her, exploit that moment.
1
Actually, you could decide to use a different limited group, other than star signs. For example, write down «An emotion» ahead of time on the paper, o r 《 Character trait,» o r 《Mother’s first name.» All these groups are sufficiently limited to plan different scripts or at least to prepare properly then use the right technique at the right time, all the while being able to finish by revealing the connection with the spectator.
106
107
A R IE S
CA N CER
L IB R A
C A P R IC O R N
S. P o s itio n . L a s t letter.
R . P o s itio n . L a s t letter.
A . P o s itio n . L a s t letter.
N . P o s itio n . L a s t le tter.
C e n tr a l v o w e l. I
C e n tr a l c o n s o n a n t. N
C e n tr a l c o n s o n a n t. R
C e n tr a l v o w e l. I
F ir s t le tte r. In s e c t. A N T
S e c o n d le tte r. In s e c t. A N T
F ir s t
le tte r.
W ild
a n im a l.
S e c o n d le tte r. In s e c t. A N T
L IO N
TAU RU S
L IO N
S C O R P IO
S . P o s itio n . L a s t letter.
N . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. R
C e n t a l c o n s o n a n t. R
C e n tr a l v o w e l. O
Secon d
le tte r.
A Q U A R IU S S . P o s itio n . L a s t le tter. Snake.
COBRA
S e c o n d le tter. In s e c t. A N T
C e n tr a l v o w e l. A F ir s t le tter. In s e c t. A N T
I
G E M IN I
S A G IT T A R IU S
P IS C E S
C e n tr a l v o w e l. I
O . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. T
C e n tr a l c o n s o n a n t. C
S e c o n d le tte r. H u g e a n im a l.
C e n tr a l c o n s o n a n t. R
S e c o n d le tte r. In s e c t. A N T
S e c o n d -to -la s t
ELEPH A N T
108
V IR G O
礞
le tte r.
H uge
a n im a l. E L E P H A N T
109
A R IE S
CA N CER
L IB R A
C A P R IC O R N
S. P o s itio n . L a s t letter.
R . P o s itio n . L a s t letter.
A . P o s itio n . L a s t letter.
N . P o s itio n . L a s t le tter.
C e n tr a l v o w e l. I
C e n tr a l c o n s o n a n t. N
C e n tr a l c o n s o n a n t. R
C e n tr a l v o w e l. I
F ir s t le tte r. In s e c t. A N T
S e c o n d le tte r. In s e c t. A N T
F ir s t
le tte r.
W ild
a n im a l.
S e c o n d le tte r. In s e c t. A N T
L IO N
TAU RU S
L IO N
S C O R P IO
S . P o s itio n . L a s t letter.
N . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. R
C e n t a l c o n s o n a n t. R
C e n tr a l v o w e l. O
Secon d
le tte r.
A Q U A R IU S S . P o s itio n . L a s t le tter. Snake.
COBRA
S e c o n d le tter. In s e c t. A N T
C e n tr a l v o w e l. A F ir s t le tter. In s e c t. A N T
I
G E M IN I
S A G IT T A R IU S
P IS C E S
C e n tr a l v o w e l. I
O . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. T
C e n tr a l c o n s o n a n t. C
S e c o n d le tte r. H u g e a n im a l.
C e n tr a l c o n s o n a n t. R
S e c o n d le tte r. In s e c t. A N T
S e c o n d -to -la s t
ELEPH A N T
108
V IR G O
礞
le tte r.
H uge
a n im a l. E L E P H A N T
109
A O IS C R S S r VfO tnA H Effect Standing with his back toward the audience, the mentalist throws a ball of paper at random behind himself. The person who catches the paper ball is invited to throw it somewhere else in the audience. The spectator who catches the ball this time throws it again, designating a third and final person. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two of us have a good connections The mentalist raises his left fist. «Use my left fist as a point on which to focus, it will help you i
forget the interferences. In a deck o f playing cards, if I gave you a choice between picture cards and number cards, which one would you choose? - Picture cards. - OK, picture cards; number cards are eliminated. Picture cards can be male (king, jack) or female (queen). Which group m
would you like to throw in the air: male or female? - Female - OK for female; male is eliminated. You throw the queens above your head and only one falls back, into your head. Which queen is it? Ill
A O IS C R S S r VfO tnA H Effect Standing with his back toward the audience, the mentalist throws a ball of paper at random behind himself. The person who catches the paper ball is invited to throw it somewhere else in the audience. The spectator who catches the ball this time throws it again, designating a third and final person. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two of us have a good connections The mentalist raises his left fist. «Use my left fist as a point on which to focus, it will help you i
forget the interferences. In a deck o f playing cards, if I gave you a choice between picture cards and number cards, which one would you choose? - Picture cards. - OK, picture cards; number cards are eliminated. Picture cards can be male (king, jack) or female (queen). Which group m
would you like to throw in the air: male or female? - Female - OK for female; male is eliminated. You throw the queens above your head and only one falls back, into your head. Which queen is it? Ill
- The queen o f clubs?
If you don't have a double index card in your props,
- OK, that is your choice, the queen o f clubs. You have chosen
don’t worry. This card will never be handled by the
the picture cards, you have chosen the queens and you have
audience and it is never examined from a dose distance.
chosen the queen o f clubs. You were free and this is now your
This means that you could print the image of a double
card. You have it in your mind, and you also have something
index queen and glue it to the face of a blank card or a
in your hands. The paper ball that you caught at the
joker. You can download the image of the double index
beginning. Can you please unfold it and tell us what is inside? » The spectator unfolds the paper ball: inside, a giant queen of clubs is printed.
queen at this address: gg.gg/ indexdouble. Once you have your double index queen, fold it twice with the back outside and the face inside then put it in your pocket. Crumple the sheet of paper on which you printed the giant queen of clubs, so as to keep the printed
«It looks like we have a very good mental connection! Please
parts hidden inside. You are ready.
join me on stage.» Begin by throwing the paper ball in the audience. It is
Method No stooge, no switch, no preshow, no sleight of hand. This simple and quick effect is based on a procedure of equivoque and a multiple out hidden in the presentation.
thrown again a couple more times to reach a random member of the audience. During this time, casually put your hands in your pocket and take the folded queen in your left fist. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two o f
You will need a sheet of paper (A4 format) on which you will print a giant queen of clubs. You will also need a double index card, showing a queen of hearts on one side and a queen of diamonds on the other side. If you already have such a double index card in your props, great, use it. Of course, it could be any double index queen. I will use
us have a good connections This gives a context to the procedure that will follow: it is supposed to be a way for you to evaluate the quality of your connection with the spectator. The prediction has not been announced yet.
the queen of hearts/diamonds in the explanations.
112
113
- The queen o f clubs?
If you don't have a double index card in your props,
- OK, that is your choice, the queen o f clubs. You have chosen
don’t worry. This card will never be handled by the
the picture cards, you have chosen the queens and you have
audience and it is never examined from a dose distance.
chosen the queen o f clubs. You were free and this is now your
This means that you could print the image of a double
card. You have it in your mind, and you also have something
index queen and glue it to the face of a blank card or a
in your hands. The paper ball that you caught at the
joker. You can download the image of the double index
beginning. Can you please unfold it and tell us what is inside? » The spectator unfolds the paper ball: inside, a giant queen of clubs is printed.
queen at this address: gg.gg/ indexdouble. Once you have your double index queen, fold it twice with the back outside and the face inside then put it in your pocket. Crumple the sheet of paper on which you printed the giant queen of clubs, so as to keep the printed
«It looks like we have a very good mental connection! Please
parts hidden inside. You are ready.
join me on stage.» Begin by throwing the paper ball in the audience. It is
Method No stooge, no switch, no preshow, no sleight of hand. This simple and quick effect is based on a procedure of equivoque and a multiple out hidden in the presentation.
thrown again a couple more times to reach a random member of the audience. During this time, casually put your hands in your pocket and take the folded queen in your left fist. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two o f
You will need a sheet of paper (A4 format) on which you will print a giant queen of clubs. You will also need a double index card, showing a queen of hearts on one side and a queen of diamonds on the other side. If you already have such a double index card in your props, great, use it. Of course, it could be any double index queen. I will use
us have a good connections This gives a context to the procedure that will follow: it is supposed to be a way for you to evaluate the quality of your connection with the spectator. The prediction has not been announced yet.
the queen of hearts/diamonds in the explanations.
112
113
She replies «pz*ctMre.»
She replies «number.»
« OK,
cards;
« OKf number cards; they
are
are for you, and I keep the
picture
number eliminated.
picture cards.
Picture cards can be male
Picture cards can be male
(king,
(king,
(queen). «Use my left fist as a point on which to focus, it will help you forget the interferences^
cards
jack)
or female
Which
group
jack)
(queen).
or female
Which
group
would you like to throw in
would you like me to
the air: male or female?»
throw in the air: male or female? »
Here you create a reason to focus on your left fist. If the equivoque ends up on a red queen, you will reveal that your hand contained the prediction since the beginning. Everybody understands that you could not change anything because you ask the spectator to focus on your
Note that in one case she chooses the picture cards and she decides which group to throw in the air; in the other case, the picture cards go to you and you are the one throwing them in the air.
hand. t You will now use a simple and quick equivoque to guide
She replies «female.»
She replies «male.»
«OK for female; males are
«OK for males; I throw
eliminated. You throw the
them in the air and they
queens above your head
are
and only one falls back,
riddance. We are left with
into your head.
the queens. Choose the one
the spectator all the way to the queens. Here is the progression of this equivoque, with the script. «In a deck o f playing cards， if I gave you a choice between picture cards and number cards, which one would you choose?»
queen is it?»
Which
eliminated,
good
that you want Do you have one in mind? Which queen is it?»
114
115
She replies «pz*ctMre.»
She replies «number.»
« OK,
cards;
« OKf number cards; they
are
are for you, and I keep the
picture
number eliminated.
picture cards.
Picture cards can be male
Picture cards can be male
(king,
(king,
(queen). «Use my left fist as a point on which to focus, it will help you forget the interferences^
cards
jack)
or female
Which
group
jack)
(queen).
or female
Which
group
would you like to throw in
would you like me to
the air: male or female?»
throw in the air: male or female? »
Here you create a reason to focus on your left fist. If the equivoque ends up on a red queen, you will reveal that your hand contained the prediction since the beginning. Everybody understands that you could not change anything because you ask the spectator to focus on your
Note that in one case she chooses the picture cards and she decides which group to throw in the air; in the other case, the picture cards go to you and you are the one throwing them in the air.
hand. t You will now use a simple and quick equivoque to guide
She replies «female.»
She replies «male.»
«OK for female; males are
«OK for males; I throw
eliminated. You throw the
them in the air and they
queens above your head
are
and only one falls back,
riddance. We are left with
into your head.
the queens. Choose the one
the spectator all the way to the queens. Here is the progression of this equivoque, with the script. «In a deck o f playing cards， if I gave you a choice between picture cards and number cards, which one would you choose?»
queen is it?»
Which
eliminated,
good
that you want Do you have one in mind? Which queen is it?»
114
115
The spectator announces the queen of her choice and the equivoque is over. The revelation now depends on the suit of the card. Let's see all four scenarios. If the spectator chose the queen of dubs: «СЖ,
fs your
choice, the queen o f clubs. You have chosen the picture cards, you have chosen the queens and you have chosen the queen of clubs. You were free and this is now your card. You have it in your mind, and you also have something in your hands. The paper ball that you caught at the beginning. Can you please unfold it and tell us what is inside?» If the spectator chose the queen of diamonds: «OK, that is your choice, the queen o f diamonds. You have chosen the Open your left hand, unfold the card so that only the
picture cards, you have chosen the queens and you have chosen
back is visible and the heart index is at the top. Turn the
the queen o f diamonds. You made this choice freely, while
card around, holding the card by its bottom left comer
focusing on my hand. I think the two o f us have a very good
with your left hand, thus hiding the diamond index.
connection, because I have been holding a card in my hand since the beginning.» Open your left hand, unfold the card so that only the back is visible and the diamond index is at the top. Turn the card around, holding the card by its bottom left corner with your left hand, thus hiding the heart index. If the spectator chose the queen of hearts: « 0 尺 ，
fs
your choice, the queen o f hearts. You have chosen the picture cards, you have chosen the queens and you have chosen the queen o f hearts. You made this choice freely, while focusing on my hand. I think the two o f us have a very good connection, because I have been holding a card in my hand since the beginning.»
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116
.i
k
The spectator announces the queen of her choice and the equivoque is over. The revelation now depends on the suit of the card. Let's see all four scenarios. If the spectator chose the queen of dubs: «СЖ,
fs your
choice, the queen o f clubs. You have chosen the picture cards, you have chosen the queens and you have chosen the queen of clubs. You were free and this is now your card. You have it in your mind, and you also have something in your hands. The paper ball that you caught at the beginning. Can you please unfold it and tell us what is inside?» If the spectator chose the queen of diamonds: «OK, that is your choice, the queen o f diamonds. You have chosen the Open your left hand, unfold the card so that only the
picture cards, you have chosen the queens and you have chosen
back is visible and the heart index is at the top. Turn the
the queen o f diamonds. You made this choice freely, while
card around, holding the card by its bottom left comer
focusing on my hand. I think the two o f us have a very good
with your left hand, thus hiding the diamond index.
connection, because I have been holding a card in my hand since the beginning.» Open your left hand, unfold the card so that only the back is visible and the diamond index is at the top. Turn the card around, holding the card by its bottom left corner with your left hand, thus hiding the heart index. If the spectator chose the queen of hearts: « 0 尺 ，
fs
your choice, the queen o f hearts. You have chosen the picture cards, you have chosen the queens and you have chosen the queen o f hearts. You made this choice freely, while focusing on my hand. I think the two o f us have a very good connection, because I have been holding a card in my hand since the beginning.»
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k
If the spectator chose the queen of spades: « OK, that is
Final notes
your choice, the queen o f spades. In general, people who choose a queen (especially the queen o f spades) are people with an
I have decided that the queen of spades would the less
original thought process and that is exactly what I need for
«special» case because my experience showed me that
what I want to show now.»
this was the least frequently named suit. This observation can vary depending on your style, your wording and
Personally, I prefer the case of the queen of clubs because it takes place in the head of the spectator, then in her hands. The two outs corresponding to the red queens are also interesting because the staging (you holding your fist and the spectator focusing on it) is visually interesting and it remains a very direct revelation. The case of the
your audience. I would strongly recommend that you keep track of the spectator’s choice every time. With time, you may notice that one particular suit is less popular than another and you could decide to make it the least «special» case.
queen of spades does not bother me because I have never announced that I would make a prediction. This procedure is supposedly just a quality test of the connection with the spectator. In three cases out of four, you will have a strong revelation to do; in one case out of four, your reaction remains positive and flattering for the spectator. Regardless of the case in which you end up, finish by saying: «It looks like we have a very good mental connection! Please join me on stage.»
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If the spectator chose the queen of spades: « OK, that is
Final notes
your choice, the queen o f spades. In general, people who choose a queen (especially the queen o f spades) are people with an
I have decided that the queen of spades would the less
original thought process and that is exactly what I need for
«special» case because my experience showed me that
what I want to show now.»
this was the least frequently named suit. This observation can vary depending on your style, your wording and
Personally, I prefer the case of the queen of clubs because it takes place in the head of the spectator, then in her hands. The two outs corresponding to the red queens are also interesting because the staging (you holding your fist and the spectator focusing on it) is visually interesting and it remains a very direct revelation. The case of the
your audience. I would strongly recommend that you keep track of the spectator’s choice every time. With time, you may notice that one particular suit is less popular than another and you could decide to make it the least «special» case.
queen of spades does not bother me because I have never announced that I would make a prediction. This procedure is supposedly just a quality test of the connection with the spectator. In three cases out of four, you will have a strong revelation to do; in one case out of four, your reaction remains positive and flattering for the spectator. Regardless of the case in which you end up, finish by saying: «It looks like we have a very good mental connection! Please join me on stage.»
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THB PATH Qr THE BOOK TEST E ffe c t A book is borrowed and three spectators join the mentalist. «We are all looking for answers, sometimes even outside o f ourselves. A game as simple as heads or tails can reveal our inclinations and our fears. I f the coin lands on tails, our reaction can be happy or disappointed in anticipation o f the actions that we promised to do; this is a good indicator o f your opinion on the matter. This is the same thing with horoscopes: even if we do not believe in them, we read the banalities written for our star sign and we interpret them in order to help t
ourselves and to guide us toward a decision. In the end, it is not the coin or the horoscope that makes our decisions; we just needed a trigger, a small nudge. This also works with books. Sometimes, a sentence read at random can give us the impulse or the inspiration that we needed to act and find our answers. This is what we will try now.»
4
Each spectator thinks of a word in the borrowed book. When this is done, the book is given back to its owner. «Let’s see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a 121
THB PATH Qr THE BOOK TEST E ffe c t A book is borrowed and three spectators join the mentalist. «We are all looking for answers, sometimes even outside o f ourselves. A game as simple as heads or tails can reveal our inclinations and our fears. I f the coin lands on tails, our reaction can be happy or disappointed in anticipation o f the actions that we promised to do; this is a good indicator o f your opinion on the matter. This is the same thing with horoscopes: even if we do not believe in them, we read the banalities written for our star sign and we interpret them in order to help t
ourselves and to guide us toward a decision. In the end, it is not the coin or the horoscope that makes our decisions; we just needed a trigger, a small nudge. This also works with books. Sometimes, a sentence read at random can give us the impulse or the inspiration that we needed to act and find our answers. This is what we will try now.»
4
Each spectator thinks of a word in the borrowed book. When this is done, the book is given back to its owner. «Let’s see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a 121
1
question that you may have in your life. A simple question
o f those around you. Know that they are ready to help, that this
triggered by this word, a question about your future in the next
project will be a success and that it will make you travel
few months.»
overseas.
Thementalistfocusesonthethreespectators.
Finally, I think that the third person thinks o f the verb Return.
«Don/t try to help by giving me clues, don't give anything away and we will try to share these words mentally.»
Again, this is a strong coincidence for this person, or maybe the right word knew how to find you. You don’t want to go back to a certain person who hurt you recently. Last month. She is a
The mentalist turns to the first spectator and tells him that he can see an R in his word. The first spectator confirms that this is correct. The mentalist turns to the second spectator and tells him that he can see a short
friend ... no, sorry, she is a member o f your family. She regrets that she accidentally vexed you and she does not dare making the first step toward you in order to rebuild your relationship. You will both gain from it if you return to her and make peace.
word for him, maybe five or six letters. The second spectator confirms that this is correct The mentalist turns
The word Hour, and the promise o f a successful potential The
to the third spectator and tells him that he is not thinking
word Stress, and the support from your dose ones. The word
of an object. The third spectator confirms that this is
Return, and a relationship to build from new, healthier
correct.
foundations.»
The mentalist invites the three spectators to sit on the
The mentalist turns toward the first spectator and says:
chair behind them^then he faces the audience.
«If I guessed your word correctly and that you understood the
«1 think that one o f them is thinking o f the word Hour. If you think o f the word Hour, that is a good thing. You could interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential
answer, please stand up and go back to the audience while they applaud уоњ» The first spectator stands up, smiles and joins the audience, confirming that the mentalist had correctly guessed his word and answered his question. The mentalist turns toward the second spectator and tells him the, same thing. The second spectator goes back to
I think someone else is thinking o f the word Stress. This person is surprised to have landed on a word that describes their situation with such accuracy. I feel something about a personal project that was not fully realized, because you kept it to yourself and you did not think o f reaching out for the support
122
the audience as well, confirming that the mentalist had correctly guessed his word and answered his question. The same happens with the third spectator. The three words have been guessed correctly and the three answers have been given. 123
1
question that you may have in your life. A simple question
o f those around you. Know that they are ready to help, that this
triggered by this word, a question about your future in the next
project will be a success and that it will make you travel
few months.»
overseas.
Thementalistfocusesonthethreespectators.
Finally, I think that the third person thinks o f the verb Return.
«Don/t try to help by giving me clues, don't give anything away and we will try to share these words mentally.»
Again, this is a strong coincidence for this person, or maybe the right word knew how to find you. You don’t want to go back to a certain person who hurt you recently. Last month. She is a
The mentalist turns to the first spectator and tells him that he can see an R in his word. The first spectator confirms that this is correct. The mentalist turns to the second spectator and tells him that he can see a short
friend ... no, sorry, she is a member o f your family. She regrets that she accidentally vexed you and she does not dare making the first step toward you in order to rebuild your relationship. You will both gain from it if you return to her and make peace.
word for him, maybe five or six letters. The second spectator confirms that this is correct The mentalist turns
The word Hour, and the promise o f a successful potential The
to the third spectator and tells him that he is not thinking
word Stress, and the support from your dose ones. The word
of an object. The third spectator confirms that this is
Return, and a relationship to build from new, healthier
correct.
foundations.»
The mentalist invites the three spectators to sit on the
The mentalist turns toward the first spectator and says:
chair behind them^then he faces the audience.
«If I guessed your word correctly and that you understood the
«1 think that one o f them is thinking o f the word Hour. If you think o f the word Hour, that is a good thing. You could interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential
answer, please stand up and go back to the audience while they applaud уоњ» The first spectator stands up, smiles and joins the audience, confirming that the mentalist had correctly guessed his word and answered his question. The mentalist turns toward the second spectator and tells him the, same thing. The second spectator goes back to
I think someone else is thinking o f the word Stress. This person is surprised to have landed on a word that describes their situation with such accuracy. I feel something about a personal project that was not fully realized, because you kept it to yourself and you did not think o f reaching out for the support
122
the audience as well, confirming that the mentalist had correctly guessed his word and answered his question. The same happens with the third spectator. The three words have been guessed correctly and the three answers have been given. 123
Method
will need a two-euro coin at finger palm in your right hand.
No stooge, no preshow, almost no sleight of hand, the book is really normal and borrowed, making this effect virtually impromptu. This demonstration was inspired by two main elements. First, the way Luke Jermay uses the Hoy principle. Second, a strange self-improvement therapy named «The path of tales,» initiated by the Frenchman Jean-Pascal Debailleul.
Begin by borrowing a book. It can be absolutely any book, on absolutely any subject, but it must have some specific characteristics. It must have a soft cover. Its format must allow you to handle it easily with one hand. It must have text somewhere in the middle of the book, on the left-hand side pages, in a language that everybody will understand. A standard paperback is perfect for this.
Briefly, Jean-Pascal Debailleul suggest that we should take tales (classic fairy tales) and use the archetypes that they contain in order to provide answers to our questions. One of the exercises of this practice consists in taking a book at random, opening it at a random page and reading a random word, sentence or segment. The text is then supposed to resonate with the question of the
Take the book that you are lent and leaf through it casually, as if you were quickly looking at its content. In reality, you are looking for a page on the left-hand side that features text and that is located around the middle of the book. When you find such a page, memorize the first word of the first line. Let's imagine it is the word Hour.
person and to help jthem in their quest. Despite the fact that this therapy does not interest me in itself and that Jean-Pascal Debailleul is not a magician or a mentalist, the ritual with the book instantly made me think of a book test demonstration in which a deeper, personal meaning would have been added for the spectator. On the other side, Luke Jermay has done tremendous work with the Hoy principle, for example with his effect «Touching on Hoy.» I slightly modified the structure of the procedure and I combined it with Jean-Pascal Debailleul's ritual in order to create a triple book test that is impromptu and deeply personal. To perform it, you 124
125
Method
will need a two-euro coin at finger palm in your right hand.
No stooge, no preshow, almost no sleight of hand, the book is really normal and borrowed, making this effect virtually impromptu. This demonstration was inspired by two main elements. First, the way Luke Jermay uses the Hoy principle. Second, a strange self-improvement therapy named «The path of tales,» initiated by the Frenchman Jean-Pascal Debailleul.
Begin by borrowing a book. It can be absolutely any book, on absolutely any subject, but it must have some specific characteristics. It must have a soft cover. Its format must allow you to handle it easily with one hand. It must have text somewhere in the middle of the book, on the left-hand side pages, in a language that everybody will understand. A standard paperback is perfect for this.
Briefly, Jean-Pascal Debailleul suggest that we should take tales (classic fairy tales) and use the archetypes that they contain in order to provide answers to our questions. One of the exercises of this practice consists in taking a book at random, opening it at a random page and reading a random word, sentence or segment. The text is then supposed to resonate with the question of the
Take the book that you are lent and leaf through it casually, as if you were quickly looking at its content. In reality, you are looking for a page on the left-hand side that features text and that is located around the middle of the book. When you find such a page, memorize the first word of the first line. Let's imagine it is the word Hour.
person and to help jthem in their quest. Despite the fact that this therapy does not interest me in itself and that Jean-Pascal Debailleul is not a magician or a mentalist, the ritual with the book instantly made me think of a book test demonstration in which a deeper, personal meaning would have been added for the spectator. On the other side, Luke Jermay has done tremendous work with the Hoy principle, for example with his effect «Touching on Hoy.» I slightly modified the structure of the procedure and I combined it with Jean-Pascal Debailleul's ritual in order to create a triple book test that is impromptu and deeply personal. To perform it, you 124
125
Turn toward the second spectator and force him the same Before you close the book, your right hand drops its
word in the same way. Repeat this sequence with the
palmed coin at the bottom of the spine, where the coin is
third spectator. Now you can let the coin drop in your
squeezed by the two halves of the book you are holding.
right hand. Give the book back to its owner and
Turn toward the first spectator and riffle the book in his
discreetly get rid of the coin by casually placing your
direction, asking him to say
hands in your pockets.
whenever he wants.
Of course, you use the hidden coin as a break in the book
Each of the three spectators is now thinking of the same
to force the page on which you memorize the word. Since
word, Hour. However, everybody (including the three
your left hand still pinches the bottom of the book, the
spectators) thinks that the three words are different and
coin remains invisible. Without looking at the book
that you. don’t know them. You can move one to the
yourself, ask the spectator to read the first word of the
divination phase.
first line silently and to memorize it without telling it to anyone. Close the book.
«Let's see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a question that you may have in your life. A simple question
126
127
Turn toward the second spectator and force him the same Before you close the book, your right hand drops its
word in the same way. Repeat this sequence with the
palmed coin at the bottom of the spine, where the coin is
third spectator. Now you can let the coin drop in your
squeezed by the two halves of the book you are holding.
right hand. Give the book back to its owner and
Turn toward the first spectator and riffle the book in his
discreetly get rid of the coin by casually placing your
direction, asking him to say
hands in your pockets.
whenever he wants.
Of course, you use the hidden coin as a break in the book
Each of the three spectators is now thinking of the same
to force the page on which you memorize the word. Since
word, Hour. However, everybody (including the three
your left hand still pinches the bottom of the book, the
spectators) thinks that the three words are different and
coin remains invisible. Without looking at the book
that you. don’t know them. You can move one to the
yourself, ask the spectator to read the first word of the
divination phase.
first line silently and to memorize it without telling it to anyone. Close the book.
«Let's see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a question that you may have in your life. A simple question
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127
triggered by this word, a question about your future in the next
Turn toward the audience and speak without directing
few months.》
your announcements to any spectator in particular, as if
This way of formulating your request prevent the spectators from thinking things like:
掘
J " 舰 , or
you were merely thinking out loud about the thoughts that you are catching in real time.
breakfast?» It is easier to answer questions about the
«1 think that one o f them is thinking o f the word Hour. If you
future because nobody can verify that you are right.
think o f the word Hour, that is a good thing. You could
«Donft try to help by giving me clues, don't give anything away and we will try to share these words mentally,»
interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential.》
Since each spectator is actually thinking of the same word, this sentence ensures that the three spectators will not react visibly when you talk about the word Hour.
This script is actually directed to each of the three spectators. They know it, because they heard you reveal the word Hour. Each of them thinks he is the only one to
Turn to the first spectator and tell him that you can see an R in his word. The first spectator confirms that this is correct. Turn to the second spectator and tell him that you can see a short word for him, maybe five or six letters. The second spectator confirms that this is correct. Turn to the third spectator and tell him that he is not thinking of
which you are talking. Since this script actually applies to all three spectators at the same time, this is the most general revelation of the three. You are free to modify this script or to improvise. Just know how to keep it blurry enough (yet positive) so that each of the three spectators can find himself in your revelation.
an object. The third spectator confirms that this is correct. By doing this, you reinforce the impression that the three
Continue with the next two revelations:
words are different and you demonstrate that you are
«1 think someone else is thinking o f the word Stress. This
able to divine things about the spectators’ choices. Of
person is surprised to have landed on a word that describes
course, you will have to improvise these three attributes
their situation with such accuracy. I feel something about a
(letter, number of letters, nature of the word) depending
personal project that was not fully realized, because you kept it
on the word that you forced. This phase is optional.
to yourself and you did not think o f reaching out for the
Invite the three spectators to sit on the chair behind them. This will serve as a confirmation later, after the revelations that you are about to make.
128
support o f those around you. Know that they are ready to help, that this project will be a success and that it will make you travel overseas.
129
triggered by this word, a question about your future in the next
Turn toward the audience and speak without directing
few months.》
your announcements to any spectator in particular, as if
This way of formulating your request prevent the spectators from thinking things like:
掘
J " 舰 , or
you were merely thinking out loud about the thoughts that you are catching in real time.
breakfast?» It is easier to answer questions about the
«1 think that one o f them is thinking o f the word Hour. If you
future because nobody can verify that you are right.
think o f the word Hour, that is a good thing. You could
«Donft try to help by giving me clues, don't give anything away and we will try to share these words mentally,»
interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential.》
Since each spectator is actually thinking of the same word, this sentence ensures that the three spectators will not react visibly when you talk about the word Hour.
This script is actually directed to each of the three spectators. They know it, because they heard you reveal the word Hour. Each of them thinks he is the only one to
Turn to the first spectator and tell him that you can see an R in his word. The first spectator confirms that this is correct. Turn to the second spectator and tell him that you can see a short word for him, maybe five or six letters. The second spectator confirms that this is correct. Turn to the third spectator and tell him that he is not thinking of
which you are talking. Since this script actually applies to all three spectators at the same time, this is the most general revelation of the three. You are free to modify this script or to improvise. Just know how to keep it blurry enough (yet positive) so that each of the three spectators can find himself in your revelation.
an object. The third spectator confirms that this is correct. By doing this, you reinforce the impression that the three
Continue with the next two revelations:
words are different and you demonstrate that you are
«1 think someone else is thinking o f the word Stress. This
able to divine things about the spectators’ choices. Of
person is surprised to have landed on a word that describes
course, you will have to improvise these three attributes
their situation with such accuracy. I feel something about a
(letter, number of letters, nature of the word) depending
personal project that was not fully realized, because you kept it
on the word that you forced. This phase is optional.
to yourself and you did not think o f reaching out for the
Invite the three spectators to sit on the chair behind them. This will serve as a confirmation later, after the revelations that you are about to make.
128
support o f those around you. Know that they are ready to help, that this project will be a success and that it will make you travel overseas.
129
1
Finally, I think that the third person thinks o f the verb Return.
Since you announced the word he was thinking about
Again, this is a strong coincidence for this person, or maybe the
and that your answer to this word is general and easy to
right word knew how to find you. You don't want to go back to
understand, the first spectator stands up and joins the
a certain person who hurt you recently. Last month. She is a
audience. His action is a confirmation of your revelation
friend ... no, sorry, she is a member o f your family. She regrets
and a trigger for the audience's applauds. The brilliant
that she accidentally vexed you and she does not dare making
idea of having each spectator confirmed separately comes
the first step toward you in order to rebuild your relationship.
from Wayne Dobson.
You will both gain from it if you return to her and make peace.»
Turn toward the second spectator and repeat the same
As you can see, these revelations communicate the idea
sequence. He stands up and goes back to the audience.
that you were able to divine personal things and that you
The same happens with the third and last spectator.
are encouraging the person to move toward a positive solution. These scripts are directed at nobody because nobody is thinking of the words Stress and Return, but the audience does not know this. As for the three spectators, they all think that you are talking to one of the other two spectators.
Final notes If one of the spectators does not confirm your revelation and does not go back to the audience, don’t worry. Explain that you may have had some trouble divining his
《 The word Hour, and the promise o f a successful potential. The
word and offer to start again quickly. You can then force
word Stress, and the-support from your close ones. The word
him a new word in a book then guess it, or perform a
Return, and a relationship to build from new, healthier
classic book test effect like my Babel book test, or ask the
foundations^
spectator to write any word he is thinking of (a special
It is important to recap the words and divined themes, because the three spectators must remember that you
notepad or a center tear will then allow you to secretly gain knowledge of his word).
managed to reveal the word Hour, the word they are all thinking about. Turn toward the first spectator and say: «^/7 guessed your word correctly and that you understood the answer, please stand up and go back to the audience while they applaud you.»
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1
Finally, I think that the third person thinks o f the verb Return.
Since you announced the word he was thinking about
Again, this is a strong coincidence for this person, or maybe the
and that your answer to this word is general and easy to
right word knew how to find you. You don't want to go back to
understand, the first spectator stands up and joins the
a certain person who hurt you recently. Last month. She is a
audience. His action is a confirmation of your revelation
friend ... no, sorry, she is a member o f your family. She regrets
and a trigger for the audience's applauds. The brilliant
that she accidentally vexed you and she does not dare making
idea of having each spectator confirmed separately comes
the first step toward you in order to rebuild your relationship.
from Wayne Dobson.
You will both gain from it if you return to her and make peace.»
Turn toward the second spectator and repeat the same
As you can see, these revelations communicate the idea
sequence. He stands up and goes back to the audience.
that you were able to divine personal things and that you
The same happens with the third and last spectator.
are encouraging the person to move toward a positive solution. These scripts are directed at nobody because nobody is thinking of the words Stress and Return, but the audience does not know this. As for the three spectators, they all think that you are talking to one of the other two spectators.
Final notes If one of the spectators does not confirm your revelation and does not go back to the audience, don’t worry. Explain that you may have had some trouble divining his
《 The word Hour, and the promise o f a successful potential. The
word and offer to start again quickly. You can then force
word Stress, and the-support from your close ones. The word
him a new word in a book then guess it, or perform a
Return, and a relationship to build from new, healthier
classic book test effect like my Babel book test, or ask the
foundations^
spectator to write any word he is thinking of (a special
It is important to recap the words and divined themes, because the three spectators must remember that you
notepad or a center tear will then allow you to secretly gain knowledge of his word).
managed to reveal the word Hour, the word they are all thinking about. Turn toward the first spectator and say: «^/7 guessed your word correctly and that you understood the answer, please stand up and go back to the audience while they applaud you.»
130
131
COUPLS сонгисг Effect The mentalist is standing behind a table. He invites a couple to sit at the table, in front of each other. After asking about the circumstances of their first meeting and about the length of their relationship, the mentalist takes a strange object that he places on the table. The object is a wooden model of a hand, and it is holding a small envelope.
133
COUPLS сонгисг Effect The mentalist is standing behind a table. He invites a couple to sit at the table, in front of each other. After asking about the circumstances of their first meeting and about the length of their relationship, the mentalist takes a strange object that he places on the table. The object is a wooden model of a hand, and it is holding a small envelope.
133
The mentalist explains that this envelope contains a
Method
certain amount of money that will be won by one of the members of this couple. The hand is placed in front of the
No stooge, no sleight of hand, no force, no nail writer,
husband and the mentalist tells him that he has to slide
and the bank note can be kept as a souvenir.
the hand (and therefore the envelope) toward his wife.
This is a strange effect for me, because I first imagined the
She will then have to do the same thing toward her
image, not the presentation or the method: two people
husband. Both of them keep repeating this exchange.
sitting across from each other, passing an object to each
After a few seconds, the mentalist adds the last rule: any
other until one of them decides to keep it; this choice is
one of them can decide, at any moment, to keep the hand
predicted. First it was an envelope on its own, then a box
and the envelope, therefore winning the amount of
(to
money that is inside.
intriguing, like a mysterious gift), then it became the
After another few seconds, finally the husband decides to
current version: a wooden model of a hand, holding an
keep the wooden hand for himself. The envelope is
envelope. It allows me to preserve the simplicity of the
opened: it contains a single bank note that goes to the
original method, all the while creating a strong visual. A
husband. When he unfolds the bank note, he realizes that
couple sitting across from each other and passing around
it is actually a fake bill with an amount of zero euro!
a wooden hand holding an envelope, that is a striking
make
the
object
more
three-dimensional
and
situation and one that lends itself easily to a memorable But not everything is lost. At the back of the bank note,
photo.
the husband can read the following message: «The bank note will be won by the husband.»
The hand is perfectly normal and you can find it in arts and crafts shops, as well as on the Internet9. The envelope is gaffed to allow two different outs. There is a multitude of systems for this and you can use whichever you prefer. Personally, I use a method by Luke Jermay, -described in his DVD Jermay's Mind. Its big advantage is to be extremely quick to prepare and it requires no glue, cutting or complicated mechanism.
9 Available here: gg.gg/woodhand 134
135
The mentalist explains that this envelope contains a
Method
certain amount of money that will be won by one of the members of this couple. The hand is placed in front of the
No stooge, no sleight of hand, no force, no nail writer,
husband and the mentalist tells him that he has to slide
and the bank note can be kept as a souvenir.
the hand (and therefore the envelope) toward his wife.
This is a strange effect for me, because I first imagined the
She will then have to do the same thing toward her
image, not the presentation or the method: two people
husband. Both of them keep repeating this exchange.
sitting across from each other, passing an object to each
After a few seconds, the mentalist adds the last rule: any
other until one of them decides to keep it; this choice is
one of them can decide, at any moment, to keep the hand
predicted. First it was an envelope on its own, then a box
and the envelope, therefore winning the amount of
(to
money that is inside.
intriguing, like a mysterious gift), then it became the
After another few seconds, finally the husband decides to
current version: a wooden model of a hand, holding an
keep the wooden hand for himself. The envelope is
envelope. It allows me to preserve the simplicity of the
opened: it contains a single bank note that goes to the
original method, all the while creating a strong visual. A
husband. When he unfolds the bank note, he realizes that
couple sitting across from each other and passing around
it is actually a fake bill with an amount of zero euro!
a wooden hand holding an envelope, that is a striking
make
the
object
more
three-dimensional
and
situation and one that lends itself easily to a memorable But not everything is lost. At the back of the bank note,
photo.
the husband can read the following message: «The bank note will be won by the husband.»
The hand is perfectly normal and you can find it in arts and crafts shops, as well as on the Internet9. The envelope is gaffed to allow two different outs. There is a multitude of systems for this and you can use whichever you prefer. Personally, I use a method by Luke Jermay, -described in his DVD Jermay's Mind. Its big advantage is to be extremely quick to prepare and it requires no glue, cutting or complicated mechanism.
9 Available here: gg.gg/woodhand 134
135
You will also need a souvenir bank note of zero euro.
and say that the envelope contains a certain amount of
These bank notes can often be purchased in touristic
money. It is true, zero euro is a certain amount of money.
areas. I have also put the bill that I use online so you can
Explain the game (they must keep passing on the object
download the file here: gg.gg/eurozero. You can then
to each other, without stopping). After a few seconds of
print it at home because this bill does not need to be
this, add that one of them can keep the hand and the
printed on the same paper as real money.
money. If you have chosen the right couple, the dynamic
I prefer to only print one side of the bill and to leave the
can now become very interesting and it is often an
other side blank, so I can use it to write the prediction. At
opportunity to play with them.
the back of one bill, write down «The bank note will be won
When one of them decides to keep the hand, take the
by the wife.» At the back of a second bill, write down «The
envelope with your fingertips, open it at the right
bank note will be won by the husbandry Each bill goes into a
compartment, to take the right prediction. The spectator
different compartment in your double out envelope.
unfolds the bank note and they discover that it is a zero-
Couples are not always married, so the prediction could
euro bill, which is often a funny moment in the routine.
also be «He/She will win the bank note.» If you want to be
Finally, have them turn around the bank note so they can
prepared for all types of configuration (married couples,
show the prediction to everyone.
unmarried couples, gay and lesbian couples, or even friends if there is no couple present), a more general prediction would be «The person sitting will win the bill») in this case, you ask one spectator to stand at the table and the other one to sit at the table. Place the envelope in the wooden hand and you are ready to go.
To perform the effect, invite a couple to join you at the table and talk a little bit with them, like you would do with new people that you meet at a party. After this small chat, take the wooden hand, put it in front of one of them
136
137
You will also need a souvenir bank note of zero euro.
and say that the envelope contains a certain amount of
These bank notes can often be purchased in touristic
money. It is true, zero euro is a certain amount of money.
areas. I have also put the bill that I use online so you can
Explain the game (they must keep passing on the object
download the file here: gg.gg/eurozero. You can then
to each other, without stopping). After a few seconds of
print it at home because this bill does not need to be
this, add that one of them can keep the hand and the
printed on the same paper as real money.
money. If you have chosen the right couple, the dynamic
I prefer to only print one side of the bill and to leave the
can now become very interesting and it is often an
other side blank, so I can use it to write the prediction. At
opportunity to play with them.
the back of one bill, write down «The bank note will be won
When one of them decides to keep the hand, take the
by the wife.» At the back of a second bill, write down «The
envelope with your fingertips, open it at the right
bank note will be won by the husbandry Each bill goes into a
compartment, to take the right prediction. The spectator
different compartment in your double out envelope.
unfolds the bank note and they discover that it is a zero-
Couples are not always married, so the prediction could
euro bill, which is often a funny moment in the routine.
also be «He/She will win the bank note.» If you want to be
Finally, have them turn around the bank note so they can
prepared for all types of configuration (married couples,
show the prediction to everyone.
unmarried couples, gay and lesbian couples, or even friends if there is no couple present), a more general prediction would be «The person sitting will win the bill») in this case, you ask one spectator to stand at the table and the other one to sit at the table. Place the envelope in the wooden hand and you are ready to go.
To perform the effect, invite a couple to join you at the table and talk a little bit with them, like you would do with new people that you meet at a party. After this small chat, take the wooden hand, put it in front of one of them
136
137
~ ~ Г
A BBTTS^ ST04Y I
When I started magie, I was quickly told about an interesting psychological technique. It consisted in recapping what had just happened, and in modifying reality slightly so that the effect would seem even more impossible. Let's imagine that you are using a deck of cards that is arranged for an effect. You perform a false shuffle then you give the deck to a spectator so that he cuts it. At the end of the effect, you could then say: «We shuffled and cut the deck.» This announcement is true in the sense that «We» includes yourself and the spectator. You shuffled (falsely) and he cut; therefore you (together) shuffled and cut. To push things even further, you could say: «You shuffled and cut the dech» If your false shuffle was convincing, the spectator will not worry about rectifying the identity of the person who shuffled. This idea applies to various effects (if not all), whether it is card magic, coin routines, mentalism, etc. This will allow you to make a spectator believe that you did not touch a prop (although you did), that he did such and such action (although he did not do it completely or at all), or that his choice was free (although you imposed limits on it). To summarize: something happens, then you recap what happened by lying partially or totally, then the audience goes home remembering the «false» version that you planted in their mind.
139
~ ~ Г
A BBTTS^ ST04Y I
When I started magie, I was quickly told about an interesting psychological technique. It consisted in recapping what had just happened, and in modifying reality slightly so that the effect would seem even more impossible. Let's imagine that you are using a deck of cards that is arranged for an effect. You perform a false shuffle then you give the deck to a spectator so that he cuts it. At the end of the effect, you could then say: «We shuffled and cut the deck.» This announcement is true in the sense that «We» includes yourself and the spectator. You shuffled (falsely) and he cut; therefore you (together) shuffled and cut. To push things even further, you could say: «You shuffled and cut the dech» If your false shuffle was convincing, the spectator will not worry about rectifying the identity of the person who shuffled. This idea applies to various effects (if not all), whether it is card magic, coin routines, mentalism, etc. This will allow you to make a spectator believe that you did not touch a prop (although you did), that he did such and such action (although he did not do it completely or at all), or that his choice was free (although you imposed limits on it). To summarize: something happens, then you recap what happened by lying partially or totally, then the audience goes home remembering the «false» version that you planted in their mind.
139
procedure of the effect disappear when it is time to tell The problem is that I do not agree with this theory. I think
the anecdote.
it works but only to some extent, and it has two major
I don't think this is due to my immense power of
flaws.
influence on people. I think this is due to a very specific,
First, it is based on the principle that you know how to plant an idea in the mind of the spectator. In reality, this is far from being the easiest thing in the world. Unfortunately, most of us (me included) overestimate their ability to influence the audience.
social, psychological behavior from the person who tells the story. When you talk about a dream you had or a movie you saw or a book you read, you have an audience: people are listening to you. Telling a story in from of people is like a small social show. The story is not the only thing that matters here. As the narrator, you
Second, instead of betting on your power of influence,
want to captivate your audience and to avoid boring
this theory could exploit another psychological trait that
them. Every time you tell a story, a part of your social
is common in all of the spectators. This is what we will
status is at stake. Nobody wants to tell a joke and get no
discuss here.
laugh, or tell a story and engage nobody. To increase our chances of being interesting to our
Let’s take the example of the effect «A discreet woman,»
audience, we tend to make things better, to ignore certain
previously described in this book. The reality of this
boring details and to amplify what is the main core of the
effect is that I use ћп equivoque in three steps (picture or
story. This is a normal process, even though it reveals
number, male or female, suit of the queen) to guide the
something
spectator toward one card, then I reveal this card. Now,
psychology: we sometimes prefer to distort reality in
imagine that you are a spectator in the room and that you
order to be more interesting, instead of telling the exact
witness the effect. Later, people may ask you how the
truth and risk boring people or decreasing our social
show was. In this situation, the spectator will tend to talk
status. It is thanks to this phenomenon that we jumped
about the effect in the following way: «A spectotor
med
for a ten*»meter high cliff (it was actually just two-meter
any card and it was written on a paper that she was holdings
high), that we pulled an all-nighter to finish a project
The equivoque procedure disappears from the anecdote.
(actually we still managed to sleep three hours), and that
This
we met at random in a park (actually we had first met
is just
one
example
and
I
而
witnessed
this
phenomenon on several occasions: key elements from the
140
that
is
not
very
flattering
about
our
online). The best story always wins.
141
procedure of the effect disappear when it is time to tell The problem is that I do not agree with this theory. I think
the anecdote.
it works but only to some extent, and it has two major
I don't think this is due to my immense power of
flaws.
influence on people. I think this is due to a very specific,
First, it is based on the principle that you know how to plant an idea in the mind of the spectator. In reality, this is far from being the easiest thing in the world. Unfortunately, most of us (me included) overestimate their ability to influence the audience.
social, psychological behavior from the person who tells the story. When you talk about a dream you had or a movie you saw or a book you read, you have an audience: people are listening to you. Telling a story in from of people is like a small social show. The story is not the only thing that matters here. As the narrator, you
Second, instead of betting on your power of influence,
want to captivate your audience and to avoid boring
this theory could exploit another psychological trait that
them. Every time you tell a story, a part of your social
is common in all of the spectators. This is what we will
status is at stake. Nobody wants to tell a joke and get no
discuss here.
laugh, or tell a story and engage nobody. To increase our chances of being interesting to our
Let’s take the example of the effect «A discreet woman,»
audience, we tend to make things better, to ignore certain
previously described in this book. The reality of this
boring details and to amplify what is the main core of the
effect is that I use ћп equivoque in three steps (picture or
story. This is a normal process, even though it reveals
number, male or female, suit of the queen) to guide the
something
spectator toward one card, then I reveal this card. Now,
psychology: we sometimes prefer to distort reality in
imagine that you are a spectator in the room and that you
order to be more interesting, instead of telling the exact
witness the effect. Later, people may ask you how the
truth and risk boring people or decreasing our social
show was. In this situation, the spectator will tend to talk
status. It is thanks to this phenomenon that we jumped
about the effect in the following way: «A spectotor
med
for a ten*»meter high cliff (it was actually just two-meter
any card and it was written on a paper that she was holdings
high), that we pulled an all-nighter to finish a project
The equivoque procedure disappears from the anecdote.
(actually we still managed to sleep three hours), and that
This
we met at random in a park (actually we had first met
is just
one
example
and
I
而
witnessed
this
phenomenon on several occasions: key elements from the
140
that
is
not
very
flattering
about
our
online). The best story always wins.
141
Most people project an image of themselves that they refine and adjust along the way. Distorting reality to
Another aspect of people's memories is more emotional
obtain a better story is one part of this process.
but as important as the previous one. When people talk about a magician that they saw, I usually notice two
OK, but how does it apply to magic? We can exploit this behavior for our effects. Magic and mentalism are far from being perfect, because we do not have real powers. However, what we do can have the appearance of a perfect miracle. When you build an effect, try to imagine what would be th e 《 better story» that people will want to tell later on.
o f any card and it was written on the paper that she was In
magician, and they have forgotten the effects or its details. However, they always remember the emotion that they felt during this experience. I prefer a spectator who remembers laughing, crying, being stunned, over a spectator who can describe in detail the equivoque procedure that I have used. Unfortunately, most effects donrt talk about interesting issues for the audience or
For «A discreet woman,» it would be: «S//e /VeeZy holding!»
things: the spectators have forgotten the name of the
this
case,
the
equivoque
procedure
disappears.
don't have a lot of emotional impact. Again, study your own style, repertoire and presentation. What interesting theme could lend itself to such and such effect? What can you do to create a real connection with
For «Photographic memory,» it could be: «The spectator
the audience? What can you do better so that they leave
freely selected a photo out o f a hundred o f the mentalist's
with a memory charged with the emotions that they felt
memories and his choice was predicted!» Here, the selection
while watching you?
process for the photo is eliminated; it is too long to explain and the result is the only thing that counts. For «Fateful encounter,» it could be: «A couple chose two chairs among five on which to sit, and the result was predicted, down to their first names!» Again, no spectator wants to describe the selection procedure using the envelopes. Look at your repertoire and find a way to structure and perform your effects so that a «better story» can easily emerge later.
142
143
Most people project an image of themselves that they refine and adjust along the way. Distorting reality to
Another aspect of people's memories is more emotional
obtain a better story is one part of this process.
but as important as the previous one. When people talk about a magician that they saw, I usually notice two
OK, but how does it apply to magic? We can exploit this behavior for our effects. Magic and mentalism are far from being perfect, because we do not have real powers. However, what we do can have the appearance of a perfect miracle. When you build an effect, try to imagine what would be th e 《 better story» that people will want to tell later on.
o f any card and it was written on the paper that she was In
magician, and they have forgotten the effects or its details. However, they always remember the emotion that they felt during this experience. I prefer a spectator who remembers laughing, crying, being stunned, over a spectator who can describe in detail the equivoque procedure that I have used. Unfortunately, most effects donrt talk about interesting issues for the audience or
For «A discreet woman,» it would be: «S//e /VeeZy holding!»
things: the spectators have forgotten the name of the
this
case,
the
equivoque
procedure
disappears.
don't have a lot of emotional impact. Again, study your own style, repertoire and presentation. What interesting theme could lend itself to such and such effect? What can you do to create a real connection with
For «Photographic memory,» it could be: «The spectator
the audience? What can you do better so that they leave
freely selected a photo out o f a hundred o f the mentalist's
with a memory charged with the emotions that they felt
memories and his choice was predicted!» Here, the selection
while watching you?
process for the photo is eliminated; it is too long to explain and the result is the only thing that counts. For «Fateful encounter,» it could be: «A couple chose two chairs among five on which to sit, and the result was predicted, down to their first names!» Again, no spectator wants to describe the selection procedure using the envelopes. Look at your repertoire and find a way to structure and perform your effects so that a «better story» can easily emerge later.
142
143
M IK D
IS STILL МУ P L A Y ^ O U H O viticst
Vincent Hedan has presented his unique approach to mentalism everywhere in the world. In 2008, he received the First Prize in Mentalism at the French National Championship. Your mind is still my playground is the second book in this series. With these 11 original routines for close-up and parlour, beginners and professionals will discover simple and direct methods using easy-to-find props and exploring original themes designed to mystify the audience. Now it is your turn to play with the mind of your spectators!
YOtAt^ M II4 D
iS S TILL МУ PLA Y^O U H O
Vincent Hedan
cover photo: Tony Corgann cover & illustrations: Mai Taguay proofreading: David Jones & Raj Madhok
YOtAt^ M II4 D
iS S TILL МУ PLA Y^O U H O
Vincent Hedan
cover photo: Tony Corgann cover & illustrations: Mai Taguay proofreading: David Jones & Raj Madhok
These notes cover a 2-
This lecture, filmed live
hour lecture on close-up
for
and parlor magic.
p resen ts
Penguin
Magie,
V in cen t’ s
mentalism and ideas with new demonstrations and impossible effects.
Pi
is
an
memory effect with the
of poetry, tranquility and
-"
蛮哉
mathematical value.
б
■
decimals of this famous
G s 妬爸落0
Haiku is a pure moment 次 0 飛
impossible
refinement …
■H〇 IIc 1Л
These notes cover a 2-
This lecture, filmed live
hour lecture on close-up
for
and parlor magic.
p resen ts
Penguin
Magie,
V in cen t’ s
mentalism and ideas with new demonstrations and impossible effects.
Pi
is
an
memory effect with the
of poetry, tranquility and
-"
蛮哉
mathematical value.
б
■
decimals of this famous
G s 妬爸落0
Haiku is a pure moment 次 0 飛
impossible
refinement …
■H〇 IIc 1Л
W te o r
cohtehts
INTRODUCTION................................................................. 9 FATEFUL ENCOUNTER....................................................15 MENTAL CLUEDO........................................................... 31 VINTAGE............................................................................. 41 INTACTO............................................................................ 51 PHOTOGRAPHIC MEMORY................... :..................... 65 CHILDREN ARE WONDERFUL...................................... 75 YOUR WIFE IS YOUR WORST ENEMY..........................83 ASTROBOY......................................................................... 89 ASTROALPHABET............................................................ 97 A DISCREET WOMAN....................................................I l l THE PATH OF THE BOOK TEST.................................... 121 COUPLE CONFLICT........................................................133 ABETTER STORY.............................................................139
W te o r
cohtehts
INTRODUCTION................................................................. 9 FATEFUL ENCOUNTER....................................................15 MENTAL CLUEDO........................................................... 31 VINTAGE............................................................................. 41 INTACTO............................................................................ 51 PHOTOGRAPHIC MEMORY................... :..................... 65 CHILDREN ARE WONDERFUL...................................... 75 YOUR WIFE IS YOUR WORST ENEMY..........................83 ASTROBOY......................................................................... 89 ASTROALPHABET............................................................ 97 A DISCREET WOMAN....................................................I l l THE PATH OF THE BOOK TEST.................................... 121 COUPLE CONFLICT........................................................133 ABETTER STORY.............................................................139
тгм о и с п о н When I finished writing Your mind is my playground, I realized that I still had a multitude of ideas for this kind of format. Routines with original themes inspired by literature and cinema, that could be done with simple and direct methods, with few props, and that could be performed on stage or in close-up. It took me some time to choose the ideas that I wanted to collect in this second volume; as with the first one, I often provide the script that I use, followed by a detailed explanation of crucial points to which you have to pay special attention in order for the demonstration to function properly. 《 Fateful encounter》 is the result of my reflection on the famous chair test effect. It is an opportunity for me to discuss this classic and I describe a simple, direct, surefire and completely self-working method that you will be able to perform in all kinds of situations. In «Mental Cluedo», the basic idea with standard playing cards became a visual and entertaining routine using the famous board game. The method is self-working and you can adapt it to other universes, depending on your 4
audience. «Vintage» is a demonstration of the spectator’s luck, and proves that his lucky coin allows him to create an impossible coincidence. Thanks to a principle already
9
тгм о и с п о н When I finished writing Your mind is my playground, I realized that I still had a multitude of ideas for this kind of format. Routines with original themes inspired by literature and cinema, that could be done with simple and direct methods, with few props, and that could be performed on stage or in close-up. It took me some time to choose the ideas that I wanted to collect in this second volume; as with the first one, I often provide the script that I use, followed by a detailed explanation of crucial points to which you have to pay special attention in order for the demonstration to function properly. 《 Fateful encounter》 is the result of my reflection on the famous chair test effect. It is an opportunity for me to discuss this classic and I describe a simple, direct, surefire and completely self-working method that you will be able to perform in all kinds of situations. In «Mental Cluedo», the basic idea with standard playing cards became a visual and entertaining routine using the famous board game. The method is self-working and you can adapt it to other universes, depending on your 4
audience. «Vintage» is a demonstration of the spectator’s luck, and proves that his lucky coin allows him to create an impossible coincidence. Thanks to a principle already
9
used in the first volume of this series, this effect is really
«Astroalphabet» also talks about star signs, but its
easy to do.
explanation unveils a versatile and terribly efficient
«Intacto» is about the same theme and can be performed
method to divine a thought-of word, all the while making
alongside «Vintage.» The spectator's luck continues to
additional revelations on the word and the spectator.
guide him, despite the fact that his choice is free and kept
Designed as an opening trick, «A discreet woman» can
a secret.
also be presented when you need an audience member to
W ith《 Photographic memory,» the spectator handles your
join you on stage and you want to use this moment to
memories in the form of photographs, creating a strong
present a quick and impossible effect.
visual element representing the mechanisms of our
«The path of the book test» is a demonstration with
memory. The final prediction arrives as a surprise and
several phases in which you divine thought-of words
takes an unexpected form.
from a regular, borrowed book. In addition, you guess the
《 Children are wonderful» is an impossible demonstration
spectators7 questions and end up providing correct
using a toy known by everyone, an original method that
answers that will encourage them in their projects.
can be adapted to other effects, and a reflection on ESP
《 Couple conflict》 is an amusing effect involving a couple.
symbols in mentalism.
First based on reciprocity, this money game quickly sees a
The playful title of «Your wife is your worst enemy» (the first theoretical ess孕y in this new tome) actually is an
winner emerging. But you still get the last word, with a prediction that the couple can keep as a souvenir.
opportunity to have a serious discussion about our
«A better story» is the second theoretical essay in this
relationship with the audience. By better understanding
book. In it, we rediscover an old psychological concept
this interaction, we can easily improve the way we do our
and we try to imagine a new approach to better control
shows.
the audience's memories of your performance.
«Astroboy» has no connection to the famous hero by mangaka Osamu Tezuka. In this effect, you explain that
4
you have trained your intuition to find, like a sonar, the person to which you should give the envelope that belongs to her.
10
11
used in the first volume of this series, this effect is really
«Astroalphabet» also talks about star signs, but its
easy to do.
explanation unveils a versatile and terribly efficient
«Intacto» is about the same theme and can be performed
method to divine a thought-of word, all the while making
alongside «Vintage.» The spectator's luck continues to
additional revelations on the word and the spectator.
guide him, despite the fact that his choice is free and kept
Designed as an opening trick, «A discreet woman» can
a secret.
also be presented when you need an audience member to
W ith《 Photographic memory,» the spectator handles your
join you on stage and you want to use this moment to
memories in the form of photographs, creating a strong
present a quick and impossible effect.
visual element representing the mechanisms of our
«The path of the book test» is a demonstration with
memory. The final prediction arrives as a surprise and
several phases in which you divine thought-of words
takes an unexpected form.
from a regular, borrowed book. In addition, you guess the
《 Children are wonderful» is an impossible demonstration
spectators7 questions and end up providing correct
using a toy known by everyone, an original method that
answers that will encourage them in their projects.
can be adapted to other effects, and a reflection on ESP
《 Couple conflict》 is an amusing effect involving a couple.
symbols in mentalism.
First based on reciprocity, this money game quickly sees a
The playful title of «Your wife is your worst enemy» (the first theoretical ess孕y in this new tome) actually is an
winner emerging. But you still get the last word, with a prediction that the couple can keep as a souvenir.
opportunity to have a serious discussion about our
«A better story» is the second theoretical essay in this
relationship with the audience. By better understanding
book. In it, we rediscover an old psychological concept
this interaction, we can easily improve the way we do our
and we try to imagine a new approach to better control
shows.
the audience's memories of your performance.
«Astroboy» has no connection to the famous hero by mangaka Osamu Tezuka. In this effect, you explain that
4
you have trained your intuition to find, like a sonar, the person to which you should give the envelope that belongs to her.
10
11
The props remain simple and easy1to find. In some cases, I even provide you with a link to a website distributing the mentioned prop. These links are shortened to make it easier for you, you just need to copy them in your Internet browser (sometimes adding http:// in front of the link).
This book is a collection of effects that you can easily adapt and integrate to your arsenal, with interesting situations and themes that will engage your audience. The spirit of the first volume remains unchanged Respect your audience, treat each audience member as a new friend and know how to create a relationship that will serve the experience you are sharing with the people around you.
Vincent Hedan Paris, 2017
4
12
The props remain simple and easy1to find. In some cases, I even provide you with a link to a website distributing the mentioned prop. These links are shortened to make it easier for you, you just need to copy them in your Internet browser (sometimes adding http:// in front of the link).
This book is a collection of effects that you can easily adapt and integrate to your arsenal, with interesting situations and themes that will engage your audience. The spirit of the first volume remains unchanged Respect your audience, treat each audience member as a new friend and know how to create a relationship that will serve the experience you are sharing with the people around you.
Vincent Hedan Paris, 2017
4
12
rA T B ru L
в н с о и н ге ^
Effect «When I take the bus or the train and there is nobody sitting next to me, I observe the people looking for a seat and, in my head, I try to imagine who will come and sit next to me. O f course, when I see certain people I really hope that they will come and sit next to me, and for others I pray that they will sit somewhere else. Do you also do this? The spot where you sit is a choice to which most o f us do not pay attention, but it can be very important. During an accident, your position can literally be a question o f life or death. Or you could seat unknowingly next to your soul mate, or your future employer. i
In a moment, I will ask a couple to help me but, before that, I must trust this sealed envelope to someone who will play the part o f destiny.» The mentalist gives the envelope to a spectator in the first row, and a couple from the audience is chosen (let's call them Christian and Katalina). For the moment, they all remain in4 their seat. «As you can see, there are five chairs on stage, numbered from 1 to 5. I also have five small envelopes. Sir, since you are our destiny tonight, you will decide where our couple seats. On the envelope o f your choice, we will write «Woman»; on another,
15
rA T B ru L
в н с о и н ге ^
Effect «When I take the bus or the train and there is nobody sitting next to me, I observe the people looking for a seat and, in my head, I try to imagine who will come and sit next to me. O f course, when I see certain people I really hope that they will come and sit next to me, and for others I pray that they will sit somewhere else. Do you also do this? The spot where you sit is a choice to which most o f us do not pay attention, but it can be very important. During an accident, your position can literally be a question o f life or death. Or you could seat unknowingly next to your soul mate, or your future employer. i
In a moment, I will ask a couple to help me but, before that, I must trust this sealed envelope to someone who will play the part o f destiny.» The mentalist gives the envelope to a spectator in the first row, and a couple from the audience is chosen (let's call them Christian and Katalina). For the moment, they all remain in4 their seat. «As you can see, there are five chairs on stage, numbered from 1 to 5. I also have five small envelopes. Sir, since you are our destiny tonight, you will decide where our couple seats. On the envelope o f your choice, we will write «Woman»; on another,
15
we will write «Man»; then we will write «empty» on the
Once Christian and Katalina have looked at their number,
remaining three. These choices are entirely up to you.»
the mentalist claps his hands. The audience then sees
The mentalist mixes his five small envelopes and the spectator chooses one freely.
Christian and Katalina both moving toward the row of five chairs; Christian seats on chair 4 and Katalina seats on chair 3, next to him!
«Perfect, What do you want to write on this envelope? Woman, Man, or empty?» The spectator announces his choice and the mentalist writes it down on the envelope which is then put aside where everybody can see it. The mentalist mixes his four remaining envelopes and the spectator chooses one; he announces if he wants to w r ite 《Woman,» «Man» or «empty» on it, the mentalist writes down his choice and put it aside on the first envelope. This process continues until «Woman» has been written on an envelope, «Man» on another, and «empty» on the remaining envelopes. «You had a free choice o f the envelopes and a free choice as to what you wanted to write on each o f them. Destiny has made its choices. Christian, Katalina, could you please join me on stage? Christian, here are the five envelopes, please find the one that says «\Voman» and give it to Katalina. Then find the one that says «Man» and keep it for yourself. You can drop the three «empty» envelopes on the floor. In each envelope, there is a number from 1 to 5. Christian, Katalina, open your envelope and look at your number Then, when I clap my hands, please go sit on the chair on which is your number.»
16
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning…》 The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty•••»
17
we will write «Man»; then we will write «empty» on the
Once Christian and Katalina have looked at their number,
remaining three. These choices are entirely up to you.»
the mentalist claps his hands. The audience then sees
The mentalist mixes his five small envelopes and the spectator chooses one freely.
Christian and Katalina both moving toward the row of five chairs; Christian seats on chair 4 and Katalina seats on chair 3, next to him!
«Perfect, What do you want to write on this envelope? Woman, Man, or empty?» The spectator announces his choice and the mentalist writes it down on the envelope which is then put aside where everybody can see it. The mentalist mixes his four remaining envelopes and the spectator chooses one; he announces if he wants to w r ite 《Woman,» «Man» or «empty» on it, the mentalist writes down his choice and put it aside on the first envelope. This process continues until «Woman» has been written on an envelope, «Man» on another, and «empty» on the remaining envelopes. «You had a free choice o f the envelopes and a free choice as to what you wanted to write on each o f them. Destiny has made its choices. Christian, Katalina, could you please join me on stage? Christian, here are the five envelopes, please find the one that says «\Voman» and give it to Katalina. Then find the one that says «Man» and keep it for yourself. You can drop the three «empty» envelopes on the floor. In each envelope, there is a number from 1 to 5. Christian, Katalina, open your envelope and look at your number Then, when I clap my hands, please go sit on the chair on which is your number.»
16
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning…》 The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty•••»
17
The mentalist opens the three envelopes on which is written the word «empty»: they are actually really empty. They can be left with the audience. The spectator continues reading the prediction: «... He will be seated on chair number 4 ...»
Method If you really think about the extremely free conditions under which the effect is performed, you will realize it is impossible. Still, it is completely self-working and it does not require any expensive or secret prop. Finally, it will
The mentalist invites Christian to show his number to
never fail. Everything is made possible by a brilliant
everyone: indeed, he found the number 4 in his envelope!
principle used in «Blindsight,» a different effect created
The spectator continues reading the prediction: «... She
by mentalist Devin Knight. This principle has various
will be seated next to him, on chair number 3.»
applications and I use it here to perform an impossible chair test. Before going over the details of the method,
The mentalist invites Katalina to show her number to everyone: indeed, she found the number 3 in her
let's talk a bit about the classic mentalism effect of the chair test.
envelope! As its name implies, a chair test consists in predicting The spectator finishes reading the prediction: «Together, Christian and Katalina make a lovely couple.» Even the couple's first names are included in the prediction!I I No stooge, no preshow, no switch, no force, and everything can be examined because everything is normal. You can perform this effect anywhere, anytime because the preparation is very quick and simple.
where several spectators will sit. Despite the fact that this is considered to be a classic effect in mentalism, I am convinced that nobody is interested in chair tests. If your only power is to be able to predict where people seat, that is not very impressive. In addition, these effects are often long because you need to sit five spectators on five chairs. Finally, the procedures and methods are often too complicated for the audience and the mentalist, a fact that does not help make the experience entertaining. For all these reasons, I decided to modify a few things in the classic effect and in the method. First, although I use five chairs, I only sit two spectators. It is enough to «prove» your ability to predict their choices, it is much faster and it makes things more theatrical. Second, I provided context, a justification for
18
19
The mentalist opens the three envelopes on which is written the word «empty»: they are actually really empty. They can be left with the audience. The spectator continues reading the prediction: «... He will be seated on chair number 4 ...»
Method If you really think about the extremely free conditions under which the effect is performed, you will realize it is impossible. Still, it is completely self-working and it does not require any expensive or secret prop. Finally, it will
The mentalist invites Christian to show his number to
never fail. Everything is made possible by a brilliant
everyone: indeed, he found the number 4 in his envelope!
principle used in «Blindsight,» a different effect created
The spectator continues reading the prediction: «... She
by mentalist Devin Knight. This principle has various
will be seated next to him, on chair number 3.»
applications and I use it here to perform an impossible chair test. Before going over the details of the method,
The mentalist invites Katalina to show her number to everyone: indeed, she found the number 3 in her
let's talk a bit about the classic mentalism effect of the chair test.
envelope! As its name implies, a chair test consists in predicting The spectator finishes reading the prediction: «Together, Christian and Katalina make a lovely couple.» Even the couple's first names are included in the prediction!I I No stooge, no preshow, no switch, no force, and everything can be examined because everything is normal. You can perform this effect anywhere, anytime because the preparation is very quick and simple.
where several spectators will sit. Despite the fact that this is considered to be a classic effect in mentalism, I am convinced that nobody is interested in chair tests. If your only power is to be able to predict where people seat, that is not very impressive. In addition, these effects are often long because you need to sit five spectators on five chairs. Finally, the procedures and methods are often too complicated for the audience and the mentalist, a fact that does not help make the experience entertaining. For all these reasons, I decided to modify a few things in the classic effect and in the method. First, although I use five chairs, I only sit two spectators. It is enough to «prove» your ability to predict their choices, it is much faster and it makes things more theatrical. Second, I provided context, a justification for
18
19
the demonstration, allowing me to engage the audience
the number 3 on it, insert this paper in the «Woman»
and give meaning to the final revelation. In addition, I
envelope and seal it.
brought rhythm to the prediction, in order to control the revelation and increase its impact. Finally, I use Devin Knight’s principle to obtain a method that is both fooling and self-working, and I added some extra subtleties to further deceive the audience. Here is the method.
On the last small envelope, write down the word «Man.» Take a piece of paper whose size matches the size of the small envelope, write down the number 4 on it, insert this paper in the « Man» envelope and seal it.
You will need five small envelopes (I u s e 《 number 3,» kraft envelopes1, but you can use standard mail envelopes if you prefer), one big envelope for the prediction (I use an A4 format, close to the English letter format), a felt pen (I use a black Sharpie), five chairs, and seven sheets of paper (blank, А4/letter format). It is possible to perform this effect almost impromptu, simply by borrowing the necessary props. Finally, take a full sheet and create your prediction by Number five sheets from 1 to 5 and stick each sheet to the
writing down these four sentences, spacing them out on the paper:
front of a different chair, for example with tape. «The three «empty» envelopes are actually really empty... On three of the small envelopes, write down the word «empty》 on the address side, then seal these three empty
... He will be seated on chair number 4 ...
envelopes.
. . . She will be seated next to him, on chair number 3.
On one of the two remaining small envelopes, write
Together, Christian and Katalina make a lovely couple.»
down the word «Woman.» Take a piece of paper whose size matches the size of the small envelope, write down1
If you want to have the first names of the couple in your finale prediction, arrange to know them in advance. You could go to the couple before the show to chat normally, or ask them if they would be OK joining you on stage
1Available here: gg.gg/kraftl 20
later in the show; you can also ask an organizer (or 21
the demonstration, allowing me to engage the audience
the number 3 on it, insert this paper in the «Woman»
and give meaning to the final revelation. In addition, I
envelope and seal it.
brought rhythm to the prediction, in order to control the revelation and increase its impact. Finally, I use Devin Knight’s principle to obtain a method that is both fooling and self-working, and I added some extra subtleties to further deceive the audience. Here is the method.
On the last small envelope, write down the word «Man.» Take a piece of paper whose size matches the size of the small envelope, write down the number 4 on it, insert this paper in the « Man» envelope and seal it.
You will need five small envelopes (I u s e 《 number 3,» kraft envelopes1, but you can use standard mail envelopes if you prefer), one big envelope for the prediction (I use an A4 format, close to the English letter format), a felt pen (I use a black Sharpie), five chairs, and seven sheets of paper (blank, А4/letter format). It is possible to perform this effect almost impromptu, simply by borrowing the necessary props. Finally, take a full sheet and create your prediction by Number five sheets from 1 to 5 and stick each sheet to the
writing down these four sentences, spacing them out on the paper:
front of a different chair, for example with tape. «The three «empty» envelopes are actually really empty... On three of the small envelopes, write down the word «empty》 on the address side, then seal these three empty
... He will be seated on chair number 4 ...
envelopes.
. . . She will be seated next to him, on chair number 3.
On one of the two remaining small envelopes, write
Together, Christian and Katalina make a lovely couple.»
down the word «Woman.» Take a piece of paper whose size matches the size of the small envelope, write down1
If you want to have the first names of the couple in your finale prediction, arrange to know them in advance. You could go to the couple before the show to chat normally, or ask them if they would be OK joining you on stage
1Available here: gg.gg/kraftl 20
later in the show; you can also ask an organizer (or 21
someone else from the group) to point out a couple
transfer the envelopes one by one from your left hand to
whose first names he knows. Once you have obtained the
your right hand and ask the spectator to say stop
two first names, add them to the last sentence of your
whenever he wants. His choice is really free so you can
prediction. Of course, you can also decide to do without
insist on the fairness of the procedure. However this
the first names, the main effect will still remain very
choice is also not very important so don’t overdo it.
strong.
Once the spectator has chosen his envelope among the
To finish the preparation, you must dry your felt pen so
five, ask him if he wants to write down the word Woman,
that it does not write at all anymore. I explain an
Man or Empty on it. Regardless of the envelope he has
alternative solution in the final notes.
chosen and regardless of the word he wants to write down, take your dry felt pen and «write down» the spectator's choice on the envelope, on top of what you
Let’s see the effect.
wrote down earlier. Since you are really writing down
The beginning of the script aims at giving a context and a
(with a dry felt pen) the spectator’s word, there is no
justification
the
inconsistency in the pen's motions. Once you are done
consequences of a choice, for example where you decide
《 writing down,» put the envelope aside by laying it
to sit. Once the introduction is over, designate one of the
down on the first chair near you, with the writing facing
audience members, he will play the part of destiny and
downward.
to
the
demonstration:
what
are
he is the one you trust with the prediction envelope.
(By pure chance, the spectator will sometimes name the
Designate the couple that you identified earlier and say
same word as the one already written on the chosen
that you need their help but they can stay seated for now.
envelope, when this lucky coincidence occur, take
Show the five numbered chairs. Also show your five small envelopes and mix them. Of course, do not let the audience see that you have already written something on it.
advantage of it by briefly letting the writing be seen. However, be careful not to emphasize this moment too much, otherwise the audience will request to see each envelope.«It is better to simply let what you have just written down be seen, for example when you lay down
When you are done mixing the small envelopes, have one
the envelope. Since I started to perform this effect, I have
chosen by your spectator/destiny. If he is close to you,
always been able to show at least one of the envelopes;
you can fan the envelopes and ask him to touch the one
on several occasions, I was even lucky enough to be able
he wants; if he is too far away from you to do that.
to show all five!)
22
23
someone else from the group) to point out a couple
transfer the envelopes one by one from your left hand to
whose first names he knows. Once you have obtained the
your right hand and ask the spectator to say stop
two first names, add them to the last sentence of your
whenever he wants. His choice is really free so you can
prediction. Of course, you can also decide to do without
insist on the fairness of the procedure. However this
the first names, the main effect will still remain very
choice is also not very important so don’t overdo it.
strong.
Once the spectator has chosen his envelope among the
To finish the preparation, you must dry your felt pen so
five, ask him if he wants to write down the word Woman,
that it does not write at all anymore. I explain an
Man or Empty on it. Regardless of the envelope he has
alternative solution in the final notes.
chosen and regardless of the word he wants to write down, take your dry felt pen and «write down» the spectator's choice on the envelope, on top of what you
Let’s see the effect.
wrote down earlier. Since you are really writing down
The beginning of the script aims at giving a context and a
(with a dry felt pen) the spectator’s word, there is no
justification
the
inconsistency in the pen's motions. Once you are done
consequences of a choice, for example where you decide
《 writing down,» put the envelope aside by laying it
to sit. Once the introduction is over, designate one of the
down on the first chair near you, with the writing facing
audience members, he will play the part of destiny and
downward.
to
the
demonstration:
what
are
he is the one you trust with the prediction envelope.
(By pure chance, the spectator will sometimes name the
Designate the couple that you identified earlier and say
same word as the one already written on the chosen
that you need their help but they can stay seated for now.
envelope, when this lucky coincidence occur, take
Show the five numbered chairs. Also show your five small envelopes and mix them. Of course, do not let the audience see that you have already written something on it.
advantage of it by briefly letting the writing be seen. However, be careful not to emphasize this moment too much, otherwise the audience will request to see each envelope.«It is better to simply let what you have just written down be seen, for example when you lay down
When you are done mixing the small envelopes, have one
the envelope. Since I started to perform this effect, I have
chosen by your spectator/destiny. If he is close to you,
always been able to show at least one of the envelopes;
you can fan the envelopes and ask him to touch the one
on several occasions, I was even lucky enough to be able
he wants; if he is too far away from you to do that.
to show all five!)
22
23
You will repeat this sequence three more times: the
and Katalina both moving toward the row of five chairs;
spectator chooses an envelope, he chooses what he wants
Christian seats on chair 4 and Katalina seats on chair 3,
to write (Woman, Man, Empty), you write it down with
next to him!
the dry pen and you put the envelope aside on the first chair. Of course, the spectator can only say «Woman» once, «Man» once and «Empty» three times. When you are left with only one envelope in your hands, write down the last remaining word on it and lay down this envelope with the others, on the first chair. For you, the method is over. For the audience, the effect is only
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning•••» The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty...»
starting. You open the three envelopes on which is written the Have the couple join you on stage and ask the man to mix the envelopes a little bit. This will prevent some of the most observant spectators from noticing that the
word «empty»: they are actually really empty. They can be left with the audience.
words are not in the order given by your spectator/
The spectator continues reading the prediction: «... He
destiny.
will be seated on chair number 4 ...»
Tell the man to find the «Woman» envelope and to pass it
Invite Christian to show his number to everyone: indeed,
on to his wife. Then he has to find the «Man» envelope
he found the number 4 in his envelope!
and keep it to himself. Finally, he can drop the three
The spectator continues reading the prediction: «... She
«Empty» envelopes on the floor.
will be seated next to him, on chair number 3.»
Continue:
Invite Katalina to show her number to everyone: indeed,
«In each envelope, there is a number from 1 to 5. Christian,
she found the number 3 in her envelope!
Katalina, open your envelope and look at your number. Then,
The spectator finishes reading the prediction: «r〇gef/zer,
when I clap my hands, please go sit on the chair on which is
Christian and Katalina make a lovely couple.»
your number， Once Christian and Katalina have looked at their number, you clap your hands. The audience then sees Christian
24
Final notes 25
You will repeat this sequence three more times: the
and Katalina both moving toward the row of five chairs;
spectator chooses an envelope, he chooses what he wants
Christian seats on chair 4 and Katalina seats on chair 3,
to write (Woman, Man, Empty), you write it down with
next to him!
the dry pen and you put the envelope aside on the first chair. Of course, the spectator can only say «Woman» once, «Man» once and «Empty» three times. When you are left with only one envelope in your hands, write down the last remaining word on it and lay down this envelope with the others, on the first chair. For you, the method is over. For the audience, the effect is only
«It looks like destiny sorted things out in a nice way! Among all the possibilities, you ended up sitting next to each other! Let's have a look at the envelope held by our destiny spectator since the beginning•••» The spectator opens the envelope and pulls a paper out of it then reads it out loud: «The three «empty» envelopes are actually really empty...»
starting. You open the three envelopes on which is written the Have the couple join you on stage and ask the man to mix the envelopes a little bit. This will prevent some of the most observant spectators from noticing that the
word «empty»: they are actually really empty. They can be left with the audience.
words are not in the order given by your spectator/
The spectator continues reading the prediction: «... He
destiny.
will be seated on chair number 4 ...»
Tell the man to find the «Woman» envelope and to pass it
Invite Christian to show his number to everyone: indeed,
on to his wife. Then he has to find the «Man» envelope
he found the number 4 in his envelope!
and keep it to himself. Finally, he can drop the three
The spectator continues reading the prediction: «... She
«Empty» envelopes on the floor.
will be seated next to him, on chair number 3.»
Continue:
Invite Katalina to show her number to everyone: indeed,
«In each envelope, there is a number from 1 to 5. Christian,
she found the number 3 in her envelope!
Katalina, open your envelope and look at your number. Then,
The spectator finishes reading the prediction: «r〇gef/zer,
when I clap my hands, please go sit on the chair on which is
Christian and Katalina make a lovely couple.»
your number， Once Christian and Katalina have looked at their number, you clap your hands. The audience then sees Christian
24
Final notes 25
I chose the words Woman, Man and Empty because they
and «write down» the word WOMAN underneath. Do
have different lengths, and the motions to write them are
not overact this moment, it is mostly an interior
very different. When you write down the word Empty
monologue. When you are done, put the envelope aside
with the dry pen, the audience can see that you are
(or show it to the audience if, by chance, the spectator
writing five letters. When you write down the word Man
had chosen the WOMAN envelope and asked you to
with the dry pen, the audience can see that you are
write down the word WOMAN). Later, when the small
writing three letters. Thanks to these obvious differences,
envelopes have been mixed and seen by the audience,
the audience is less likely to suspect that you are writing
everybody will see your scribbled mistake. If they saw
a different word.
you making a mistake in real time, it reinforces the impression that all the envelopes have been written on in front of them, and not beforehand.
When I perform this effect, I actually use an additional subtlety to further convince the audience that I am really writing in real time. During the preparation, write down «Man» on one of the envelopes, and «Empty» on three other envelopes. However, do not write down «Woman» on the fifth envelope. First, write down EMP, then strike it, then write down WOMAN underneath. Looking at this envelope, one must have the impression that you started to write down EMPTY, that you stopped before the end, stroke it then wrote down WOMAN underneath. During the presentation, follow the description above. Then, when the spectator/destiny tells you to write down the word WOMAN on one of the envelopes, here is what you do. With the dry pen, start by «writing down» the word EMPTY. After writing down the letter P, stop as if you realized that you were being absentminded and you made a mistake, «strike» what you have just written 26
27
I chose the words Woman, Man and Empty because they
and «write down» the word WOMAN underneath. Do
have different lengths, and the motions to write them are
not overact this moment, it is mostly an interior
very different. When you write down the word Empty
monologue. When you are done, put the envelope aside
with the dry pen, the audience can see that you are
(or show it to the audience if, by chance, the spectator
writing five letters. When you write down the word Man
had chosen the WOMAN envelope and asked you to
with the dry pen, the audience can see that you are
write down the word WOMAN). Later, when the small
writing three letters. Thanks to these obvious differences,
envelopes have been mixed and seen by the audience,
the audience is less likely to suspect that you are writing
everybody will see your scribbled mistake. If they saw
a different word.
you making a mistake in real time, it reinforces the impression that all the envelopes have been written on in front of them, and not beforehand.
When I perform this effect, I actually use an additional subtlety to further convince the audience that I am really writing in real time. During the preparation, write down «Man» on one of the envelopes, and «Empty» on three other envelopes. However, do not write down «Woman» on the fifth envelope. First, write down EMP, then strike it, then write down WOMAN underneath. Looking at this envelope, one must have the impression that you started to write down EMPTY, that you stopped before the end, stroke it then wrote down WOMAN underneath. During the presentation, follow the description above. Then, when the spectator/destiny tells you to write down the word WOMAN on one of the envelopes, here is what you do. With the dry pen, start by «writing down» the word EMPTY. After writing down the letter P, stop as if you realized that you were being absentminded and you made a mistake, «strike» what you have just written 26
27
Here is a tip to avoid having to use a dry pen. It requires less preparation and will allow you to perform the effect in an even more impromptu fashion. You will need to train a little bit for this but it is quite simple: use a regular pen and pretend to write, without ever putting any ink on the paper! To make the illusion even more convincing, hold the pen normally but extend your pinky. The tip of the pen will never touch the paper but your pinky is used as a stopper. By doing this, you will have the good distance between your hand and the paper (otherwise you might give the impression that your hand is flying over the paper), and the nail of your pinky will produce a sound similar to the pen's sound.
28
«
Here is a tip to avoid having to use a dry pen. It requires less preparation and will allow you to perform the effect in an even more impromptu fashion. You will need to train a little bit for this but it is quite simple: use a regular pen and pretend to write, without ever putting any ink on the paper! To make the illusion even more convincing, hold the pen normally but extend your pinky. The tip of the pen will never touch the paper but your pinky is used as a stopper. By doing this, you will have the good distance between your hand and the paper (otherwise you might give the impression that your hand is flying over the paper), and the nail of your pinky will produce a sound similar to the pen's sound.
28
«
M£»4r>4t CLUEOO Effect The mentalist shows cards from a game of Cluedo and shuffles them. He also puts a small black envelope on the table. «A murder has been committed and I need the help o f a talented detective to solve the case. Someone with intuition, and a bit o f luck (that is always useful). Sir, would you be our detective? Take the cards please. The first step o f your investigation consists in eliminating the false leads, to avoid heading in the wrong direction from the beginning. In order to do this, deal the cards one by one, faces toward the table, to form a pile. Using your intuition, you can decide to put aside any card at any moment; just push it aside. I want to help you so I can tell you this: at least half o f these cards are false leads.» The spectator therefore deals the cards into a pile on the table, eliminating several of them in the process. «Perfect, I can see that your intuition is flawless. But every detective aho needs a bit o f luck. Take the pile you dealt and now deal it into three regular piles: one pile for the assassin's identity, one for the weapon and one for the location. Perfect, I think we are getting close. Let see the elements o f the crime contained in the envelope. We can see that the murder
31
M£»4r>4t CLUEOO Effect The mentalist shows cards from a game of Cluedo and shuffles them. He also puts a small black envelope on the table. «A murder has been committed and I need the help o f a talented detective to solve the case. Someone with intuition, and a bit o f luck (that is always useful). Sir, would you be our detective? Take the cards please. The first step o f your investigation consists in eliminating the false leads, to avoid heading in the wrong direction from the beginning. In order to do this, deal the cards one by one, faces toward the table, to form a pile. Using your intuition, you can decide to put aside any card at any moment; just push it aside. I want to help you so I can tell you this: at least half o f these cards are false leads.» The spectator therefore deals the cards into a pile on the table, eliminating several of them in the process. «Perfect, I can see that your intuition is flawless. But every detective aho needs a bit o f luck. Take the pile you dealt and now deal it into three regular piles: one pile for the assassin's identity, one for the weapon and one for the location. Perfect, I think we are getting close. Let see the elements o f the crime contained in the envelope. We can see that the murder
31
was committed by the Colonel Mustard, with the pistol, in the kitchen.
Method This effect is completely self-working. At first, I designed
Now let’s see the conclusion o f your investigation.》
it for standard playing cards, then I introduced the
The top card of each of the spectator's piles is turned face
Cluedo theme to make the procedure and the revelation
up: he managed to find the correct assassin, the correct
more entertaining. Of course, you can adapt the idea to
weapon and the correct location!
other cards (Tarot, etc.). Cluedo has the advantage of being a simple game that everybody knows and whose rules can be easily understood. You can find the Cluedo cards in the complete board game, or you can buy separately on the Internet2. You could even borrow them on site if your host has the game on his shelf!
The deck I use (and to which I provided a link) contains duplicates of all the cards. Arrange three cards in the following order, starting from the back: Colonel Mustard, pistol, kitchen. Insert this small packet in the prediction envelope.
2 Available here: gg.gg/cluedol 32
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was committed by the Colonel Mustard, with the pistol, in the kitchen.
Method This effect is completely self-working. At first, I designed
Now let’s see the conclusion o f your investigation.》
it for standard playing cards, then I introduced the
The top card of each of the spectator's piles is turned face
Cluedo theme to make the procedure and the revelation
up: he managed to find the correct assassin, the correct
more entertaining. Of course, you can adapt the idea to
weapon and the correct location!
other cards (Tarot, etc.). Cluedo has the advantage of being a simple game that everybody knows and whose rules can be easily understood. You can find the Cluedo cards in the complete board game, or you can buy separately on the Internet2. You could even borrow them on site if your host has the game on his shelf!
The deck I use (and to which I provided a link) contains duplicates of all the cards. Arrange three cards in the following order, starting from the back: Colonel Mustard, pistol, kitchen. Insert this small packet in the prediction envelope.
2 Available here: gg.gg/cluedol 32
33
Now create a second packet, this time containing fifteen
aside. The position and quantity of these eliminated cards
cards (four weapons, six suspects and seven locations),
have no importance, the spectator just has to deal the top
arranging it in the following order, starting from the
three cards then some cards on top. You can help him by
back: kitchen, pistol, mustard, rest of the packet. You are
telling him: «In my opinion, at least half o f these cards can be
ready.
eliminated, these are suspicious testimonies and leads that are dead ends.» This procedure is more famous under a slightly different form. Usually, the spectator is required to deal and stop before the end, anytime he wants. He can deal cards one by one, two by two or three by three; he can deal them from the top, bottom or center of the deck. The procedure I describe in this Cluedo effect is different (the spectator eliminates cards instead of stopping dealing) but the result is as certain (the top three cards are the ones that you want to force) and as apparently chaotic (the audience feels as if any card could have ended up in the final pile).
Start the effect by putting the envelope on the table. Shuffle the packet without disturbing the top three cards, which is quite easy to do during an overhand shuffle, a riffle shuffle or even a Hindu shuffle. Announce that you will need an intuitive and lucky detective then hand the packet to a spectator. Explain to him that first he will use his intuition to
When the spectator is dealing and eliminating cards, explain to him that he must now rely on his luck to solve the crime. Invite him to take the pile he has just dealt and to deal these cards into three regular piles. One for the assassin, one for the weapon and one for the location. Since the three force cards were under the pile at the beginning*, each will be at the top of a different pile at the end of this dealing procedure.
eliminate false leads. Ask him to deal the cards one by one on the table to form a face down pile. Once he has dealt the top three cards, continue by saying he has to eliminate cards representing false leads by putting them 34
35
Now create a second packet, this time containing fifteen
aside. The position and quantity of these eliminated cards
cards (four weapons, six suspects and seven locations),
have no importance, the spectator just has to deal the top
arranging it in the following order, starting from the
three cards then some cards on top. You can help him by
back: kitchen, pistol, mustard, rest of the packet. You are
telling him: «In my opinion, at least half o f these cards can be
ready.
eliminated, these are suspicious testimonies and leads that are dead ends.» This procedure is more famous under a slightly different form. Usually, the spectator is required to deal and stop before the end, anytime he wants. He can deal cards one by one, two by two or three by three; he can deal them from the top, bottom or center of the deck. The procedure I describe in this Cluedo effect is different (the spectator eliminates cards instead of stopping dealing) but the result is as certain (the top three cards are the ones that you want to force) and as apparently chaotic (the audience feels as if any card could have ended up in the final pile).
Start the effect by putting the envelope on the table. Shuffle the packet without disturbing the top three cards, which is quite easy to do during an overhand shuffle, a riffle shuffle or even a Hindu shuffle. Announce that you will need an intuitive and lucky detective then hand the packet to a spectator. Explain to him that first he will use his intuition to
When the spectator is dealing and eliminating cards, explain to him that he must now rely on his luck to solve the crime. Invite him to take the pile he has just dealt and to deal these cards into three regular piles. One for the assassin, one for the weapon and one for the location. Since the three force cards were under the pile at the beginning*, each will be at the top of a different pile at the end of this dealing procedure.
eliminate false leads. Ask him to deal the cards one by one on the table to form a face down pile. Once he has dealt the top three cards, continue by saying he has to eliminate cards representing false leads by putting them 34
35
Final notes It is possible to have a final coincidence that is even more perfect. Open the envelope: the audience sees that it contains three cards. Each is placed face up in front of the spectator^ piles. He turns over the top card of each of his piles: he found the correct elements of the crime! In addition, his assassin card is in front of yours, his weapon card is in front of yours and his location card is in front of yours! In order to achieve this, prepare the effect as described below and follow the same procedure. When the spectator deals his three piles, watch the end of his elements of the crime: Colonel Mustard, pistol, kitchen.
dealing.
Finally, ask the spectator to turn over the top card of each
If he deals his last card on the last pile, put the first
of his piles: these are the same as the prediction!
prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the second pile, you will need to adjust your prediction. He put his last card on pile number 2, so take your prediction packet and transfer 2 cards from the bottom to the top. In order to do this, you Could casually cut your packet after taking it out of the envelope. Personally, I prefer to fan the three cards between my hands; the bottom two cards are held by my left hand and the top card is held by my right hand.
36
37
Final notes It is possible to have a final coincidence that is even more perfect. Open the envelope: the audience sees that it contains three cards. Each is placed face up in front of the spectator^ piles. He turns over the top card of each of his piles: he found the correct elements of the crime! In addition, his assassin card is in front of yours, his weapon card is in front of yours and his location card is in front of yours! In order to achieve this, prepare the effect as described below and follow the same procedure. When the spectator deals his three piles, watch the end of his elements of the crime: Colonel Mustard, pistol, kitchen.
dealing.
Finally, ask the spectator to turn over the top card of each
If he deals his last card on the last pile, put the first
of his piles: these are the same as the prediction!
prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the second pile, you will need to adjust your prediction. He put his last card on pile number 2, so take your prediction packet and transfer 2 cards from the bottom to the top. In order to do this, you Could casually cut your packet after taking it out of the envelope. Personally, I prefer to fan the three cards between my hands; the bottom two cards are held by my left hand and the top card is held by my right hand.
36
37
usually contains six suspects, four weapons and seven locations, allowing you to create one hundred and sixtyeight different predictions.
Cluedo is such a popular game that it has been adapted to the universes of Star Wars, Harry Potter and others. This gives you the opportunity to customize the effect depending on the audience in front of you.
When I regroup the cards, those in my left hand go over those in my right hand. After this, put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the first pile, you will need to adjust your prediction. He put his last card on pile number 1, so take your prediction packet and transfer 1 card from the bottom to the top. In order to do this, you can use the same technique as before. Then put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position.
Since the cards are normal, you can change your prediction and your force cards every time. Cluedo 38
39
usually contains six suspects, four weapons and seven locations, allowing you to create one hundred and sixtyeight different predictions.
Cluedo is such a popular game that it has been adapted to the universes of Star Wars, Harry Potter and others. This gives you the opportunity to customize the effect depending on the audience in front of you.
When I regroup the cards, those in my left hand go over those in my right hand. After this, put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position. If the spectator deals his last card on the first pile, you will need to adjust your prediction. He put his last card on pile number 1, so take your prediction packet and transfer 1 card from the bottom to the top. In order to do this, you can use the same technique as before. Then put the first prediction card in front of his first pile, your second prediction card in front of his second pile and your third prediction card in front of his third pile. Reveal everything: the cards are matching in position.
Since the cards are normal, you can change your prediction and your force cards every time. Cluedo 38
39
Ш ГА ^В
El Effect
«Imagine if luck allowed you to find the right lottery numbers! The probabilities are extremely low, but if you are the luckiest person here tonight, then maybe... To be as lucky as you can, you will need the help o f a lucky coin. Do you have some pocket change on you? That is already lucky! Choose one o f your coins and put away the others. You chose a one-euro coin? Perfect, this will be your lucky coin. Please join me on stage. We will play a very easy lottery. In order to play, I will write down digits from zero to nine on this sheet o f paper Please hold it behind your back, numbers facing down. Here, take this pen and be careful not to stain your fingers. Behind your back, try to trace a small line on the numbers side and we will take the two numbers that are the closest to your line. Are you done? Г11 take the pen back, thank you. If you were a normal person, the result would be due to chance. But since you have ajucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have. A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
41
Ш ГА ^В
El Effect
«Imagine if luck allowed you to find the right lottery numbers! The probabilities are extremely low, but if you are the luckiest person here tonight, then maybe... To be as lucky as you can, you will need the help o f a lucky coin. Do you have some pocket change on you? That is already lucky! Choose one o f your coins and put away the others. You chose a one-euro coin? Perfect, this will be your lucky coin. Please join me on stage. We will play a very easy lottery. In order to play, I will write down digits from zero to nine on this sheet o f paper Please hold it behind your back, numbers facing down. Here, take this pen and be careful not to stain your fingers. Behind your back, try to trace a small line on the numbers side and we will take the two numbers that are the closest to your line. Are you done? Г11 take the pen back, thank you. If you were a normal person, the result would be due to chance. But since you have ajucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have. A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
41
Do you remember your lucky coin? The chances o f such a
The paper must be opaque enough to prevent anyone
coincidence are extremely low, but with some luck, who
from seeing the digits when looking at the other side. Use
knows... What is the year engraved on your lucky coin?
the regular pen again to trace a hesitating line between
2002!»
zero and two, as if it had been done while holding everything behind your back (this is what the spectator will believe he is doing later). Put the regular pen away,
Method
you will not need it again.
This effect requires some preparation but, once you are
Now you need to collect five coins, all from 2002: a two-
ready, you will never need to prepare again. You will
euro coin, a one-euro coin, a fifty-cent coin, a twenty-cent
need a notepad (I use an A4 format for stage; use the
coin and a ten-cent coin. (Of course, adapt these coins to
format that is the most appropriate to your situation), a
your currency. You need the top four or five coins in your
regular felt pen and a second, identical, dry felt pen. Use
own currency, all dated from 2002.) To succeed in
the regular pen to write down digits from zero to nine on
collecting the correctly dated coins, start by looking in
the sheet of paper, creating two rows of five digits, in the
your own change. If you cannot find all the necessary
order 30617 95284.
coins, ask your close ones. If this still does not succeed in providing all the necessary coins, be aware that you can also buy a full set from 2002 in a coin shop.
You will store these five coins in an index that will stay in your pocket. This index is easy to make and it will only cost you two playing
cards.
Start
by
cutting about a third of the width of a playing card.
42
43
Do you remember your lucky coin? The chances o f such a
The paper must be opaque enough to prevent anyone
coincidence are extremely low, but with some luck, who
from seeing the digits when looking at the other side. Use
knows... What is the year engraved on your lucky coin?
the regular pen again to trace a hesitating line between
2002!»
zero and two, as if it had been done while holding everything behind your back (this is what the spectator will believe he is doing later). Put the regular pen away,
Method
you will not need it again.
This effect requires some preparation but, once you are
Now you need to collect five coins, all from 2002: a two-
ready, you will never need to prepare again. You will
euro coin, a one-euro coin, a fifty-cent coin, a twenty-cent
need a notepad (I use an A4 format for stage; use the
coin and a ten-cent coin. (Of course, adapt these coins to
format that is the most appropriate to your situation), a
your currency. You need the top four or five coins in your
regular felt pen and a second, identical, dry felt pen. Use
own currency, all dated from 2002.) To succeed in
the regular pen to write down digits from zero to nine on
collecting the correctly dated coins, start by looking in
the sheet of paper, creating two rows of five digits, in the
your own change. If you cannot find all the necessary
order 30617 95284.
coins, ask your close ones. If this still does not succeed in providing all the necessary coins, be aware that you can also buy a full set from 2002 in a coin shop.
You will store these five coins in an index that will stay in your pocket. This index is easy to make and it will only cost you two playing
cards.
Start
by
cutting about a third of the width of a playing card.
42
43
Then fold this card in half along the length. Insert a
To perform the effect, ask some audience members to
second card in the first one and stapled the whole thing,
stand up if they have some pocket change on them. Ask
with a staple at each end and a staple in the middle. You
another spectator to point to one of these spectators at
obtain two compartments on each side of this «index,»
random. Invite the designated spectator to choose a
allowing you to store the ten-cent coin, twenty-cent coin,
«lucky coin» among his change. You need him to choose
fifty-cent coin and one-euro coin.
a coin whose value is ten cents or more. If you want to guide him in this direction, say something like: «The more expensive the coin, the luckier it will be!» All this sequence is done while the spectator is still standing in the audience, away from you. Later, the audience will remember that you would have had no way of influencing the spectator or of seeing his coin in advance. When his choice is done, have him put the rest of his change away and ask him the value of his coin. If he still chose a coin whose value is inferior to ten cents, now is the time to encourage him to choose a bigger coin to get more luck. As soon as you know the value of his coin, your right
Place this index, as Well as the two-euro coin and the dry pen, in your right pocket.
hand goes into your pocket to get the corresponding coin (let’s say, the one-euro coin) in the index. In the mean time, ask the spectator to join you, pointing to a spot on
You will also need a table (or a chair, or a stool) on your right side. You are ready.
your left side. The right hand gets out of your pocket, secretly holding the coin and openly holding the dry pen. When the spectator arrives near you, your left hand takes the pen from your right hand and gives it to the spectator. In the same continuing action, your left hand extends toward his coin and you say: «1^ me ZieZp уом
f/n’s " . 》
He gives you his coin (or you take it from him). The left hand will then pretend to transfer this coin to your right hand but will instead secretly keep it, and the right hand 44
45
Then fold this card in half along the length. Insert a
To perform the effect, ask some audience members to
second card in the first one and stapled the whole thing,
stand up if they have some pocket change on them. Ask
with a staple at each end and a staple in the middle. You
another spectator to point to one of these spectators at
obtain two compartments on each side of this «index,»
random. Invite the designated spectator to choose a
allowing you to store the ten-cent coin, twenty-cent coin,
«lucky coin» among his change. You need him to choose
fifty-cent coin and one-euro coin.
a coin whose value is ten cents or more. If you want to guide him in this direction, say something like: «The more expensive the coin, the luckier it will be!» All this sequence is done while the spectator is still standing in the audience, away from you. Later, the audience will remember that you would have had no way of influencing the spectator or of seeing his coin in advance. When his choice is done, have him put the rest of his change away and ask him the value of his coin. If he still chose a coin whose value is inferior to ten cents, now is the time to encourage him to choose a bigger coin to get more luck. As soon as you know the value of his coin, your right
Place this index, as Well as the two-euro coin and the dry pen, in your right pocket.
hand goes into your pocket to get the corresponding coin (let’s say, the one-euro coin) in the index. In the mean time, ask the spectator to join you, pointing to a spot on
You will also need a table (or a chair, or a stool) on your right side. You are ready.
your left side. The right hand gets out of your pocket, secretly holding the coin and openly holding the dry pen. When the spectator arrives near you, your left hand takes the pen from your right hand and gives it to the spectator. In the same continuing action, your left hand extends toward his coin and you say: «1^ me ZieZp уом
f/n’s " . 》
He gives you his coin (or you take it from him). The left hand will then pretend to transfer this coin to your right hand but will instead secretly keep it, and the right hand 44
45
will put down its coin (supposedly the spectator's coin) on the table/chair/stool on your right side, to isolate it until the end. Since this sequence is not a coin change to create an effect, and since nobody knows what is about to happen, you can perform this false transfer calmly. If you are good with coin magie, you already master a variety of techniques adapted to this situation, but refrain from using flourishes or parasites moves, in order to avoid being suspected by the audience. Your left hand still hides the spectator’s coin. When you fetch the notepad on which you previously wrote down the digits, get rid of the coin. Be careful not to let the digits be seen for now. Take the pen back from the spectator, uncap the pen and pretend to write two rows of five digits. Still, do not let them be seen. Ask the spectator to hold this sheet of paper behind his back, horizontally, digits facing down. i Give him the pen and tell him to be careful not to stain his fingers (no risk here...)• He is invited to trace a small line at random, on the numbers side. The spectator does it and you get the pen back from it then put it away.
When the spectator brings the paper in front of him, show the line he is supposed to have traced at random. This line connects the zero and the two. Move on to the final revelation: «If you were a normal person, the result would be due to chance. But since you have a lucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have.
4
A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
46
47
will put down its coin (supposedly the spectator's coin) on the table/chair/stool on your right side, to isolate it until the end. Since this sequence is not a coin change to create an effect, and since nobody knows what is about to happen, you can perform this false transfer calmly. If you are good with coin magie, you already master a variety of techniques adapted to this situation, but refrain from using flourishes or parasites moves, in order to avoid being suspected by the audience. Your left hand still hides the spectator’s coin. When you fetch the notepad on which you previously wrote down the digits, get rid of the coin. Be careful not to let the digits be seen for now. Take the pen back from the spectator, uncap the pen and pretend to write two rows of five digits. Still, do not let them be seen. Ask the spectator to hold this sheet of paper behind his back, horizontally, digits facing down. i Give him the pen and tell him to be careful not to stain his fingers (no risk here...)• He is invited to trace a small line at random, on the numbers side. The spectator does it and you get the pen back from it then put it away.
When the spectator brings the paper in front of him, show the line he is supposed to have traced at random. This line connects the zero and the two. Move on to the final revelation: «If you were a normal person, the result would be due to chance. But since you have a lucky coin, the result will be influenced by your luck and your lucky coin. Let's see what you have.
4
A zero and a two. Out o f all the possible combinations, you got a zero and a two. We could write them down in the order two zero, or zero two. Two zero, zero two. Like 2002.
46
47
Do you remember your lucky coin? The chances o f such a
Final notes
coincidence are extremely low, but with some luck, who knows... What is the year engraved on your lucky coin? 2002!» When you talk about the digits the spectator generated, you must give the impression that you are thinking out
If the spectator has some troubles reading the date on a coin that is too small, you can help him by using the camera on your smartphone; zoom in on his coin to make the date easier to read.
loud, as if you were trying to find meaning in his result. Never touch the coin that you put aside at the beginning.
In Your mind is my playground (the first volume of this
Mention it, point to it, but let the spectator be the one to
series), I suggested an additional subtlety for the dry pen.
take it and look at it.
Using the normal pen, create a small stain on your forefinger, as if you had touched the tip by accident. During the effect, take the dry pen and remove its cap to «write down» the digits. At this moment, pretend to notice that you have just stained your finger and show the ink on your forefinger. This detail will prevent the audience from thinking about a dry pen. Give it to the spectator and tell him to be more careful than you and not to stain his fingers.
Of course, the spectator will go back to his seat holding your coin from 2002 and you will have to find another one. You cannot change it back to his true coin, there are very few chances that it will be from the same year. 4
As an alternative, you can perform «Intacto» (the next effect in this book) as a bet in which the spectator bets «his» one-euro coin; since you win this bet, you get the money and you get to keep your precious coin from 2002.
48
49
Do you remember your lucky coin? The chances o f such a
Final notes
coincidence are extremely low, but with some luck, who knows... What is the year engraved on your lucky coin? 2002!» When you talk about the digits the spectator generated, you must give the impression that you are thinking out
If the spectator has some troubles reading the date on a coin that is too small, you can help him by using the camera on your smartphone; zoom in on his coin to make the date easier to read.
loud, as if you were trying to find meaning in his result. Never touch the coin that you put aside at the beginning.
In Your mind is my playground (the first volume of this
Mention it, point to it, but let the spectator be the one to
series), I suggested an additional subtlety for the dry pen.
take it and look at it.
Using the normal pen, create a small stain on your forefinger, as if you had touched the tip by accident. During the effect, take the dry pen and remove its cap to «write down» the digits. At this moment, pretend to notice that you have just stained your finger and show the ink on your forefinger. This detail will prevent the audience from thinking about a dry pen. Give it to the spectator and tell him to be more careful than you and not to stain his fingers.
Of course, the spectator will go back to his seat holding your coin from 2002 and you will have to find another one. You cannot change it back to his true coin, there are very few chances that it will be from the same year. 4
As an alternative, you can perform «Intacto» (the next effect in this book) as a bet in which the spectator bets «his» one-euro coin; since you win this bet, you get the money and you get to keep your precious coin from 2002.
48
49
!I
1НГАСГ0 Effect The mentalist holds a transparent plastic bag containing about fifty folded papers. «Orw day, while walking atmmd my tidghbcrrhood, a woman walked past me from behind, walking much faster than me. She was almost running and she slightly brushed me on the way. At the very moment she walked past me, I saw a white envelope fall from her pocket. This was a window envelope and I saw bank notes through the little transparent window. By the time the envelope hit the floor, I had kept on walking and I went past it. The woman did not notice anything and she was still far away ahead o f me. I then turned my head around to pick up the envelope and give i
it back to its owner. I was not trying to be a good little Samaritan, I just thought that this was probably a sum o f money that she needed. Before I could reach the envelope, a man walking behind me had taken it. He looked at me and made a sign so I would not say anything. As I continued to walk toward the owner of the envelope (I was going in this direction anyway), the man caught up with me and offered to share the money. I told him that I was not interested and this money would surely be missed by its owner. The man walked away and I saw him catching up with the woman, giving her the money back and point his finger at me. 51
!I
1НГАСГ0 Effect The mentalist holds a transparent plastic bag containing about fifty folded papers. «Orw day, while walking atmmd my tidghbcrrhood, a woman walked past me from behind, walking much faster than me. She was almost running and she slightly brushed me on the way. At the very moment she walked past me, I saw a white envelope fall from her pocket. This was a window envelope and I saw bank notes through the little transparent window. By the time the envelope hit the floor, I had kept on walking and I went past it. The woman did not notice anything and she was still far away ahead o f me. I then turned my head around to pick up the envelope and give i
it back to its owner. I was not trying to be a good little Samaritan, I just thought that this was probably a sum o f money that she needed. Before I could reach the envelope, a man walking behind me had taken it. He looked at me and made a sign so I would not say anything. As I continued to walk toward the owner of the envelope (I was going in this direction anyway), the man caught up with me and offered to share the money. I told him that I was not interested and this money would surely be missed by its owner. The man walked away and I saw him catching up with the woman, giving her the money back and point his finger at me. 51
The woman walked toward me and thanked me. The man had explained to her that we had both found her money and that we caught up with her to give it back to her. Was this woman unlucky for losing this money, or lucky for getting it back? Was the man lucky to have found the money
Method No stooge, no paper switch, no preshow, no sleight of hand, and the spectator really has a free choice at every step.
before me, or unlucky that I convinced him to give it back? Is
This
this story true? (It is.)
«Vintage» (described earlier in the book) because both
Luck is capricious and we don't always draw a good numbers
effect
can
be
performed
alongside
demonstrations talk about luck. Actually, the Spanish movie Intacto inspired the title of this routine. Released in
A spectator is chosen at random.
2001, it focuses on a secret group of people who use luck
«1 would like to put your luck to the test, this time without
as a tool of power. I strongly recommend that you watch
risking any money. Can you please think o f any number
it, the theme is beautifully treated and, of course, many
between one and fifty, without telling anyone? You can change
scenes lend themselves very well to a magic adaptation.
your mind if you want. When you are certain o f your choice,
The preparation for this effect can seem long but it is
join me.»
worth the effort as the effect is very direct and
Once the spectator is standing next to him, the mentalist
impossible. You will also only need to do the preparation once, then you will be set forever. You will need a forcing
mixes the papers in the bag. t «Put your hand in the bag and remove two papers at random
bag; I use Eran Blizovsky’s model3. This bag has three
please. Perfect Now unfold them and show us the numbers.
transparent plastic bag.
separated compartments and it looks just like an ordinary
They are different and none o f them is yours, correct? You will also need pieces of paper folded twice and Now focus on your number, let it be the only thing that you see
numbered. These pieces of paper form three groups. The
in your head, as if it was carved in stone, high as a building.
first group is called the odd group and it contains sixteen
Put your hand in the bag again. This time, take only one paper.
papers, ail showing an odd number between one and
Perfect, keep it in your hands, I don’t want to touch it.
fifty, and they are all different. The third group is called
For the first time, can you please tell us your number? Unfold
the even group and it contains sixteen papers, all
the paper you are holding. It is exactly the same number!» 3 Available here: gg.gg/bageran 52
53
The woman walked toward me and thanked me. The man had explained to her that we had both found her money and that we caught up with her to give it back to her. Was this woman unlucky for losing this money, or lucky for getting it back? Was the man lucky to have found the money
Method No stooge, no paper switch, no preshow, no sleight of hand, and the spectator really has a free choice at every step.
before me, or unlucky that I convinced him to give it back? Is
This
this story true? (It is.)
«Vintage» (described earlier in the book) because both
Luck is capricious and we don't always draw a good numbers
effect
can
be
performed
alongside
demonstrations talk about luck. Actually, the Spanish movie Intacto inspired the title of this routine. Released in
A spectator is chosen at random.
2001, it focuses on a secret group of people who use luck
«1 would like to put your luck to the test, this time without
as a tool of power. I strongly recommend that you watch
risking any money. Can you please think o f any number
it, the theme is beautifully treated and, of course, many
between one and fifty, without telling anyone? You can change
scenes lend themselves very well to a magic adaptation.
your mind if you want. When you are certain o f your choice,
The preparation for this effect can seem long but it is
join me.»
worth the effort as the effect is very direct and
Once the spectator is standing next to him, the mentalist
impossible. You will also only need to do the preparation once, then you will be set forever. You will need a forcing
mixes the papers in the bag. t «Put your hand in the bag and remove two papers at random
bag; I use Eran Blizovsky’s model3. This bag has three
please. Perfect Now unfold them and show us the numbers.
transparent plastic bag.
separated compartments and it looks just like an ordinary
They are different and none o f them is yours, correct? You will also need pieces of paper folded twice and Now focus on your number, let it be the only thing that you see
numbered. These pieces of paper form three groups. The
in your head, as if it was carved in stone, high as a building.
first group is called the odd group and it contains sixteen
Put your hand in the bag again. This time, take only one paper.
papers, ail showing an odd number between one and
Perfect, keep it in your hands, I don’t want to touch it.
fifty, and they are all different. The third group is called
For the first time, can you please tell us your number? Unfold
the even group and it contains sixteen papers, all
the paper you are holding. It is exactly the same number!» 3 Available here: gg.gg/bageran 52
53
showing an even number between one and fifty, and they
the columns and the rows as shown in the illustration.
are all different.
This allows you to easily find any group. For example,
The second group is called the force group and it contains sixteen identical papers. This group is special because it changes
depending
on
the
spectator's
group twenty-five will be in the second column, on the fifth line.
thought-of
—
number. This means that you will need fifty force groups:
V
one for each possible number.
0
A —
z .........
h
^
1
_
画_
----------------- -------------------------
Before you print, cut and fold each group, you must
v m m m m
create an index to store these groups. The index I use does not cost much, it is practical and easy to build. You will need a rectangle of foam measuring thirty-four centimeters by twenty-five centimeters, with a thickness of one or two centimeters. Although this might seem difficult to find, you can do what I did and use the foam from a flat pillow. Cut the foam at the right size. The color of the foam does not matter because it will never be
^тштттштл
WMMMk
丨
...........
----------------- -------------------------
h (〇
^ 2 Q i
---------------------------------------------------------------------------------------------------------
—
seen by the audience. Once you have your foam rectangle measuring
thirty-four
centimeters
by
twenty-five
centimeters, take a fine point felt pen and draw the lines
To transport and protect the index, create a box out of
you see on the illustration.
cardboard, measuring about thirty-four centimeters by about twenty-five centimeters, with a thickness of about
Each line is five-centimeter long; the space between each column is one centimeter; the space between each line is two centimeters. When you are done tracing the lines, use a scalpel or a very sharp blade and transform each line into a slit that goes through the entire thickness of the foam. Each of these slits will be a compartment in which you will store a group. With a thicker felt pen, number 54
four centimeters. The lid of the box closes everything up like a shoe box. The shallowness of the box maintains everything in place when the lid is closed and it prevents the paper groups from leaving their compartments. This box is never seen by the audience, you can hide it in your suitcase. You could also lay it flat on a chair or a stool whose back is turned toward the audience; by placing 55
showing an even number between one and fifty, and they
the columns and the rows as shown in the illustration.
are all different.
This allows you to easily find any group. For example,
The second group is called the force group and it contains sixteen identical papers. This group is special because it changes
depending
on
the
spectator's
group twenty-five will be in the second column, on the fifth line.
thought-of
—
number. This means that you will need fifty force groups:
V
one for each possible number.
0
A —
z .........
h
^
1
_
画_
----------------- -------------------------
Before you print, cut and fold each group, you must
v m m m m
create an index to store these groups. The index I use does not cost much, it is practical and easy to build. You will need a rectangle of foam measuring thirty-four centimeters by twenty-five centimeters, with a thickness of one or two centimeters. Although this might seem difficult to find, you can do what I did and use the foam from a flat pillow. Cut the foam at the right size. The color of the foam does not matter because it will never be
^тштттштл
WMMMk
丨
...........
----------------- -------------------------
h (〇
^ 2 Q i
---------------------------------------------------------------------------------------------------------
—
seen by the audience. Once you have your foam rectangle measuring
thirty-four
centimeters
by
twenty-five
centimeters, take a fine point felt pen and draw the lines
To transport and protect the index, create a box out of
you see on the illustration.
cardboard, measuring about thirty-four centimeters by about twenty-five centimeters, with a thickness of about
Each line is five-centimeter long; the space between each column is one centimeter; the space between each line is two centimeters. When you are done tracing the lines, use a scalpel or a very sharp blade and transform each line into a slit that goes through the entire thickness of the foam. Each of these slits will be a compartment in which you will store a group. With a thicker felt pen, number 54
four centimeters. The lid of the box closes everything up like a shoe box. The shallowness of the box maintains everything in place when the lid is closed and it prevents the paper groups from leaving their compartments. This box is never seen by the audience, you can hide it in your suitcase. You could also lay it flat on a chair or a stool whose back is turned toward the audience; by placing 55
your jacket or an opaque fabric on the back of the chair or stool, the box remains hidden from the audience while still being visible and accessible for you.
In order to prepare the papers, I made the task easier for you by preparing a PDF. You just have to download it at this address: gg.gg/intactol. Bring this file to a printer or a photocopy shop so that they print it as an A3 format; this will ensure that each box on the first page measures eight centimeters by eight centimeters. You obtain a pile of eighty A3 sheets of paper. Ask the printer to use his cutting blade or guillotine machine to cut this pile along each of the visible lines on the first page. If he doesn't mix the papers in the process, you will end up with twelve piles of eighty squares. Take the pile marked by the number one. The top sixteen
Take the pile marked by the word «odd.» The top sixteen
squares of this pile are all numbered with a one. Take all
squares of this pile are all numbered with an odd
the «one》 squares, fold each of them twice (with the
number. Take all the « odd» squares, fold each of them
number inside) and gather these sixteen folded papers.
twice (with the number inside) and gather these sixteen
They form packet number one. Insert this group in slit
folded papers. They form the odd group. Place this group
number one in your foam index.
in the first exterior compartment of your force bag.
Continue and take the pile marked by the number two.
Finally, take the pile marked by the word «even.» The top
The top sixteen squares of this pile are all numbered with
sixteen squares of this pile are all numbered with an even
a two. Take all the « two» squares, fold each of them
number. Take all the « even» squares, fold each of them
twice (with the number inside) and gather these sixteen
twice (with the number inside) and gather these sixteen
folded papers. They form packet number two. Insert this
folded papers. They form the even group. Place this
group in slit number two in your foam index. Do the
group in the second exterior compartment of your force
same for each number, creating fifty packets.
bag.
56
57
your jacket or an opaque fabric on the back of the chair or stool, the box remains hidden from the audience while still being visible and accessible for you.
In order to prepare the papers, I made the task easier for you by preparing a PDF. You just have to download it at this address: gg.gg/intactol. Bring this file to a printer or a photocopy shop so that they print it as an A3 format; this will ensure that each box on the first page measures eight centimeters by eight centimeters. You obtain a pile of eighty A3 sheets of paper. Ask the printer to use his cutting blade or guillotine machine to cut this pile along each of the visible lines on the first page. If he doesn't mix the papers in the process, you will end up with twelve piles of eighty squares. Take the pile marked by the number one. The top sixteen
Take the pile marked by the word «odd.» The top sixteen
squares of this pile are all numbered with a one. Take all
squares of this pile are all numbered with an odd
the «one》 squares, fold each of them twice (with the
number. Take all the « odd» squares, fold each of them
number inside) and gather these sixteen folded papers.
twice (with the number inside) and gather these sixteen
They form packet number one. Insert this group in slit
folded papers. They form the odd group. Place this group
number one in your foam index.
in the first exterior compartment of your force bag.
Continue and take the pile marked by the number two.
Finally, take the pile marked by the word «even.» The top
The top sixteen squares of this pile are all numbered with
sixteen squares of this pile are all numbered with an even
a two. Take all the « two» squares, fold each of them
number. Take all the « even» squares, fold each of them
twice (with the number inside) and gather these sixteen
twice (with the number inside) and gather these sixteen
folded papers. They form packet number two. Insert this
folded papers. They form the even group. Place this
group in slit number two in your foam index. Do the
group in the second exterior compartment of your force
same for each number, creating fifty packets.
bag.
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57
Do a small mark on the bag, next to the handle, on the
Show your bag by shaking it a bit and explain that you
odd compartment side, to be able to find it easily. The
have about fifty papers mixed inside. Pretend to realize
central compartment remains empty.
that the pen is useless right now; your free hand takes the pen and puts it into the index box; your other hand keeps
You are ready. This preparation requires a bit of arts and craft but it is still easy, cheap and quick. In addition, as mentioned before, you will only need to do this preparation once.
the bag visible from the audience. In the box, you drop the pen and take the small packet corresponding to the spectator^ number. It is quite easy to hide it in finger palm; don7t worry, the audience has no reason to suspect that you are palming something.
To perform the effect, start by holding the transparent bag in one hand, as well as a pen. Have someone selected at random in the audience. Ask him to think of any number between one and fifty then ask him to join you. When he arrives next to you, have the audience applaud him and use the Dunninger's subtlety. This ploy consists in using the applauds7 sound as a cover while you ask a quick question to the spectator; at the same time, shake his hand to greet him. Even if the audience sees you talking to the spectator, they cannot hear you and they will assume that you are simply greeting the spectator on stage. If you feel uncomfortable using this discreet ploy, or if your circumstances prevent you from using it, don^ worry, you can also openly ask the spectator to name his number out loud so that everyone knows his choice.
Open the bag's central compartment (it is empty) and put your hand (with the palmed packet) inside as if you
In any case, the spectator is standing next to you and you know his number (secretly or openly).
wanted to mix the papers a little bit. Once in the bag, your hand releases its packet and you really mix them. The transparency of the bag and the front compartment
58
59
Do a small mark on the bag, next to the handle, on the
Show your bag by shaking it a bit and explain that you
odd compartment side, to be able to find it easily. The
have about fifty papers mixed inside. Pretend to realize
central compartment remains empty.
that the pen is useless right now; your free hand takes the pen and puts it into the index box; your other hand keeps
You are ready. This preparation requires a bit of arts and craft but it is still easy, cheap and quick. In addition, as mentioned before, you will only need to do this preparation once.
the bag visible from the audience. In the box, you drop the pen and take the small packet corresponding to the spectator^ number. It is quite easy to hide it in finger palm; don7t worry, the audience has no reason to suspect that you are palming something.
To perform the effect, start by holding the transparent bag in one hand, as well as a pen. Have someone selected at random in the audience. Ask him to think of any number between one and fifty then ask him to join you. When he arrives next to you, have the audience applaud him and use the Dunninger's subtlety. This ploy consists in using the applauds7 sound as a cover while you ask a quick question to the spectator; at the same time, shake his hand to greet him. Even if the audience sees you talking to the spectator, they cannot hear you and they will assume that you are simply greeting the spectator on stage. If you feel uncomfortable using this discreet ploy, or if your circumstances prevent you from using it, don^ worry, you can also openly ask the spectator to name his number out loud so that everyone knows his choice.
Open the bag's central compartment (it is empty) and put your hand (with the palmed packet) inside as if you
In any case, the spectator is standing next to you and you know his number (secretly or openly).
wanted to mix the papers a little bit. Once in the bag, your hand releases its packet and you really mix them. The transparency of the bag and the front compartment
58
59
reinforce the illusion that nothing special is happening.
Now open the central compartment of the bag. Ask the
Remove your empty hand from the bag.
spectator to focus on his number then to put his hand in
For you7 the method is over. For the audience, the effect is only starting now.
the bag, to mix the papers and to take only one. He takes out one paper and announces his thought-of
If the spectator’s number is even, open the odd compartment of the bag (you know which one it is thanks
number out loud. Finally, he unfolds the paper and shows everyone that he picked the right one.
to the mark that you previously made on the bag). Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them. Since the parity of the numbers in this compartment is different from the parity of the spectator's number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. If the spectator’s number is odd, open the even compartment of the bag. Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them.
Since
the
parity
of
the
numbers
in
this
compartment is different from the parity of the spectator’s number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. This phase allows you to prove that all the numbers in the bag are different.
60
61
reinforce the illusion that nothing special is happening.
Now open the central compartment of the bag. Ask the
Remove your empty hand from the bag.
spectator to focus on his number then to put his hand in
For you7 the method is over. For the audience, the effect is only starting now.
the bag, to mix the papers and to take only one. He takes out one paper and announces his thought-of
If the spectator’s number is even, open the odd compartment of the bag (you know which one it is thanks
number out loud. Finally, he unfolds the paper and shows everyone that he picked the right one.
to the mark that you previously made on the bag). Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them. Since the parity of the numbers in this compartment is different from the parity of the spectator's number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. If the spectator’s number is odd, open the even compartment of the bag. Ask the spectator to put his hand in the bag, to mix the papers and to take out two of them.
Since
the
parity
of
the
numbers
in
this
compartment is different from the parity of the spectator’s number, he will never accidentally choose his own thought-of number. He unfolds the two papers he chose and shows these numbers to the audience: they are both different and none of them is his thought-of number. This phase allows you to prove that all the numbers in the bag are different.
60
61
Final notes Once the effect is over, you can put the transparent bag on the index inside the box. On top of the bag, put the paper corresponding to
the
spectator’s thought-of
number, along with the two papers he took out at the beginning. Later, when you are putting your things away for the night, take the thought-of number and fold it back. Add to it the papers from the central compartment, recreating a packet of sixteen folded papers, all numbered the same way. Put this packet back in its slit in the foam index. You are left with the two papers that the spectator took at the beginning. Fold each of them back. If they are odd, put them in the odd compartment of the bag; if they are even, put them in the even compartment of the bag. This cleaning sequence prevents you from mixing the papers accidentally^ and from forgetting which is which (you would then be forced to open each and every paper to check that everything is in place).
62
Final notes Once the effect is over, you can put the transparent bag on the index inside the box. On top of the bag, put the paper corresponding to
the
spectator’s thought-of
number, along with the two papers he took out at the beginning. Later, when you are putting your things away for the night, take the thought-of number and fold it back. Add to it the papers from the central compartment, recreating a packet of sixteen folded papers, all numbered the same way. Put this packet back in its slit in the foam index. You are left with the two papers that the spectator took at the beginning. Fold each of them back. If they are odd, put them in the odd compartment of the bag; if they are even, put them in the even compartment of the bag. This cleaning sequence prevents you from mixing the papers accidentally^ and from forgetting which is which (you would then be forced to open each and every paper to check that everything is in place).
62
Effect The mentalist shows two boxes, both the size of a shoebox. He opens one of them and shows that it contains dozens of photographs. The mentalist explains that he has been taking one photo per day for one year, collecting three hundred and sixty-five different photos. Some of these memories are happy, others are sad, some are important, others are trivial. On some of these photos, the mentalist can be seen in his everyday life; on others, we can see his close ones, or places he visited, or activities that he did, etc.
65
Effect The mentalist shows two boxes, both the size of a shoebox. He opens one of them and shows that it contains dozens of photographs. The mentalist explains that he has been taking one photo per day for one year, collecting three hundred and sixty-five different photos. Some of these memories are happy, others are sad, some are important, others are trivial. On some of these photos, the mentalist can be seen in his everyday life; on others, we can see his close ones, or places he visited, or activities that he did, etc.
65
About fifty of these photos are given to a spectator who is invited to mix them then to let them fall in a mess on the table. The mentalist explains: 《 These photos allowed me to keep a connection with my memories. Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
«This photo is part o f the memories that I did not forget. I was
To mimic this mental process o f selection over time, we will
at a fair on July 4th with my family and I had won this plush
eliminate all the photos that are currently facing down and we
toy at a shooting range. I had always wanted to shoot a toy gun
will only keep those that are visible. Chance (and your mix)
when I was a kid and win the big prize, even if I would actually
will dictate our choices, but this process is as chaotic as
never win anything. This plush toy is not great and I am sure
memory itself.»
it is quite cheap, but at least I managed to win it on this day.»
All the face down photos on the table are put back in the
The mentalist opens the second box; it had been visible
box. The spectator takes those that are visible, mixes
the whole time on the table. It contains the exact same
them again and let them fall in a mess on the table. Once % again, the face down photos are eliminated and put back
panda as in the photograph!
in the box. This elimination process continues until there is only one photo on the table. On this particular photo, the mentalist can be seen holding a plush toy (a panda) and the photo is dated from July 4th.
66
67
About fifty of these photos are given to a spectator who is invited to mix them then to let them fall in a mess on the table. The mentalist explains: 《 These photos allowed me to keep a connection with my memories. Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
«This photo is part o f the memories that I did not forget. I was
To mimic this mental process o f selection over time, we will
at a fair on July 4th with my family and I had won this plush
eliminate all the photos that are currently facing down and we
toy at a shooting range. I had always wanted to shoot a toy gun
will only keep those that are visible. Chance (and your mix)
when I was a kid and win the big prize, even if I would actually
will dictate our choices, but this process is as chaotic as
never win anything. This plush toy is not great and I am sure
memory itself.»
it is quite cheap, but at least I managed to win it on this day.»
All the face down photos on the table are put back in the
The mentalist opens the second box; it had been visible
box. The spectator takes those that are visible, mixes
the whole time on the table. It contains the exact same
them again and let them fall in a mess on the table. Once % again, the face down photos are eliminated and put back
panda as in the photograph!
in the box. This elimination process continues until there is only one photo on the table. On this particular photo, the mentalist can be seen holding a plush toy (a panda) and the photo is dated from July 4th.
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67
Method
prediction would be the particular drawing seen in the
I was inspired by the classic procedure where playing
photo. The possibilities are endless and can easily be adapted to your personality and needs.
cards are dropped on the table in a mess, falling face up and face down; the cards that fall face down are
Regarding the photographs, you are free to use the
eliminated until there is only one card left, corresponding
format that you prefer: standard photos (about ten
to the prediction. In my effect, the photographs make the
centimeters by fifteen centimeters), photo booth, Polaroid
experience a bit more visual; by using memories and our
(old or modern). In the case of Polaroid, it is not easy to
link to memory, the script becomes more engaging for the
create a double sided Polaroid. However you could print
audience; finally, the prediction is a surprising, threedimensional
object.
For
all
these
reasons,
this
demonstration is perfect for parlor or stage.
your photos on a thick paper cut to the size of a Polaroid, therefore making it easier to create a double sided Polaroid to force to the spectator. If you want, you can also add a date to the photographs.
The props used in this routine are simple and easy to find. You will need about one hundred different photos. One of the photos will be forced to the spectator and actually is a 《 double sided» photo, meaning that the same image can be seen on both sides; the other photos are normal and all have a blank back. Since the forced photo is linked to your prediction, it must contain one
The hundred photos are stored in a mess, in the first box. Since you begin with two identical boxes, the audience thinks that the second box contains the second half of your three hundred and sixty-five photos. Thanks to this, the prediction will come as a surprise, preventing the audience from being one step ahead of you and knowing what the ending will be.
striking visual element. In my case, it is a plush toy that I
Place your prediction object in the second box, and you
am holding in the photo and that is in the prediction box.
are ready to start.
You could also use a photo of you in front of a famous landmark, in which case the prediction could be a miniature of this landmark. Or it could be a photo of you
To perform the effect, take the two boxes and put them,
with a celebrity, and the prediction would be a readable
one on top of the other, on the table. Open the top box
signature that this particular celebrity left you. Or the
(the one containing the photos) and introduce this idea
photo could be showing you alongside your nephew
that you had of taking one photo per day for a year.
while he is doing a child's drawing with you, and your 68
69
Method
prediction would be the particular drawing seen in the
I was inspired by the classic procedure where playing
photo. The possibilities are endless and can easily be adapted to your personality and needs.
cards are dropped on the table in a mess, falling face up and face down; the cards that fall face down are
Regarding the photographs, you are free to use the
eliminated until there is only one card left, corresponding
format that you prefer: standard photos (about ten
to the prediction. In my effect, the photographs make the
centimeters by fifteen centimeters), photo booth, Polaroid
experience a bit more visual; by using memories and our
(old or modern). In the case of Polaroid, it is not easy to
link to memory, the script becomes more engaging for the
create a double sided Polaroid. However you could print
audience; finally, the prediction is a surprising, threedimensional
object.
For
all
these
reasons,
this
demonstration is perfect for parlor or stage.
your photos on a thick paper cut to the size of a Polaroid, therefore making it easier to create a double sided Polaroid to force to the spectator. If you want, you can also add a date to the photographs.
The props used in this routine are simple and easy to find. You will need about one hundred different photos. One of the photos will be forced to the spectator and actually is a 《 double sided» photo, meaning that the same image can be seen on both sides; the other photos are normal and all have a blank back. Since the forced photo is linked to your prediction, it must contain one
The hundred photos are stored in a mess, in the first box. Since you begin with two identical boxes, the audience thinks that the second box contains the second half of your three hundred and sixty-five photos. Thanks to this, the prediction will come as a surprise, preventing the audience from being one step ahead of you and knowing what the ending will be.
striking visual element. In my case, it is a plush toy that I
Place your prediction object in the second box, and you
am holding in the photo and that is in the prediction box.
are ready to start.
You could also use a photo of you in front of a famous landmark, in which case the prediction could be a miniature of this landmark. Or it could be a photo of you
To perform the effect, take the two boxes and put them,
with a celebrity, and the prediction would be a readable
one on top of the other, on the table. Open the top box
signature that this particular celebrity left you. Or the
(the one containing the photos) and introduce this idea
photo could be showing you alongside your nephew
that you had of taking one photo per day for a year.
while he is doing a child's drawing with you, and your 68
69
«These photos allowed me to keep a connection with my
will dictate our choices, but this process is as chaotic as
memories. Some o f these events are engraved in my memory.
memory itself,»
But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Some o f these memories are happy, others are sad, some are important, others are trivial»
The procedure is justified. It seems logical to eliminate all the photos facing down, as if they had been forgotten, and to keep the photos facing up, representing the most persistent memories. The photos facing down on the table are put back inside the box. The spectator takes the
This introduction allows you to present the objects and
photos facing up, mixes them again and drops them
the theme. Everybody takes photos, everybody has them
again as a mess on the table. Once again, the photos
at home, whether it is in their smartphone, on their
facing down are eliminated and put back inside the box.
fridge, on their nightstand. It is a modern ritual that we
This elimination process continues until there are only
all understand and with which we create a strong
two, three or four photos left facing up (including the
emotional link.
force photo). Now the procedure will change a little bit.
Take about fifty photos in the box (including the force
If there are only two photos facing up on the table,
double sided photo) and give them to the spectator. The
perfect. If there are three or four photos facing up on the
group of photos that you give him is already a mess, with
table, look at them, designate one or two normal photos
photos facing down, others facing up, and you invite him
and say that you prefer to put these away because there
to mix this packet then to progressively drop them on the
are bad memories.
table, as if they were «raining» on the table. Some photos will land facing up, others will land facing down. «Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
Now you are left with only two photos facing up, including the one you want to force. Give these two photos face up to the spectator and ask him to hold them under the table (or behind his back). Invite hirt^ to mix these two photos upside down then to bring them back in front of everyone. While he is mixing the photos, announce that whichever photo is facing
To mimic this mental process o f selection over time, we will
down will be eliminated. Since the force photo is double
eliminate all the photos that are currently facing down and we
sided, it will never be eliminated. The spectator brings
will only keep those that are visible. Chance (and your mix)
both photos back from under the table. If one of them is
70
71
«These photos allowed me to keep a connection with my
will dictate our choices, but this process is as chaotic as
memories. Some o f these events are engraved in my memory.
memory itself,»
But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Some o f these memories are happy, others are sad, some are important, others are trivial»
The procedure is justified. It seems logical to eliminate all the photos facing down, as if they had been forgotten, and to keep the photos facing up, representing the most persistent memories. The photos facing down on the table are put back inside the box. The spectator takes the
This introduction allows you to present the objects and
photos facing up, mixes them again and drops them
the theme. Everybody takes photos, everybody has them
again as a mess on the table. Once again, the photos
at home, whether it is in their smartphone, on their
facing down are eliminated and put back inside the box.
fridge, on their nightstand. It is a modern ritual that we
This elimination process continues until there are only
all understand and with which we create a strong
two, three or four photos left facing up (including the
emotional link.
force photo). Now the procedure will change a little bit.
Take about fifty photos in the box (including the force
If there are only two photos facing up on the table,
double sided photo) and give them to the spectator. The
perfect. If there are three or four photos facing up on the
group of photos that you give him is already a mess, with
table, look at them, designate one or two normal photos
photos facing down, others facing up, and you invite him
and say that you prefer to put these away because there
to mix this packet then to progressively drop them on the
are bad memories.
table, as if they were «raining» on the table. Some photos will land facing up, others will land facing down. «Some o f these events are engraved in my memory. But for others, I had totally forgotten them until I saw the photo again, months after. And for others, it is only after a long time that I finally understood how important they had been for me. Memory is very selective and mysterious.
Now you are left with only two photos facing up, including the one you want to force. Give these two photos face up to the spectator and ask him to hold them under the table (or behind his back). Invite hirt^ to mix these two photos upside down then to bring them back in front of everyone. While he is mixing the photos, announce that whichever photo is facing
To mimic this mental process o f selection over time, we will
down will be eliminated. Since the force photo is double
eliminate all the photos that are currently facing down and we
sided, it will never be eliminated. The spectator brings
will only keep those that are visible. Chance (and your mix)
both photos back from under the table. If one of them is
70
71
facing down, it is eliminated; if both photos are facing up, tell the spectator to repeat the procedure. By making him do it under the table or behind his back, you prevent the audience and the spectator from noticing the double sided photo. In the beginning, the gaffed photo was hidden in the mess of the photos falling down on the table but it does not function as well when there are only a few photos left at the end. Finally, the spectator only has one photo face up and one face down, the latter being eliminated. You successfully forced the photo corresponding to your prediction. Talk about the specific memory linked to this photo then open the second box and show that it contains your prediction.
4
72
facing down, it is eliminated; if both photos are facing up, tell the spectator to repeat the procedure. By making him do it under the table or behind his back, you prevent the audience and the spectator from noticing the double sided photo. In the beginning, the gaffed photo was hidden in the mess of the photos falling down on the table but it does not function as well when there are only a few photos left at the end. Finally, the spectator only has one photo face up and one face down, the latter being eliminated. You successfully forced the photo corresponding to your prediction. Talk about the specific memory linked to this photo then open the second box and show that it contains your prediction.
4
72
ш и о п е н a^ e
vtomst^ruL Effect «Do you remember this toy for children where you had to put the right shape in the corresponding hole cut out in the lid o f the box? Like many other toys for children, this is also an opportunity to learn something, for example to recognize tree dimensional shapes corresponding to a two-dimensional hole, or to memorize colors' names. Once you have learned what was to be learned, you move on to something else. Can you imagine being stuck with the same toys for our entire life?» Upon saying this, the mentalist puts this very toy on the table. t
75
ш и о п е н a^ e
vtomst^ruL Effect «Do you remember this toy for children where you had to put the right shape in the corresponding hole cut out in the lid o f the box? Like many other toys for children, this is also an opportunity to learn something, for example to recognize tree dimensional shapes corresponding to a two-dimensional hole, or to memorize colors' names. Once you have learned what was to be learned, you move on to something else. Can you imagine being stuck with the same toys for our entire life?» Upon saying this, the mentalist puts this very toy on the table. t
75
«1 have been stuck with this toy for my entire life. The good thing is that I became really good at it. I can even play it with my back turned and my eyes closed. Let me show you. Miss, can you please help me with this? I will leave the box and the elements with you: there is a blue cylinder, an orange cross, a red triangle, a green square and purple star.
Method This effect was bom from a reflection on ESP symbols. I did not feel comfortable with these cards because the majority of the general public does not really know where they are coming from. If you use these cards without explaining what they are, they seem strange and
As I was saying, I can play this game blind so I will turn my
maybe gaffed. If you explain their origins, you must go
back in order not to be able to see anything. Take one o f the
into a short historical lecture about Karl Zener and Joseph
shapes, whichever one you want. Got one? Perfect, put it on
Banks Rhine's experiments at Duke University, in the
your lap please. Now take the other colored shapes and put
United States.
them away in the box then close the lid.
To solve this, I started to look for a different origin for
Take the shape that you have chosen and focus on it First on
these symbols, or for other symbols. My search for other
the shape, then on the color. Perfect, that is a very clear image. Now focus on the corresponding hole in the lid o f the box and
symbols became Danger, one of my creations, now permanently out of stock.
think about its position. You are doing a great job.
In my search for a different origin for the classic ESP
If I understood what you send me mentally, you chose the
symbols, my first finding was to notice that the circle, the
purple star. Is this correct? Awesome. You can put it in the box,
cross, the triangle and the square can all be found on the
it goes through the hole in the middle o f the lid.»
controller of consoles such as the PS2, PS3 and PS4. In addition, each of these symbols has a precise color on the controller. I would bet that Sony’s consoles are more famous than ESP symbols, in popular culture. The second finding in my search for origins became the effect described here, using a classic toy from our childhood. Even people who never played with it will have seen it or will instantly understand how to use it. So you will need this toy to perform the effect. If you don't already have it at home, you can easily find it on the
76
77
«1 have been stuck with this toy for my entire life. The good thing is that I became really good at it. I can even play it with my back turned and my eyes closed. Let me show you. Miss, can you please help me with this? I will leave the box and the elements with you: there is a blue cylinder, an orange cross, a red triangle, a green square and purple star.
Method This effect was bom from a reflection on ESP symbols. I did not feel comfortable with these cards because the majority of the general public does not really know where they are coming from. If you use these cards without explaining what they are, they seem strange and
As I was saying, I can play this game blind so I will turn my
maybe gaffed. If you explain their origins, you must go
back in order not to be able to see anything. Take one o f the
into a short historical lecture about Karl Zener and Joseph
shapes, whichever one you want. Got one? Perfect, put it on
Banks Rhine's experiments at Duke University, in the
your lap please. Now take the other colored shapes and put
United States.
them away in the box then close the lid.
To solve this, I started to look for a different origin for
Take the shape that you have chosen and focus on it First on
these symbols, or for other symbols. My search for other
the shape, then on the color. Perfect, that is a very clear image. Now focus on the corresponding hole in the lid o f the box and
symbols became Danger, one of my creations, now permanently out of stock.
think about its position. You are doing a great job.
In my search for a different origin for the classic ESP
If I understood what you send me mentally, you chose the
symbols, my first finding was to notice that the circle, the
purple star. Is this correct? Awesome. You can put it in the box,
cross, the triangle and the square can all be found on the
it goes through the hole in the middle o f the lid.»
controller of consoles such as the PS2, PS3 and PS4. In addition, each of these symbols has a precise color on the controller. I would bet that Sony’s consoles are more famous than ESP symbols, in popular culture. The second finding in my search for origins became the effect described here, using a classic toy from our childhood. Even people who never played with it will have seen it or will instantly understand how to use it. So you will need this toy to perform the effect. If you don't already have it at home, you can easily find it on the
76
77
Internet4. The model I use has an advantage: the colored
Put the cylinder, the cross, the triangle and the square in
shapes are pierced, which will make the method easier.
the box, then put the prepared star inside as well. Gently close the lid without breaking the thread. Put the coin on the lid with some wax. You are ready.
The secret of this effect was inspired by the genius of Bruno Copin and Gaetan Bloom, each of them having explored very original uses for the invisible thread. To
When you want to perform the effect, take the coin and
prepare the effect, take the purple star, it will be the shape
put it in the left pocket of your pants. Take the box and
that you will force. Cut about one meter and a half of
put it on the table. Start talking about the toy, open the lid
invisible thread, push one end through the hole in the
and remove the five colored shapes from it, being careful
colored shape, then stick both ends of the thread to a
not to break the thread. Be aware of the position of the
piece of adhesive tape by rolling the thread around it a
thread, to avoid accidentally pulling on it and making the
few times, then stick the tape on a coin. You have created
purple star move, which would be an entirely different
an invisible loop; the force shape is at one end of this loop
effect. The purple star is put at the right end of the row
and the coin is at the other end.
you are forming on the table. The box and the lid are put on the left side of the table. A spectator is chosen at random and you have her sit at the table, on your left side. Turn toward your right to turn your back to the audience. While doing this, the fork of your left thumb will find the thread near your pocket and you will pinch it slightly. The thread between your hand and the star should not be tensed, to avoid making the star move. Ask the ^»ectator to take any shape she wants on the table. If you feel the thread being pulled and breaking, perfect, it means that the spectator has taken the star and you can tell her to put her chosen shape on her lap. If you do not feel the thread break, it means that she took
4 Available here: gg-gg/shapes 78
another shape that the star so you tell her to put her 79
Internet4. The model I use has an advantage: the colored
Put the cylinder, the cross, the triangle and the square in
shapes are pierced, which will make the method easier.
the box, then put the prepared star inside as well. Gently close the lid without breaking the thread. Put the coin on the lid with some wax. You are ready.
The secret of this effect was inspired by the genius of Bruno Copin and Gaetan Bloom, each of them having explored very original uses for the invisible thread. To
When you want to perform the effect, take the coin and
prepare the effect, take the purple star, it will be the shape
put it in the left pocket of your pants. Take the box and
that you will force. Cut about one meter and a half of
put it on the table. Start talking about the toy, open the lid
invisible thread, push one end through the hole in the
and remove the five colored shapes from it, being careful
colored shape, then stick both ends of the thread to a
not to break the thread. Be aware of the position of the
piece of adhesive tape by rolling the thread around it a
thread, to avoid accidentally pulling on it and making the
few times, then stick the tape on a coin. You have created
purple star move, which would be an entirely different
an invisible loop; the force shape is at one end of this loop
effect. The purple star is put at the right end of the row
and the coin is at the other end.
you are forming on the table. The box and the lid are put on the left side of the table. A spectator is chosen at random and you have her sit at the table, on your left side. Turn toward your right to turn your back to the audience. While doing this, the fork of your left thumb will find the thread near your pocket and you will pinch it slightly. The thread between your hand and the star should not be tensed, to avoid making the star move. Ask the ^»ectator to take any shape she wants on the table. If you feel the thread being pulled and breaking, perfect, it means that the spectator has taken the star and you can tell her to put her chosen shape on her lap. If you do not feel the thread break, it means that she took
4 Available here: gg-gg/shapes 78
another shape that the star so you tell her to put her 79
chosen shape inside the box. Let her take the shapes one by one and, whenever you feel the thread breaking, tell her to put this particular shape on her lap. You must give the impression that you randomly decide when to tell her to put her chosen shape on her lap. When she is done, invite her to close the lid and to take her chosen shape from her lap to focus on it. Reveal the color and the shape, then ask the spectator to put it in the corresponding hole in the middle of the lid (since you know where this particular hole is). This moment serves as a marker for the end of the effect, the audience applauds and that is when you face them again. Thank the spectator for her help and let her return to her seat.
Final notes Before I came up with this effect, I had never been comfortable
w ith' the
invisible
thread,
levitation
demonstrations or the haunted deck. The use presented in this effect is different and original, as the thread is a secret signal indicating an action performed by the spectator. Since the thread breaks every time and the spectator should not feel any resistance from the thread, I would advise you to use the thinnest thread possible. It will be less visible and it will break easily when the spectator makes her choice.
80
chosen shape inside the box. Let her take the shapes one by one and, whenever you feel the thread breaking, tell her to put this particular shape on her lap. You must give the impression that you randomly decide when to tell her to put her chosen shape on her lap. When she is done, invite her to close the lid and to take her chosen shape from her lap to focus on it. Reveal the color and the shape, then ask the spectator to put it in the corresponding hole in the middle of the lid (since you know where this particular hole is). This moment serves as a marker for the end of the effect, the audience applauds and that is when you face them again. Thank the spectator for her help and let her return to her seat.
Final notes Before I came up with this effect, I had never been comfortable
w ith' the
invisible
thread,
levitation
demonstrations or the haunted deck. The use presented in this effect is different and original, as the thread is a secret signal indicating an action performed by the spectator. Since the thread breaks every time and the spectator should not feel any resistance from the thread, I would advise you to use the thinnest thread possible. It will be less visible and it will break easily when the spectator makes her choice.
80
YOU^ W irg IS YOUn VfOT^ST ЕНВШ Surely you have heard that comment several times: «J i i： г л
have shown this new effect to my wife, she was not impressed.» O r :《 My
i" /шј done rt.》 Although I do
understand that a performer would want to show a new effect to the people close to him (I did this in the past too), I really think that this is a bad idea, for several reasons that I will discuss here. I will then try to suggest solutions to this plague.
Let's start by examining the reasons why people close to you are not impressed, or why they understood how your new effect was done. First, there is an obvious reason: if your first audience is dose to you, chances are you did not practice enough. It does not mean that you are bad or that the effect is difficult. It just means that a demonstration of magic or mentalism should not be presented immediately. The effect, the presentation and the method must be practiced and rehearsed, as we all know, at least to avoid revealing the method accidentally. Second, there is a psychological reason: if your first audience is close to you, chances are this person will not believe in your new powers. For example, when I imagined my memory effect with Pi and performed it to
83
YOU^ W irg IS YOUn VfOT^ST ЕНВШ Surely you have heard that comment several times: «J i i： г л
have shown this new effect to my wife, she was not impressed.» O r :《 My
i" /шј done rt.》 Although I do
understand that a performer would want to show a new effect to the people close to him (I did this in the past too), I really think that this is a bad idea, for several reasons that I will discuss here. I will then try to suggest solutions to this plague.
Let's start by examining the reasons why people close to you are not impressed, or why they understood how your new effect was done. First, there is an obvious reason: if your first audience is dose to you, chances are you did not practice enough. It does not mean that you are bad or that the effect is difficult. It just means that a demonstration of magic or mentalism should not be presented immediately. The effect, the presentation and the method must be practiced and rehearsed, as we all know, at least to avoid revealing the method accidentally. Second, there is a psychological reason: if your first audience is close to you, chances are this person will not believe in your new powers. For example, when I imagined my memory effect with Pi and performed it to
83
my magician friends right after creating it, they would
you can try, fail, succeed and eventually let an effect
say: «Hmmf I like [or, I don't like] this new effect and I wonder
grow. It does not mean that you should never practice
what is the method,» This is a normal reaction because,
beforehand, without an audience. It just means that the
from one day to the next, I announced that I had
life or the death of an effect should not be determined by
memorized the first 10,000 decimals of Pi. If you add Pi to
a clumsy trial in front of someone who can tell your
your repertoire then you go to your spouse and tell them
mood even when you are facing away.
that you memorized Pi, of course they will not believe you. On the other hand, now when I perform Pi for strangers, their first reaction is to think that I am crazy to
Even if your close ones are not your first audience,
have memorized Pi. They don't see it as an effect so they
spectators can influence your style and your repertoire in
are not looking for the method anymore and they are
a profound way. When I was living in South Korea in
impressed by the demonstration.
2009, I did not speak Korean well enough to perform in
Third, there is a relational reason: if your first audience is someone close to you, chances are this person knows you well and that undermines their appreciation of your performance. Someone close to you is defined by their ability to feel when you are having a bad day, when you are having a good day, when you need to talk or be supported. It also means that the people close to us are good at reading our unconscious signals. A stranger might have trouble at first identifying your lie, but someone dose to you knows you so well that he or she might be able to spot a tension in your body or your face, a strange turn of phrase that does not match your usual speech pattern, and so on. The cruel paradox is that a positive and smart relationship with someone is precisely what makes them unfit as a first audience.
this language. On the other side, obviously Koreans did not speak my language, French. I could have used English as an international language, but most Koreans did not master this language to a level allowing me to perform script-based effects, and my own level of English was far from being perfect at the time. As a consequence of this situation, I found myself relying solely on quick visual
effects
that
did
not
require
any
spoken
presentation and very few interactions with the audience, all of which being very different from my natural style. Being able to entertain an audience without language being an obstacle is a precious talent that wUJ allow you to travel all over the world and I do not mean to say that such a talent should be ignored. But I know I do not have this talent; consequently, my effects strayed away from my personal preferences.
A solution to this «first audience» problem consists in finding a location where you are comfortable and where 84
85
my magician friends right after creating it, they would
you can try, fail, succeed and eventually let an effect
say: «Hmmf I like [or, I don't like] this new effect and I wonder
grow. It does not mean that you should never practice
what is the method,» This is a normal reaction because,
beforehand, without an audience. It just means that the
from one day to the next, I announced that I had
life or the death of an effect should not be determined by
memorized the first 10,000 decimals of Pi. If you add Pi to
a clumsy trial in front of someone who can tell your
your repertoire then you go to your spouse and tell them
mood even when you are facing away.
that you memorized Pi, of course they will not believe you. On the other hand, now when I perform Pi for strangers, their first reaction is to think that I am crazy to
Even if your close ones are not your first audience,
have memorized Pi. They don't see it as an effect so they
spectators can influence your style and your repertoire in
are not looking for the method anymore and they are
a profound way. When I was living in South Korea in
impressed by the demonstration.
2009, I did not speak Korean well enough to perform in
Third, there is a relational reason: if your first audience is someone close to you, chances are this person knows you well and that undermines their appreciation of your performance. Someone close to you is defined by their ability to feel when you are having a bad day, when you are having a good day, when you need to talk or be supported. It also means that the people close to us are good at reading our unconscious signals. A stranger might have trouble at first identifying your lie, but someone dose to you knows you so well that he or she might be able to spot a tension in your body or your face, a strange turn of phrase that does not match your usual speech pattern, and so on. The cruel paradox is that a positive and smart relationship with someone is precisely what makes them unfit as a first audience.
this language. On the other side, obviously Koreans did not speak my language, French. I could have used English as an international language, but most Koreans did not master this language to a level allowing me to perform script-based effects, and my own level of English was far from being perfect at the time. As a consequence of this situation, I found myself relying solely on quick visual
effects
that
did
not
require
any
spoken
presentation and very few interactions with the audience, all of which being very different from my natural style. Being able to entertain an audience without language being an obstacle is a precious talent that wUJ allow you to travel all over the world and I do not mean to say that such a talent should be ignored. But I know I do not have this talent; consequently, my effects strayed away from my personal preferences.
A solution to this «first audience» problem consists in finding a location where you are comfortable and where 84
85
Even without going as far as performing in a foreign country with no common language, the audience can influence
your
evolution.
If
your
spectators
are
intellectuals and art amateurs, you will tend to grow in this direction. If your audience loves comic books and niche cinema, you will develop stories and presentations within this universe. It is not a problem in and of itself, but should an audience influence the preferences of an artist? In the previous book, I wrote: «When you spend your life wanting to be the other one (the one that is trendy or the one that impresses), you risk forgetting who you are.» I would now add this: when you spend your life wanting to satisfy the audience, you risk forgetting who you are. If you already have a good idea of your style, preferences and inclinations, focus on them and create in this direction. The world is big enough and diversified enough for your creation to find its audience. When I first created Haiku, I hesitated for a long time before performing it because I feared that people would not be interested in Japanese poetry from the seventeenth century, that they would find it ridiculous or pretentious, or both. More than ten years later, it has become one of my most original effects and I love performing it in front of the proper audience.
86
4
Even without going as far as performing in a foreign country with no common language, the audience can influence
your
evolution.
If
your
spectators
are
intellectuals and art amateurs, you will tend to grow in this direction. If your audience loves comic books and niche cinema, you will develop stories and presentations within this universe. It is not a problem in and of itself, but should an audience influence the preferences of an artist? In the previous book, I wrote: «When you spend your life wanting to be the other one (the one that is trendy or the one that impresses), you risk forgetting who you are.» I would now add this: when you spend your life wanting to satisfy the audience, you risk forgetting who you are. If you already have a good idea of your style, preferences and inclinations, focus on them and create in this direction. The world is big enough and diversified enough for your creation to find its audience. When I first created Haiku, I hesitated for a long time before performing it because I feared that people would not be interested in Japanese poetry from the seventeenth century, that they would find it ridiculous or pretentious, or both. More than ten years later, it has become one of my most original effects and I love performing it in front of the proper audience.
86
4
AST^OBOY Effect «An important part o f what I do is based on intuition and people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain, I am not sure I agree: For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not. If I ask you what the weather is like right now, you observe your surroundings and you can give me an answer based on your experience and your observation. Each time, you were able to answer my question by actively and consciously thinking. For me, intuition is the same type o f thinking, except this time your intellectual process is passive and unconscious. For example, I am sure you already had a feeling that someone was lying to you or was hiding something from you. This is because you are capable o f analyzing a multitude o f factors unconsciously: the tone o f the voice o f this person, his or her body language, the movements o f his or her eyes, the breathing rhythm. All these elements are perceived by your brain without you payings attention to it. When this unconscious analysis is done, your brain sends you an «intuition,» meaning the result o f its process, without you actively participating in this process.
89
AST^OBOY Effect «An important part o f what I do is based on intuition and people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain, I am not sure I agree: For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not. If I ask you what the weather is like right now, you observe your surroundings and you can give me an answer based on your experience and your observation. Each time, you were able to answer my question by actively and consciously thinking. For me, intuition is the same type o f thinking, except this time your intellectual process is passive and unconscious. For example, I am sure you already had a feeling that someone was lying to you or was hiding something from you. This is because you are capable o f analyzing a multitude o f factors unconsciously: the tone o f the voice o f this person, his or her body language, the movements o f his or her eyes, the breathing rhythm. All these elements are perceived by your brain without you payings attention to it. When this unconscious analysis is done, your brain sends you an «intuition,» meaning the result o f its process, without you actively participating in this process.
89
Unfortunately for us, two things are responsible for intuition
Method
not being always accurate. First, our brain can make a mistake; it forgets details, or rushes the thinking process, etc. Second, we
No stooge, no nail writer, no preshow, no sleight of hand.
sometimes decide not to follow our intuition, even when it is
This effect is an interesting way to choose a member of
correct.»
the audience to do an experiment on stage with her.
The mentalist starts to walk around the audience while
Instead of just picking someone at random, an effect
talking.
occurs during the selection process. The script I use
«The good news is that this intuition can be enhanced. If you consciously train your brain to make fewer mistakes, it will be
provides part of the method; the final revelation is achieved through mechanical means.
less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious
You will need a triple out envelope. I use the one
thinking process.»
described by Ted Lesley in his book Paramiracles; it is
The mentalist keeps walking among the spectators.
simple to make and easy to use. In the first compartment
《 Right now, I have the intuition that this envelope is for someone special in this room".»
of the triple envelope, insert a paper on which is written the word Aries. In the second compartment of the triple envelope, insert a paper on which is written the word
The mentalist stops next to a person in the audience.
Taurus. In the third compartment of the triple envelope,
«... and I think this person is you. What is your star sign
insert a paper on which is written the word Gemini.
please? »
If you want, you can even write each prediction as a
The spectator replies that she is a Gemini. The mentalist
sentence, like: «She will be [star sign].» In this case,
opens the envelope. Inside is a piece of paper on which is
obviously you will have to stop next to a woman in the
written: «She will be a Gemini.»
audience.
The mentalist concludes: «Here is the result o f a good
Finally, you could also decide to write the prediction in
intuition. I feel you will be perfect for the next experience, come
front of everyone. Prepare the triple envelope but only
and join me!»
put the Aries and Taurus predictions inside. In front of the audience, write down Gemini on a piece of paper, place it in the third compartment of the envelope while talking and do the revelation at the end.
90
91
Unfortunately for us, two things are responsible for intuition
Method
not being always accurate. First, our brain can make a mistake; it forgets details, or rushes the thinking process, etc. Second, we
No stooge, no nail writer, no preshow, no sleight of hand.
sometimes decide not to follow our intuition, even when it is
This effect is an interesting way to choose a member of
correct.»
the audience to do an experiment on stage with her.
The mentalist starts to walk around the audience while
Instead of just picking someone at random, an effect
talking.
occurs during the selection process. The script I use
«The good news is that this intuition can be enhanced. If you consciously train your brain to make fewer mistakes, it will be
provides part of the method; the final revelation is achieved through mechanical means.
less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious
You will need a triple out envelope. I use the one
thinking process.»
described by Ted Lesley in his book Paramiracles; it is
The mentalist keeps walking among the spectators.
simple to make and easy to use. In the first compartment
《 Right now, I have the intuition that this envelope is for someone special in this room".»
of the triple envelope, insert a paper on which is written the word Aries. In the second compartment of the triple envelope, insert a paper on which is written the word
The mentalist stops next to a person in the audience.
Taurus. In the third compartment of the triple envelope,
«... and I think this person is you. What is your star sign
insert a paper on which is written the word Gemini.
please? »
If you want, you can even write each prediction as a
The spectator replies that she is a Gemini. The mentalist
sentence, like: «She will be [star sign].» In this case,
opens the envelope. Inside is a piece of paper on which is
obviously you will have to stop next to a woman in the
written: «She will be a Gemini.»
audience.
The mentalist concludes: «Here is the result o f a good
Finally, you could also decide to write the prediction in
intuition. I feel you will be perfect for the next experience, come
front of everyone. Prepare the triple envelope but only
and join me!»
put the Aries and Taurus predictions inside. In front of the audience, write down Gemini on a piece of paper, place it in the third compartment of the envelope while talking and do the revelation at the end.
90
91
«The good news is that this intuition can be enhanced. I f you Let's now see the script and the way it contributes to the method. 《 An important part o f what I do is based on intuition and
consciously train your brain to make fewer mistakes, it will be less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious thinking process.»
people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain. I am not sure I agree. For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not.» The beginning of the script introduces the theme of intuition. After this, the question about seasons seems
After explaining your approach of intuition, here you are explaining that you trained in order to enhance this intuition and it is understood that this is thanks to this ability that you are able to do what you do. «Right now, I have the intuition that this envelope is for someone special in this room...»
rhetorical, but you actually ask people who were born in
Stop next to one of the people who raised their hand at
Spring to raise their hand. Take this opportunity to spot
the beginning.
one or two spectators bom during Spring, as the envelope will be given to this person at the end. The following part of the script (where I explain my approach of intuitign) is actually my real opinion on the subject, allowing me to sound credible when I express it. It is up to you to decide what you have to say about this phenomenon. In a way, this part of the script is also linked to the method: it gives more time between the
«... and I think this person is you. What is your star sign please? » Since this person was born during Spring, their sign has to be Aries, Tauras or Gemini. When the star sign is announced, corresponding
simply
open
compartment
the and
envelope take
the
to
the
correct
prediction out of the envelope. Reveal that your intuition was correct.
moment when the spectators raised their hand and the moment when you do the revelation. Start walking around the audience. Your arms naturally remain on the sides of your body and one of your hands holds the envelope. The envelope is seen but you are not drawing any particular attention to it right now.
92
93
«The good news is that this intuition can be enhanced. I f you Let's now see the script and the way it contributes to the method. 《 An important part o f what I do is based on intuition and
consciously train your brain to make fewer mistakes, it will be less wrong when it is on autopilot And if you learn to better trust your intuition, you will benefit from this unconscious thinking process.»
people imagine that intuition is this kind o f sixth sense, very magical and impossible to explain. I am not sure I agree. For example, if I ask you to raise your hand if you were born during Spring like me, you know the season during which you were born by thinking logically then you raise your hand or not.» The beginning of the script introduces the theme of intuition. After this, the question about seasons seems
After explaining your approach of intuition, here you are explaining that you trained in order to enhance this intuition and it is understood that this is thanks to this ability that you are able to do what you do. «Right now, I have the intuition that this envelope is for someone special in this room...»
rhetorical, but you actually ask people who were born in
Stop next to one of the people who raised their hand at
Spring to raise their hand. Take this opportunity to spot
the beginning.
one or two spectators bom during Spring, as the envelope will be given to this person at the end. The following part of the script (where I explain my approach of intuitign) is actually my real opinion on the subject, allowing me to sound credible when I express it. It is up to you to decide what you have to say about this phenomenon. In a way, this part of the script is also linked to the method: it gives more time between the
«... and I think this person is you. What is your star sign please? » Since this person was born during Spring, their sign has to be Aries, Tauras or Gemini. When the star sign is announced, corresponding
simply
open
compartment
the and
envelope take
the
to
the
correct
prediction out of the envelope. Reveal that your intuition was correct.
moment when the spectators raised their hand and the moment when you do the revelation. Start walking around the audience. Your arms naturally remain on the sides of your body and one of your hands holds the envelope. The envelope is seen but you are not drawing any particular attention to it right now.
92
93
Final notes In my head, I perform this effect as if I was a human sonar. I walk around the audience while talking, letting my intuition work in the background, and I find the right person. This is the subtext in my head and this is what guides my presentation. I was not born during Spring but I use this season in my script. If you prefer, you can use another season and adapt the star signs.
4
94
Final notes In my head, I perform this effect as if I was a human sonar. I walk around the audience while talking, letting my intuition work in the background, and I find the right person. This is the subtext in my head and this is what guides my presentation. I was not born during Spring but I use this season in my script. If you prefer, you can use another season and adapt the star signs.
4
94
ASrnOALP^ABer Effect A spectator is chosen at random in the audience and she joins the mentalist. He asks her to focus and think of a word that has a connection with her. The spectator writes down her word and keeps the paper for future verification. Now the mentalist focuses on her. «Think of your word". There is an N in your word, correct? Without telling me anything, please think o f the position o fN in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The N is at the end o f your word, correct? Now please think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking o f ... an I. There is an I in the middle o f your word, correct? It is almost over. I am making you work a lot and you are doing great.
4
Please, think o f the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image
97
ASrnOALP^ABer Effect A spectator is chosen at random in the audience and she joins the mentalist. He asks her to focus and think of a word that has a connection with her. The spectator writes down her word and keeps the paper for future verification. Now the mentalist focuses on her. «Think of your word". There is an N in your word, correct? Without telling me anything, please think o f the position o fN in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The N is at the end o f your word, correct? Now please think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking o f ... an I. There is an I in the middle o f your word, correct? It is almost over. I am making you work a lot and you are doing great.
4
Please, think o f the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image
97
o f an ant, does it make sense? A is the second letter o f your
Method
word, correct? No stooge, no force, no preshow. You are able to divine To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
the word of the spectator and, during this process, you also able to guess various things she is thinking of,
Ah, now I understand, this is not just any word, correct? This
creating a demonstration of mind reading that is very
is your star sign. You are thinking o f Capricorn, you are a
convincing.
Capricorn, correct? Thank you very much for your help!»
This idea was bom from the fact that I wanted to do a divination that would go beyond the frame of usual demonstrations. In general, a word is chosen at random and as very little connection to the spectator; in addition, it is divined in a very straightforward way, despite the fact that you could milk that moment a lot more. At the beginning, I used these techniques in my book test Babel Any word was chosen on any line, in any book, then I would divine it in several steps. I had combined various revelation techniques based on the fact that the spectator had a free choice in a limited group of words; I then wrote down a different revelation script for each word of this group. In «Astroalphabet,» the spectator's choice is also made in a limited group, unbeknownst from the audience. Your instructions are very precise and guide her toward this group, creating an alternative reality that she is the only one experiencing. When she joins you, tell her: «In a moment, I will ask you to think o f a word. Not any word: a word that has a connection with you.»
98
99
o f an ant, does it make sense? A is the second letter o f your
Method
word, correct? No stooge, no force, no preshow. You are able to divine To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
the word of the spectator and, during this process, you also able to guess various things she is thinking of,
Ah, now I understand, this is not just any word, correct? This
creating a demonstration of mind reading that is very
is your star sign. You are thinking o f Capricorn, you are a
convincing.
Capricorn, correct? Thank you very much for your help!»
This idea was bom from the fact that I wanted to do a divination that would go beyond the frame of usual demonstrations. In general, a word is chosen at random and as very little connection to the spectator; in addition, it is divined in a very straightforward way, despite the fact that you could milk that moment a lot more. At the beginning, I used these techniques in my book test Babel Any word was chosen on any line, in any book, then I would divine it in several steps. I had combined various revelation techniques based on the fact that the spectator had a free choice in a limited group of words; I then wrote down a different revelation script for each word of this group. In «Astroalphabet,» the spectator's choice is also made in a limited group, unbeknownst from the audience. Your instructions are very precise and guide her toward this group, creating an alternative reality that she is the only one experiencing. When she joins you, tell her: «In a moment, I will ask you to think o f a word. Not any word: a word that has a connection with you.»
98
99
Give her something to write on. Of course, this is a gaffed
You can then follow this summarized script and make it a
prop that will allow you to know what she will be
step-by-step revelation. Let's break the script down:
writing. You are free to use any prop that you like and that allows you to read the spectator's writing: Henri
«N. Position. Last letter.»
Beaumont's Hpad5, center tear, Brown Hornet by John
This tells you to announce there is an N in the word.
Riggs6, etc. At the top of the sheet of paper that you give
Then you should tell the spectator to think about the
her, you previously wrote «your star sign,» which will of
position of N. Then you should announce that N is the
course encourage her to write down her star sign.
last letter. Let's look at the full script:
Therefore her choice is limited to twelve words. For each
«Think o f your word. •• There is an N in your word, correct?»
of these twelve words, I designed a specific revelation
The spectator is forced to confirm because you are right.
sequence. If you want, you can memorize these twelve sequences; after performing the effect a few times, you will see that they are quite easy to remember. You could also simply write them down or print them on a crib, allowing you to peek at your script to follow the right steps. Once the spectator has written her word, you know it secretly. Let's imagine she wrote down Capricorn. Here is the summarized script:
《 Without telling me any thing, 卩lease think o f the 卩。 sition o f N in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end of your zoord.» I know that N is at the end of her word. With a sufficiently long word, nobody thinks of the actual numerical position of the final letter. The spectator does not know exactly how many letters are in her word so she cannot really think of the numerical position and she is forced to think of the fact that this letter is at the end. She
N. Position. Last letter. Central vowel. I
will be surprised that I am able to feel this thought process and she will react in a positive way. This technique is the second part of «Brain Game 4»7 by 4
Second letter. Insect. ANT
5Available here: gg.gg/henril 61 discuss this great prop on my website's blog. 100
Banachek.
7 Banachek, «Brain Game 4,» Psychological Subtleties 1, 2010, Magic Inspirations, page 64. 101
Give her something to write on. Of course, this is a gaffed
You can then follow this summarized script and make it a
prop that will allow you to know what she will be
step-by-step revelation. Let's break the script down:
writing. You are free to use any prop that you like and that allows you to read the spectator's writing: Henri
«N. Position. Last letter.»
Beaumont's Hpad5, center tear, Brown Hornet by John
This tells you to announce there is an N in the word.
Riggs6, etc. At the top of the sheet of paper that you give
Then you should tell the spectator to think about the
her, you previously wrote «your star sign,» which will of
position of N. Then you should announce that N is the
course encourage her to write down her star sign.
last letter. Let's look at the full script:
Therefore her choice is limited to twelve words. For each
«Think o f your word. •• There is an N in your word, correct?»
of these twelve words, I designed a specific revelation
The spectator is forced to confirm because you are right.
sequence. If you want, you can memorize these twelve sequences; after performing the effect a few times, you will see that they are quite easy to remember. You could also simply write them down or print them on a crib, allowing you to peek at your script to follow the right steps. Once the spectator has written her word, you know it secretly. Let's imagine she wrote down Capricorn. Here is the summarized script:
《 Without telling me any thing, 卩lease think o f the 卩。 sition o f N in your word. That is surprising, you are not thinking o f the fact that N is in the third position or the seventh position, you are thinking o f the fact that N is at the end of your zoord.» I know that N is at the end of her word. With a sufficiently long word, nobody thinks of the actual numerical position of the final letter. The spectator does not know exactly how many letters are in her word so she cannot really think of the numerical position and she is forced to think of the fact that this letter is at the end. She
N. Position. Last letter. Central vowel. I
will be surprised that I am able to feel this thought process and she will react in a positive way. This technique is the second part of «Brain Game 4»7 by 4
Second letter. Insect. ANT
5Available here: gg.gg/henril 61 discuss this great prop on my website's blog. 100
Banachek.
7 Banachek, «Brain Game 4,» Psychological Subtleties 1, 2010, Magic Inspirations, page 64. 101
However, to be sure to get a positive answer, I never
The audience does not know the length of her word or its
explicitly ask her to confirm the thought process that I
spelling. For them, the word could contain several
have just described. I immediately follow up with:
vowels and I was able to divine the correct one.
«The N is at the end o f your word, correct?»
«It is almost over. I am making you work a lot and you are
Again, she has no other choice than to agree. Even if she
doing great,»
did not think of the fact that this letter was at the end of
Although this sentence is not a revelation and is not part
her word, she cannot deny the fact that this letter is the
of the method, it is essential. The spectator has been
last one. I announce something that is probable but
helping you since the beginning by behaving properly, by
uncertain and I don’t ask for confirmation, then I
following your instructions and by confirming your
announce something with which I know she will have to
revelations. Let her understand that you appreciate her
agree. This is a technique by Luke Jermay that he calls
cooperation and treat her as a friend in order to avoid her
《 Gagging A Spectators (for now it has only been
trying to cause any trouble.
published in his French anthologies); it will be used again in this series of revelations.
«Pleasef think of the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter.
«Nozv please think o f a vowel in the middle o f your word. Do
Do you have one? I don't know about you, but I get the image
you have one? Don't tell me. You hesitated a little bit then you
o f an ant, does it make sense?»
changed your mind and ended up thinking o f ... an L There is an I in the middle o f your word, correct?»
This technique is called «Animal Brain Game»8, by Brad Henderson. You guide the spectator to the letter A then
I combine «Gagging a spectator》 with another of his
you ask her to think of an insect starting with this letter
techniques, «Jermay’s Brain Game». By asking him to
and the only really common choice is to think of the word
think of a vowel in the middle of the word (Capricorn), I
Ant. Of course, she could think of Adelgid or Aphid but
know she is going to think of the letter I. When I
then you would be the unluckiest person in the world
announce that I felt her hesitate and change her mind, I
and she wpuld be an entomologist. That being said, she
don’t ask her to confirm (《 Gagging a spectator》 ).I simply
could be stuck and unable to think of the word Ant. If
sound like I am describing her thought process the way I
you see her starting to confirm your announcement,
felt it. Then I ask a question to which the answer has to be positive, by announcing that there is an I in the middle of her word. 102
8 Brad Henderson, « Animal Brain Game,» Psychological Subtleties 3, 2009, Magic Inspirations, page 75. 103
However, to be sure to get a positive answer, I never
The audience does not know the length of her word or its
explicitly ask her to confirm the thought process that I
spelling. For them, the word could contain several
have just described. I immediately follow up with:
vowels and I was able to divine the correct one.
«The N is at the end o f your word, correct?»
«It is almost over. I am making you work a lot and you are
Again, she has no other choice than to agree. Even if she
doing great,»
did not think of the fact that this letter was at the end of
Although this sentence is not a revelation and is not part
her word, she cannot deny the fact that this letter is the
of the method, it is essential. The spectator has been
last one. I announce something that is probable but
helping you since the beginning by behaving properly, by
uncertain and I don’t ask for confirmation, then I
following your instructions and by confirming your
announce something with which I know she will have to
revelations. Let her understand that you appreciate her
agree. This is a technique by Luke Jermay that he calls
cooperation and treat her as a friend in order to avoid her
《 Gagging A Spectators (for now it has only been
trying to cause any trouble.
published in his French anthologies); it will be used again in this series of revelations.
«Pleasef think of the second letter o f your word. Without telling me anything, try to think o f an insect starting with this letter.
«Nozv please think o f a vowel in the middle o f your word. Do
Do you have one? I don't know about you, but I get the image
you have one? Don't tell me. You hesitated a little bit then you
o f an ant, does it make sense?»
changed your mind and ended up thinking o f ... an L There is an I in the middle o f your word, correct?»
This technique is called «Animal Brain Game»8, by Brad Henderson. You guide the spectator to the letter A then
I combine «Gagging a spectator》 with another of his
you ask her to think of an insect starting with this letter
techniques, «Jermay’s Brain Game». By asking him to
and the only really common choice is to think of the word
think of a vowel in the middle of the word (Capricorn), I
Ant. Of course, she could think of Adelgid or Aphid but
know she is going to think of the letter I. When I
then you would be the unluckiest person in the world
announce that I felt her hesitate and change her mind, I
and she wpuld be an entomologist. That being said, she
don’t ask her to confirm (《 Gagging a spectator》 ).I simply
could be stuck and unable to think of the word Ant. If
sound like I am describing her thought process the way I
you see her starting to confirm your announcement,
felt it. Then I ask a question to which the answer has to be positive, by announcing that there is an I in the middle of her word. 102
8 Brad Henderson, « Animal Brain Game,» Psychological Subtleties 3, 2009, Magic Inspirations, page 75. 103
pause and treat this revelation as a success. If you see her hesitating,
Final notes
move on with the following question,
therefore gagging her. «A is the second letter o f your word, correct?»
What do you do if the spectator does not write down her star sign? Personally, even if I would be bothered by this «incident/» the situation would mainly annoy me because
Once again, you announce something true so you get a
it could indicate that the spectator will be difficult to
confirmation from her.
work with and this could create an uncomfortable
«To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
relationship. If the spectator decides, for whichever reason, to write down something else than her star sign, it is not much of a problem. You will still know her word,
Ah, now I understand, this is not just any word, correct? This
unbeknownst to her. After this, you have several options.
is your star sign. You are thinking o f Capricorn, you are a
First, you could just divine her word, this is still a strong
Capricorn, correct? Thank you very much for your help!»
effect. Second, you could use the same techniques
You end by revealing the full thought-of word, which is a
described previously, improvising the links. For example,
strong revelation for everyone. In addition, the audience
if she wrote down Ambitious (a word that still has a
is impressed by the fact that you first divined the
connection to her but that is not her star sign), you could
connection between the spectator and her word (it is her
improvise the following revelation:
star sign).
«Think o f your word... There is an S in your word, correct? Without telling me anything, please think o f the position o f S in your word. That is surprising, you are not thinking o f the fact that S is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The S is at the end o f your word, correct? Now please4think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking of … an I. There is an I in the middle of your word, correct?
104
105
pause and treat this revelation as a success. If you see her hesitating,
Final notes
move on with the following question,
therefore gagging her. «A is the second letter o f your word, correct?»
What do you do if the spectator does not write down her star sign? Personally, even if I would be bothered by this «incident/» the situation would mainly annoy me because
Once again, you announce something true so you get a
it could indicate that the spectator will be difficult to
confirmation from her.
work with and this could create an uncomfortable
«To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you.
relationship. If the spectator decides, for whichever reason, to write down something else than her star sign, it is not much of a problem. You will still know her word,
Ah, now I understand, this is not just any word, correct? This
unbeknownst to her. After this, you have several options.
is your star sign. You are thinking o f Capricorn, you are a
First, you could just divine her word, this is still a strong
Capricorn, correct? Thank you very much for your help!»
effect. Second, you could use the same techniques
You end by revealing the full thought-of word, which is a
described previously, improvising the links. For example,
strong revelation for everyone. In addition, the audience
if she wrote down Ambitious (a word that still has a
is impressed by the fact that you first divined the
connection to her but that is not her star sign), you could
connection between the spectator and her word (it is her
improvise the following revelation:
star sign).
«Think o f your word... There is an S in your word, correct? Without telling me anything, please think o f the position o f S in your word. That is surprising, you are not thinking o f the fact that S is in the third position or the seventh position, you are thinking o f the fact that N is at the end o f your word. The S is at the end o f your word, correct? Now please4think o f a vowel in the middle o f your word. Do you have one? Don't tell me. You hesitated a little bit then you changed your mind and ended up thinking of … an I. There is an I in the middle of your word, correct?
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105
It is almost over. I am making you work a lot and you are doing
Now that we have seen how to use the script of
great.
revelations for Capricorn from the summarized script,
Please, think o f the first letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image o f an
here are the summarized scripts for all the star signs. You will notice that not all of them have the same quantity of revelations.
ant, does it make sense? A is the first letter o f your word, correct? To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you. Ah, now I understand, this is not just any word, correct? This is one o f your character traits. You are thinking o f Ambitious, you are Ambitious, correct? Thank you very much for your help!» It still functions perfectly. If the spectator writes down an interesting word and you are able to draw some conclusions about her, exploit that moment.
1
Actually, you could decide to use a different limited group, other than star signs. For example, write down «An emotion» ahead of time on the paper, o r 《 Character trait,» o r 《Mother’s first name.» All these groups are sufficiently limited to plan different scripts or at least to prepare properly then use the right technique at the right time, all the while being able to finish by revealing the connection with the spectator.
106
107
It is almost over. I am making you work a lot and you are doing
Now that we have seen how to use the script of
great.
revelations for Capricorn from the summarized script,
Please, think o f the first letter o f your word. Without telling me anything, try to think o f an insect starting with this letter. Do you have one? I don't know about you, but I get the image o f an
here are the summarized scripts for all the star signs. You will notice that not all of them have the same quantity of revelations.
ant, does it make sense? A is the first letter o f your word, correct? To wrap this up, think o f all the letters in your word at the same time. Think about the connection o f this word to you. Ah, now I understand, this is not just any word, correct? This is one o f your character traits. You are thinking o f Ambitious, you are Ambitious, correct? Thank you very much for your help!» It still functions perfectly. If the spectator writes down an interesting word and you are able to draw some conclusions about her, exploit that moment.
1
Actually, you could decide to use a different limited group, other than star signs. For example, write down «An emotion» ahead of time on the paper, o r 《 Character trait,» o r 《Mother’s first name.» All these groups are sufficiently limited to plan different scripts or at least to prepare properly then use the right technique at the right time, all the while being able to finish by revealing the connection with the spectator.
106
107
A R IE S
CA N CER
L IB R A
C A P R IC O R N
S. P o s itio n . L a s t letter.
R . P o s itio n . L a s t letter.
A . P o s itio n . L a s t letter.
N . P o s itio n . L a s t le tter.
C e n tr a l v o w e l. I
C e n tr a l c o n s o n a n t. N
C e n tr a l c o n s o n a n t. R
C e n tr a l v o w e l. I
F ir s t le tte r. In s e c t. A N T
S e c o n d le tte r. In s e c t. A N T
F ir s t
le tte r.
W ild
a n im a l.
S e c o n d le tte r. In s e c t. A N T
L IO N
TAU RU S
L IO N
S C O R P IO
S . P o s itio n . L a s t letter.
N . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. R
C e n t a l c o n s o n a n t. R
C e n tr a l v o w e l. O
Secon d
le tte r.
A Q U A R IU S S . P o s itio n . L a s t le tter. Snake.
COBRA
S e c o n d le tter. In s e c t. A N T
C e n tr a l v o w e l. A F ir s t le tter. In s e c t. A N T
I
G E M IN I
S A G IT T A R IU S
P IS C E S
C e n tr a l v o w e l. I
O . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. T
C e n tr a l c o n s o n a n t. C
S e c o n d le tte r. H u g e a n im a l.
C e n tr a l c o n s o n a n t. R
S e c o n d le tte r. In s e c t. A N T
S e c o n d -to -la s t
ELEPH A N T
108
V IR G O
礞
le tte r.
H uge
a n im a l. E L E P H A N T
109
A R IE S
CA N CER
L IB R A
C A P R IC O R N
S. P o s itio n . L a s t letter.
R . P o s itio n . L a s t letter.
A . P o s itio n . L a s t letter.
N . P o s itio n . L a s t le tter.
C e n tr a l v o w e l. I
C e n tr a l c o n s o n a n t. N
C e n tr a l c o n s o n a n t. R
C e n tr a l v o w e l. I
F ir s t le tte r. In s e c t. A N T
S e c o n d le tte r. In s e c t. A N T
F ir s t
le tte r.
W ild
a n im a l.
S e c o n d le tte r. In s e c t. A N T
L IO N
TAU RU S
L IO N
S C O R P IO
S . P o s itio n . L a s t letter.
N . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. R
C e n t a l c o n s o n a n t. R
C e n tr a l v o w e l. O
Secon d
le tte r.
A Q U A R IU S S . P o s itio n . L a s t le tter. Snake.
COBRA
S e c o n d le tter. In s e c t. A N T
C e n tr a l v o w e l. A F ir s t le tter. In s e c t. A N T
I
G E M IN I
S A G IT T A R IU S
P IS C E S
C e n tr a l v o w e l. I
O . P o s itio n . L a s t letter.
C e n tr a l c o n s o n a n t. T
C e n tr a l c o n s o n a n t. C
S e c o n d le tte r. H u g e a n im a l.
C e n tr a l c o n s o n a n t. R
S e c o n d le tte r. In s e c t. A N T
S e c o n d -to -la s t
ELEPH A N T
108
V IR G O
礞
le tte r.
H uge
a n im a l. E L E P H A N T
109
A O IS C R S S r VfO tnA H Effect Standing with his back toward the audience, the mentalist throws a ball of paper at random behind himself. The person who catches the paper ball is invited to throw it somewhere else in the audience. The spectator who catches the ball this time throws it again, designating a third and final person. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two of us have a good connections The mentalist raises his left fist. «Use my left fist as a point on which to focus, it will help you i
forget the interferences. In a deck o f playing cards, if I gave you a choice between picture cards and number cards, which one would you choose? - Picture cards. - OK, picture cards; number cards are eliminated. Picture cards can be male (king, jack) or female (queen). Which group m
would you like to throw in the air: male or female? - Female - OK for female; male is eliminated. You throw the queens above your head and only one falls back, into your head. Which queen is it? Ill
A O IS C R S S r VfO tnA H Effect Standing with his back toward the audience, the mentalist throws a ball of paper at random behind himself. The person who catches the paper ball is invited to throw it somewhere else in the audience. The spectator who catches the ball this time throws it again, designating a third and final person. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two of us have a good connections The mentalist raises his left fist. «Use my left fist as a point on which to focus, it will help you i
forget the interferences. In a deck o f playing cards, if I gave you a choice between picture cards and number cards, which one would you choose? - Picture cards. - OK, picture cards; number cards are eliminated. Picture cards can be male (king, jack) or female (queen). Which group m
would you like to throw in the air: male or female? - Female - OK for female; male is eliminated. You throw the queens above your head and only one falls back, into your head. Which queen is it? Ill
- The queen o f clubs?
If you don't have a double index card in your props,
- OK, that is your choice, the queen o f clubs. You have chosen
don’t worry. This card will never be handled by the
the picture cards, you have chosen the queens and you have
audience and it is never examined from a dose distance.
chosen the queen o f clubs. You were free and this is now your
This means that you could print the image of a double
card. You have it in your mind, and you also have something
index queen and glue it to the face of a blank card or a
in your hands. The paper ball that you caught at the
joker. You can download the image of the double index
beginning. Can you please unfold it and tell us what is inside? » The spectator unfolds the paper ball: inside, a giant queen of clubs is printed.
queen at this address: gg.gg/ indexdouble. Once you have your double index queen, fold it twice with the back outside and the face inside then put it in your pocket. Crumple the sheet of paper on which you printed the giant queen of clubs, so as to keep the printed
«It looks like we have a very good mental connection! Please
parts hidden inside. You are ready.
join me on stage.» Begin by throwing the paper ball in the audience. It is
Method No stooge, no switch, no preshow, no sleight of hand. This simple and quick effect is based on a procedure of equivoque and a multiple out hidden in the presentation.
thrown again a couple more times to reach a random member of the audience. During this time, casually put your hands in your pocket and take the folded queen in your left fist. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two o f
You will need a sheet of paper (A4 format) on which you will print a giant queen of clubs. You will also need a double index card, showing a queen of hearts on one side and a queen of diamonds on the other side. If you already have such a double index card in your props, great, use it. Of course, it could be any double index queen. I will use
us have a good connections This gives a context to the procedure that will follow: it is supposed to be a way for you to evaluate the quality of your connection with the spectator. The prediction has not been announced yet.
the queen of hearts/diamonds in the explanations.
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113
- The queen o f clubs?
If you don't have a double index card in your props,
- OK, that is your choice, the queen o f clubs. You have chosen
don’t worry. This card will never be handled by the
the picture cards, you have chosen the queens and you have
audience and it is never examined from a dose distance.
chosen the queen o f clubs. You were free and this is now your
This means that you could print the image of a double
card. You have it in your mind, and you also have something
index queen and glue it to the face of a blank card or a
in your hands. The paper ball that you caught at the
joker. You can download the image of the double index
beginning. Can you please unfold it and tell us what is inside? » The spectator unfolds the paper ball: inside, a giant queen of clubs is printed.
queen at this address: gg.gg/ indexdouble. Once you have your double index queen, fold it twice with the back outside and the face inside then put it in your pocket. Crumple the sheet of paper on which you printed the giant queen of clubs, so as to keep the printed
«It looks like we have a very good mental connection! Please
parts hidden inside. You are ready.
join me on stage.» Begin by throwing the paper ball in the audience. It is
Method No stooge, no switch, no preshow, no sleight of hand. This simple and quick effect is based on a procedure of equivoque and a multiple out hidden in the presentation.
thrown again a couple more times to reach a random member of the audience. During this time, casually put your hands in your pocket and take the folded queen in your left fist. «Hello miss. You have been chosen at random to participate in the next experience. However, I must first verify that the two o f
You will need a sheet of paper (A4 format) on which you will print a giant queen of clubs. You will also need a double index card, showing a queen of hearts on one side and a queen of diamonds on the other side. If you already have such a double index card in your props, great, use it. Of course, it could be any double index queen. I will use
us have a good connections This gives a context to the procedure that will follow: it is supposed to be a way for you to evaluate the quality of your connection with the spectator. The prediction has not been announced yet.
the queen of hearts/diamonds in the explanations.
112
113
She replies «pz*ctMre.»
She replies «number.»
« OK,
cards;
« OKf number cards; they
are
are for you, and I keep the
picture
number eliminated.
picture cards.
Picture cards can be male
Picture cards can be male
(king,
(king,
(queen). «Use my left fist as a point on which to focus, it will help you forget the interferences^
cards
jack)
or female
Which
group
jack)
(queen).
or female
Which
group
would you like to throw in
would you like me to
the air: male or female?»
throw in the air: male or female? »
Here you create a reason to focus on your left fist. If the equivoque ends up on a red queen, you will reveal that your hand contained the prediction since the beginning. Everybody understands that you could not change anything because you ask the spectator to focus on your
Note that in one case she chooses the picture cards and she decides which group to throw in the air; in the other case, the picture cards go to you and you are the one throwing them in the air.
hand. t You will now use a simple and quick equivoque to guide
She replies «female.»
She replies «male.»
«OK for female; males are
«OK for males; I throw
eliminated. You throw the
them in the air and they
queens above your head
are
and only one falls back,
riddance. We are left with
into your head.
the queens. Choose the one
the spectator all the way to the queens. Here is the progression of this equivoque, with the script. «In a deck o f playing cards， if I gave you a choice between picture cards and number cards, which one would you choose?»
queen is it?»
Which
eliminated,
good
that you want Do you have one in mind? Which queen is it?»
114
115
She replies «pz*ctMre.»
She replies «number.»
« OK,
cards;
« OKf number cards; they
are
are for you, and I keep the
picture
number eliminated.
picture cards.
Picture cards can be male
Picture cards can be male
(king,
(king,
(queen). «Use my left fist as a point on which to focus, it will help you forget the interferences^
cards
jack)
or female
Which
group
jack)
(queen).
or female
Which
group
would you like to throw in
would you like me to
the air: male or female?»
throw in the air: male or female? »
Here you create a reason to focus on your left fist. If the equivoque ends up on a red queen, you will reveal that your hand contained the prediction since the beginning. Everybody understands that you could not change anything because you ask the spectator to focus on your
Note that in one case she chooses the picture cards and she decides which group to throw in the air; in the other case, the picture cards go to you and you are the one throwing them in the air.
hand. t You will now use a simple and quick equivoque to guide
She replies «female.»
She replies «male.»
«OK for female; males are
«OK for males; I throw
eliminated. You throw the
them in the air and they
queens above your head
are
and only one falls back,
riddance. We are left with
into your head.
the queens. Choose the one
the spectator all the way to the queens. Here is the progression of this equivoque, with the script. «In a deck o f playing cards， if I gave you a choice between picture cards and number cards, which one would you choose?»
queen is it?»
Which
eliminated,
good
that you want Do you have one in mind? Which queen is it?»
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115
The spectator announces the queen of her choice and the equivoque is over. The revelation now depends on the suit of the card. Let's see all four scenarios. If the spectator chose the queen of dubs: «СЖ,
fs your
choice, the queen o f clubs. You have chosen the picture cards, you have chosen the queens and you have chosen the queen of clubs. You were free and this is now your card. You have it in your mind, and you also have something in your hands. The paper ball that you caught at the beginning. Can you please unfold it and tell us what is inside?» If the spectator chose the queen of diamonds: «OK, that is your choice, the queen o f diamonds. You have chosen the Open your left hand, unfold the card so that only the
picture cards, you have chosen the queens and you have chosen
back is visible and the heart index is at the top. Turn the
the queen o f diamonds. You made this choice freely, while
card around, holding the card by its bottom left comer
focusing on my hand. I think the two o f us have a very good
with your left hand, thus hiding the diamond index.
connection, because I have been holding a card in my hand since the beginning.» Open your left hand, unfold the card so that only the back is visible and the diamond index is at the top. Turn the card around, holding the card by its bottom left corner with your left hand, thus hiding the heart index. If the spectator chose the queen of hearts: « 0 尺 ，
fs
your choice, the queen o f hearts. You have chosen the picture cards, you have chosen the queens and you have chosen the queen o f hearts. You made this choice freely, while focusing on my hand. I think the two o f us have a very good connection, because I have been holding a card in my hand since the beginning.»
117
116
.i
k
The spectator announces the queen of her choice and the equivoque is over. The revelation now depends on the suit of the card. Let's see all four scenarios. If the spectator chose the queen of dubs: «СЖ,
fs your
choice, the queen o f clubs. You have chosen the picture cards, you have chosen the queens and you have chosen the queen of clubs. You were free and this is now your card. You have it in your mind, and you also have something in your hands. The paper ball that you caught at the beginning. Can you please unfold it and tell us what is inside?» If the spectator chose the queen of diamonds: «OK, that is your choice, the queen o f diamonds. You have chosen the Open your left hand, unfold the card so that only the
picture cards, you have chosen the queens and you have chosen
back is visible and the heart index is at the top. Turn the
the queen o f diamonds. You made this choice freely, while
card around, holding the card by its bottom left comer
focusing on my hand. I think the two o f us have a very good
with your left hand, thus hiding the diamond index.
connection, because I have been holding a card in my hand since the beginning.» Open your left hand, unfold the card so that only the back is visible and the diamond index is at the top. Turn the card around, holding the card by its bottom left corner with your left hand, thus hiding the heart index. If the spectator chose the queen of hearts: « 0 尺 ，
fs
your choice, the queen o f hearts. You have chosen the picture cards, you have chosen the queens and you have chosen the queen o f hearts. You made this choice freely, while focusing on my hand. I think the two o f us have a very good connection, because I have been holding a card in my hand since the beginning.»
117
116
.i
k
If the spectator chose the queen of spades: « OK, that is
Final notes
your choice, the queen o f spades. In general, people who choose a queen (especially the queen o f spades) are people with an
I have decided that the queen of spades would the less
original thought process and that is exactly what I need for
«special» case because my experience showed me that
what I want to show now.»
this was the least frequently named suit. This observation can vary depending on your style, your wording and
Personally, I prefer the case of the queen of clubs because it takes place in the head of the spectator, then in her hands. The two outs corresponding to the red queens are also interesting because the staging (you holding your fist and the spectator focusing on it) is visually interesting and it remains a very direct revelation. The case of the
your audience. I would strongly recommend that you keep track of the spectator’s choice every time. With time, you may notice that one particular suit is less popular than another and you could decide to make it the least «special» case.
queen of spades does not bother me because I have never announced that I would make a prediction. This procedure is supposedly just a quality test of the connection with the spectator. In three cases out of four, you will have a strong revelation to do; in one case out of four, your reaction remains positive and flattering for the spectator. Regardless of the case in which you end up, finish by saying: «It looks like we have a very good mental connection! Please join me on stage.»
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119
If the spectator chose the queen of spades: « OK, that is
Final notes
your choice, the queen o f spades. In general, people who choose a queen (especially the queen o f spades) are people with an
I have decided that the queen of spades would the less
original thought process and that is exactly what I need for
«special» case because my experience showed me that
what I want to show now.»
this was the least frequently named suit. This observation can vary depending on your style, your wording and
Personally, I prefer the case of the queen of clubs because it takes place in the head of the spectator, then in her hands. The two outs corresponding to the red queens are also interesting because the staging (you holding your fist and the spectator focusing on it) is visually interesting and it remains a very direct revelation. The case of the
your audience. I would strongly recommend that you keep track of the spectator’s choice every time. With time, you may notice that one particular suit is less popular than another and you could decide to make it the least «special» case.
queen of spades does not bother me because I have never announced that I would make a prediction. This procedure is supposedly just a quality test of the connection with the spectator. In three cases out of four, you will have a strong revelation to do; in one case out of four, your reaction remains positive and flattering for the spectator. Regardless of the case in which you end up, finish by saying: «It looks like we have a very good mental connection! Please join me on stage.»
118
119
THB PATH Qr THE BOOK TEST E ffe c t A book is borrowed and three spectators join the mentalist. «We are all looking for answers, sometimes even outside o f ourselves. A game as simple as heads or tails can reveal our inclinations and our fears. I f the coin lands on tails, our reaction can be happy or disappointed in anticipation o f the actions that we promised to do; this is a good indicator o f your opinion on the matter. This is the same thing with horoscopes: even if we do not believe in them, we read the banalities written for our star sign and we interpret them in order to help t
ourselves and to guide us toward a decision. In the end, it is not the coin or the horoscope that makes our decisions; we just needed a trigger, a small nudge. This also works with books. Sometimes, a sentence read at random can give us the impulse or the inspiration that we needed to act and find our answers. This is what we will try now.»
4
Each spectator thinks of a word in the borrowed book. When this is done, the book is given back to its owner. «Let’s see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a 121
THB PATH Qr THE BOOK TEST E ffe c t A book is borrowed and three spectators join the mentalist. «We are all looking for answers, sometimes even outside o f ourselves. A game as simple as heads or tails can reveal our inclinations and our fears. I f the coin lands on tails, our reaction can be happy or disappointed in anticipation o f the actions that we promised to do; this is a good indicator o f your opinion on the matter. This is the same thing with horoscopes: even if we do not believe in them, we read the banalities written for our star sign and we interpret them in order to help t
ourselves and to guide us toward a decision. In the end, it is not the coin or the horoscope that makes our decisions; we just needed a trigger, a small nudge. This also works with books. Sometimes, a sentence read at random can give us the impulse or the inspiration that we needed to act and find our answers. This is what we will try now.»
4
Each spectator thinks of a word in the borrowed book. When this is done, the book is given back to its owner. «Let’s see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a 121
1
question that you may have in your life. A simple question
o f those around you. Know that they are ready to help, that this
triggered by this word, a question about your future in the next
project will be a success and that it will make you travel
few months.»
overseas.
Thementalistfocusesonthethreespectators.
Finally, I think that the third person thinks o f the verb Return.
«Don/t try to help by giving me clues, don't give anything away and we will try to share these words mentally.»
Again, this is a strong coincidence for this person, or maybe the right word knew how to find you. You don’t want to go back to a certain person who hurt you recently. Last month. She is a
The mentalist turns to the first spectator and tells him that he can see an R in his word. The first spectator confirms that this is correct. The mentalist turns to the second spectator and tells him that he can see a short
friend ... no, sorry, she is a member o f your family. She regrets that she accidentally vexed you and she does not dare making the first step toward you in order to rebuild your relationship. You will both gain from it if you return to her and make peace.
word for him, maybe five or six letters. The second spectator confirms that this is correct The mentalist turns
The word Hour, and the promise o f a successful potential The
to the third spectator and tells him that he is not thinking
word Stress, and the support from your dose ones. The word
of an object. The third spectator confirms that this is
Return, and a relationship to build from new, healthier
correct.
foundations.»
The mentalist invites the three spectators to sit on the
The mentalist turns toward the first spectator and says:
chair behind them^then he faces the audience.
«If I guessed your word correctly and that you understood the
«1 think that one o f them is thinking o f the word Hour. If you think o f the word Hour, that is a good thing. You could interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential
answer, please stand up and go back to the audience while they applaud уоњ» The first spectator stands up, smiles and joins the audience, confirming that the mentalist had correctly guessed his word and answered his question. The mentalist turns toward the second spectator and tells him the, same thing. The second spectator goes back to
I think someone else is thinking o f the word Stress. This person is surprised to have landed on a word that describes their situation with such accuracy. I feel something about a personal project that was not fully realized, because you kept it to yourself and you did not think o f reaching out for the support
122
the audience as well, confirming that the mentalist had correctly guessed his word and answered his question. The same happens with the third spectator. The three words have been guessed correctly and the three answers have been given. 123
1
question that you may have in your life. A simple question
o f those around you. Know that they are ready to help, that this
triggered by this word, a question about your future in the next
project will be a success and that it will make you travel
few months.»
overseas.
Thementalistfocusesonthethreespectators.
Finally, I think that the third person thinks o f the verb Return.
«Don/t try to help by giving me clues, don't give anything away and we will try to share these words mentally.»
Again, this is a strong coincidence for this person, or maybe the right word knew how to find you. You don’t want to go back to a certain person who hurt you recently. Last month. She is a
The mentalist turns to the first spectator and tells him that he can see an R in his word. The first spectator confirms that this is correct. The mentalist turns to the second spectator and tells him that he can see a short
friend ... no, sorry, she is a member o f your family. She regrets that she accidentally vexed you and she does not dare making the first step toward you in order to rebuild your relationship. You will both gain from it if you return to her and make peace.
word for him, maybe five or six letters. The second spectator confirms that this is correct The mentalist turns
The word Hour, and the promise o f a successful potential The
to the third spectator and tells him that he is not thinking
word Stress, and the support from your dose ones. The word
of an object. The third spectator confirms that this is
Return, and a relationship to build from new, healthier
correct.
foundations.»
The mentalist invites the three spectators to sit on the
The mentalist turns toward the first spectator and says:
chair behind them^then he faces the audience.
«If I guessed your word correctly and that you understood the
«1 think that one o f them is thinking o f the word Hour. If you think o f the word Hour, that is a good thing. You could interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential
answer, please stand up and go back to the audience while they applaud уоњ» The first spectator stands up, smiles and joins the audience, confirming that the mentalist had correctly guessed his word and answered his question. The mentalist turns toward the second spectator and tells him the, same thing. The second spectator goes back to
I think someone else is thinking o f the word Stress. This person is surprised to have landed on a word that describes their situation with such accuracy. I feel something about a personal project that was not fully realized, because you kept it to yourself and you did not think o f reaching out for the support
122
the audience as well, confirming that the mentalist had correctly guessed his word and answered his question. The same happens with the third spectator. The three words have been guessed correctly and the three answers have been given. 123
Method
will need a two-euro coin at finger palm in your right hand.
No stooge, no preshow, almost no sleight of hand, the book is really normal and borrowed, making this effect virtually impromptu. This demonstration was inspired by two main elements. First, the way Luke Jermay uses the Hoy principle. Second, a strange self-improvement therapy named «The path of tales,» initiated by the Frenchman Jean-Pascal Debailleul.
Begin by borrowing a book. It can be absolutely any book, on absolutely any subject, but it must have some specific characteristics. It must have a soft cover. Its format must allow you to handle it easily with one hand. It must have text somewhere in the middle of the book, on the left-hand side pages, in a language that everybody will understand. A standard paperback is perfect for this.
Briefly, Jean-Pascal Debailleul suggest that we should take tales (classic fairy tales) and use the archetypes that they contain in order to provide answers to our questions. One of the exercises of this practice consists in taking a book at random, opening it at a random page and reading a random word, sentence or segment. The text is then supposed to resonate with the question of the
Take the book that you are lent and leaf through it casually, as if you were quickly looking at its content. In reality, you are looking for a page on the left-hand side that features text and that is located around the middle of the book. When you find such a page, memorize the first word of the first line. Let's imagine it is the word Hour.
person and to help jthem in their quest. Despite the fact that this therapy does not interest me in itself and that Jean-Pascal Debailleul is not a magician or a mentalist, the ritual with the book instantly made me think of a book test demonstration in which a deeper, personal meaning would have been added for the spectator. On the other side, Luke Jermay has done tremendous work with the Hoy principle, for example with his effect «Touching on Hoy.» I slightly modified the structure of the procedure and I combined it with Jean-Pascal Debailleul's ritual in order to create a triple book test that is impromptu and deeply personal. To perform it, you 124
125
Method
will need a two-euro coin at finger palm in your right hand.
No stooge, no preshow, almost no sleight of hand, the book is really normal and borrowed, making this effect virtually impromptu. This demonstration was inspired by two main elements. First, the way Luke Jermay uses the Hoy principle. Second, a strange self-improvement therapy named «The path of tales,» initiated by the Frenchman Jean-Pascal Debailleul.
Begin by borrowing a book. It can be absolutely any book, on absolutely any subject, but it must have some specific characteristics. It must have a soft cover. Its format must allow you to handle it easily with one hand. It must have text somewhere in the middle of the book, on the left-hand side pages, in a language that everybody will understand. A standard paperback is perfect for this.
Briefly, Jean-Pascal Debailleul suggest that we should take tales (classic fairy tales) and use the archetypes that they contain in order to provide answers to our questions. One of the exercises of this practice consists in taking a book at random, opening it at a random page and reading a random word, sentence or segment. The text is then supposed to resonate with the question of the
Take the book that you are lent and leaf through it casually, as if you were quickly looking at its content. In reality, you are looking for a page on the left-hand side that features text and that is located around the middle of the book. When you find such a page, memorize the first word of the first line. Let's imagine it is the word Hour.
person and to help jthem in their quest. Despite the fact that this therapy does not interest me in itself and that Jean-Pascal Debailleul is not a magician or a mentalist, the ritual with the book instantly made me think of a book test demonstration in which a deeper, personal meaning would have been added for the spectator. On the other side, Luke Jermay has done tremendous work with the Hoy principle, for example with his effect «Touching on Hoy.» I slightly modified the structure of the procedure and I combined it with Jean-Pascal Debailleul's ritual in order to create a triple book test that is impromptu and deeply personal. To perform it, you 124
125
Turn toward the second spectator and force him the same Before you close the book, your right hand drops its
word in the same way. Repeat this sequence with the
palmed coin at the bottom of the spine, where the coin is
third spectator. Now you can let the coin drop in your
squeezed by the two halves of the book you are holding.
right hand. Give the book back to its owner and
Turn toward the first spectator and riffle the book in his
discreetly get rid of the coin by casually placing your
direction, asking him to say
hands in your pockets.
whenever he wants.
Of course, you use the hidden coin as a break in the book
Each of the three spectators is now thinking of the same
to force the page on which you memorize the word. Since
word, Hour. However, everybody (including the three
your left hand still pinches the bottom of the book, the
spectators) thinks that the three words are different and
coin remains invisible. Without looking at the book
that you. don’t know them. You can move one to the
yourself, ask the spectator to read the first word of the
divination phase.
first line silently and to memorize it without telling it to anyone. Close the book.
«Let's see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a question that you may have in your life. A simple question
126
127
Turn toward the second spectator and force him the same Before you close the book, your right hand drops its
word in the same way. Repeat this sequence with the
palmed coin at the bottom of the spine, where the coin is
third spectator. Now you can let the coin drop in your
squeezed by the two halves of the book you are holding.
right hand. Give the book back to its owner and
Turn toward the first spectator and riffle the book in his
discreetly get rid of the coin by casually placing your
direction, asking him to say
hands in your pockets.
whenever he wants.
Of course, you use the hidden coin as a break in the book
Each of the three spectators is now thinking of the same
to force the page on which you memorize the word. Since
word, Hour. However, everybody (including the three
your left hand still pinches the bottom of the book, the
spectators) thinks that the three words are different and
coin remains invisible. Without looking at the book
that you. don’t know them. You can move one to the
yourself, ask the spectator to read the first word of the
divination phase.
first line silently and to memorize it without telling it to anyone. Close the book.
«Let's see if we can mentally share all these words. I will also ask each o f you to take your word and to connect it to a question that you may have in your life. A simple question
126
127
triggered by this word, a question about your future in the next
Turn toward the audience and speak without directing
few months.》
your announcements to any spectator in particular, as if
This way of formulating your request prevent the spectators from thinking things like:
掘
J " 舰 , or
you were merely thinking out loud about the thoughts that you are catching in real time.
breakfast?» It is easier to answer questions about the
«1 think that one o f them is thinking o f the word Hour. If you
future because nobody can verify that you are right.
think o f the word Hour, that is a good thing. You could
«Donft try to help by giving me clues, don't give anything away and we will try to share these words mentally,»
interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential.》
Since each spectator is actually thinking of the same word, this sentence ensures that the three spectators will not react visibly when you talk about the word Hour.
This script is actually directed to each of the three spectators. They know it, because they heard you reveal the word Hour. Each of them thinks he is the only one to
Turn to the first spectator and tell him that you can see an R in his word. The first spectator confirms that this is correct. Turn to the second spectator and tell him that you can see a short word for him, maybe five or six letters. The second spectator confirms that this is correct. Turn to the third spectator and tell him that he is not thinking of
which you are talking. Since this script actually applies to all three spectators at the same time, this is the most general revelation of the three. You are free to modify this script or to improvise. Just know how to keep it blurry enough (yet positive) so that each of the three spectators can find himself in your revelation.
an object. The third spectator confirms that this is correct. By doing this, you reinforce the impression that the three
Continue with the next two revelations:
words are different and you demonstrate that you are
«1 think someone else is thinking o f the word Stress. This
able to divine things about the spectators’ choices. Of
person is surprised to have landed on a word that describes
course, you will have to improvise these three attributes
their situation with such accuracy. I feel something about a
(letter, number of letters, nature of the word) depending
personal project that was not fully realized, because you kept it
on the word that you forced. This phase is optional.
to yourself and you did not think o f reaching out for the
Invite the three spectators to sit on the chair behind them. This will serve as a confirmation later, after the revelations that you are about to make.
128
support o f those around you. Know that they are ready to help, that this project will be a success and that it will make you travel overseas.
129
triggered by this word, a question about your future in the next
Turn toward the audience and speak without directing
few months.》
your announcements to any spectator in particular, as if
This way of formulating your request prevent the spectators from thinking things like:
掘
J " 舰 , or
you were merely thinking out loud about the thoughts that you are catching in real time.
breakfast?» It is easier to answer questions about the
«1 think that one o f them is thinking o f the word Hour. If you
future because nobody can verify that you are right.
think o f the word Hour, that is a good thing. You could
«Donft try to help by giving me clues, don't give anything away and we will try to share these words mentally,»
interpret this by saying that it will soon be a good time for you, a moment where your situation will be solved and when you will make the most out o f your potential.》
Since each spectator is actually thinking of the same word, this sentence ensures that the three spectators will not react visibly when you talk about the word Hour.
This script is actually directed to each of the three spectators. They know it, because they heard you reveal the word Hour. Each of them thinks he is the only one to
Turn to the first spectator and tell him that you can see an R in his word. The first spectator confirms that this is correct. Turn to the second spectator and tell him that you can see a short word for him, maybe five or six letters. The second spectator confirms that this is correct. Turn to the third spectator and tell him that he is not thinking of
which you are talking. Since this script actually applies to all three spectators at the same time, this is the most general revelation of the three. You are free to modify this script or to improvise. Just know how to keep it blurry enough (yet positive) so that each of the three spectators can find himself in your revelation.
an object. The third spectator confirms that this is correct. By doing this, you reinforce the impression that the three
Continue with the next two revelations:
words are different and you demonstrate that you are
«1 think someone else is thinking o f the word Stress. This
able to divine things about the spectators’ choices. Of
person is surprised to have landed on a word that describes
course, you will have to improvise these three attributes
their situation with such accuracy. I feel something about a
(letter, number of letters, nature of the word) depending
personal project that was not fully realized, because you kept it
on the word that you forced. This phase is optional.
to yourself and you did not think o f reaching out for the
Invite the three spectators to sit on the chair behind them. This will serve as a confirmation later, after the revelations that you are about to make.
128
support o f those around you. Know that they are ready to help, that this project will be a success and that it will make you travel overseas.
129
1
Finally, I think that the third person thinks o f the verb Return.
Since you announced the word he was thinking about
Again, this is a strong coincidence for this person, or maybe the
and that your answer to this word is general and easy to
right word knew how to find you. You don't want to go back to
understand, the first spectator stands up and joins the
a certain person who hurt you recently. Last month. She is a
audience. His action is a confirmation of your revelation
friend ... no, sorry, she is a member o f your family. She regrets
and a trigger for the audience's applauds. The brilliant
that she accidentally vexed you and she does not dare making
idea of having each spectator confirmed separately comes
the first step toward you in order to rebuild your relationship.
from Wayne Dobson.
You will both gain from it if you return to her and make peace.»
Turn toward the second spectator and repeat the same
As you can see, these revelations communicate the idea
sequence. He stands up and goes back to the audience.
that you were able to divine personal things and that you
The same happens with the third and last spectator.
are encouraging the person to move toward a positive solution. These scripts are directed at nobody because nobody is thinking of the words Stress and Return, but the audience does not know this. As for the three spectators, they all think that you are talking to one of the other two spectators.
Final notes If one of the spectators does not confirm your revelation and does not go back to the audience, don’t worry. Explain that you may have had some trouble divining his
《 The word Hour, and the promise o f a successful potential. The
word and offer to start again quickly. You can then force
word Stress, and the-support from your close ones. The word
him a new word in a book then guess it, or perform a
Return, and a relationship to build from new, healthier
classic book test effect like my Babel book test, or ask the
foundations^
spectator to write any word he is thinking of (a special
It is important to recap the words and divined themes, because the three spectators must remember that you
notepad or a center tear will then allow you to secretly gain knowledge of his word).
managed to reveal the word Hour, the word they are all thinking about. Turn toward the first spectator and say: «^/7 guessed your word correctly and that you understood the answer, please stand up and go back to the audience while they applaud you.»
130
131
1
Finally, I think that the third person thinks o f the verb Return.
Since you announced the word he was thinking about
Again, this is a strong coincidence for this person, or maybe the
and that your answer to this word is general and easy to
right word knew how to find you. You don't want to go back to
understand, the first spectator stands up and joins the
a certain person who hurt you recently. Last month. She is a
audience. His action is a confirmation of your revelation
friend ... no, sorry, she is a member o f your family. She regrets
and a trigger for the audience's applauds. The brilliant
that she accidentally vexed you and she does not dare making
idea of having each spectator confirmed separately comes
the first step toward you in order to rebuild your relationship.
from Wayne Dobson.
You will both gain from it if you return to her and make peace.»
Turn toward the second spectator and repeat the same
As you can see, these revelations communicate the idea
sequence. He stands up and goes back to the audience.
that you were able to divine personal things and that you
The same happens with the third and last spectator.
are encouraging the person to move toward a positive solution. These scripts are directed at nobody because nobody is thinking of the words Stress and Return, but the audience does not know this. As for the three spectators, they all think that you are talking to one of the other two spectators.
Final notes If one of the spectators does not confirm your revelation and does not go back to the audience, don’t worry. Explain that you may have had some trouble divining his
《 The word Hour, and the promise o f a successful potential. The
word and offer to start again quickly. You can then force
word Stress, and the-support from your close ones. The word
him a new word in a book then guess it, or perform a
Return, and a relationship to build from new, healthier
classic book test effect like my Babel book test, or ask the
foundations^
spectator to write any word he is thinking of (a special
It is important to recap the words and divined themes, because the three spectators must remember that you
notepad or a center tear will then allow you to secretly gain knowledge of his word).
managed to reveal the word Hour, the word they are all thinking about. Turn toward the first spectator and say: «^/7 guessed your word correctly and that you understood the answer, please stand up and go back to the audience while they applaud you.»
130
131
COUPLS сонгисг Effect The mentalist is standing behind a table. He invites a couple to sit at the table, in front of each other. After asking about the circumstances of their first meeting and about the length of their relationship, the mentalist takes a strange object that he places on the table. The object is a wooden model of a hand, and it is holding a small envelope.
133
COUPLS сонгисг Effect The mentalist is standing behind a table. He invites a couple to sit at the table, in front of each other. After asking about the circumstances of their first meeting and about the length of their relationship, the mentalist takes a strange object that he places on the table. The object is a wooden model of a hand, and it is holding a small envelope.
133
The mentalist explains that this envelope contains a
Method
certain amount of money that will be won by one of the members of this couple. The hand is placed in front of the
No stooge, no sleight of hand, no force, no nail writer,
husband and the mentalist tells him that he has to slide
and the bank note can be kept as a souvenir.
the hand (and therefore the envelope) toward his wife.
This is a strange effect for me, because I first imagined the
She will then have to do the same thing toward her
image, not the presentation or the method: two people
husband. Both of them keep repeating this exchange.
sitting across from each other, passing an object to each
After a few seconds, the mentalist adds the last rule: any
other until one of them decides to keep it; this choice is
one of them can decide, at any moment, to keep the hand
predicted. First it was an envelope on its own, then a box
and the envelope, therefore winning the amount of
(to
money that is inside.
intriguing, like a mysterious gift), then it became the
After another few seconds, finally the husband decides to
current version: a wooden model of a hand, holding an
keep the wooden hand for himself. The envelope is
envelope. It allows me to preserve the simplicity of the
opened: it contains a single bank note that goes to the
original method, all the while creating a strong visual. A
husband. When he unfolds the bank note, he realizes that
couple sitting across from each other and passing around
it is actually a fake bill with an amount of zero euro!
a wooden hand holding an envelope, that is a striking
make
the
object
more
three-dimensional
and
situation and one that lends itself easily to a memorable But not everything is lost. At the back of the bank note,
photo.
the husband can read the following message: «The bank note will be won by the husband.»
The hand is perfectly normal and you can find it in arts and crafts shops, as well as on the Internet9. The envelope is gaffed to allow two different outs. There is a multitude of systems for this and you can use whichever you prefer. Personally, I use a method by Luke Jermay, -described in his DVD Jermay's Mind. Its big advantage is to be extremely quick to prepare and it requires no glue, cutting or complicated mechanism.
9 Available here: gg.gg/woodhand 134
135
The mentalist explains that this envelope contains a
Method
certain amount of money that will be won by one of the members of this couple. The hand is placed in front of the
No stooge, no sleight of hand, no force, no nail writer,
husband and the mentalist tells him that he has to slide
and the bank note can be kept as a souvenir.
the hand (and therefore the envelope) toward his wife.
This is a strange effect for me, because I first imagined the
She will then have to do the same thing toward her
image, not the presentation or the method: two people
husband. Both of them keep repeating this exchange.
sitting across from each other, passing an object to each
After a few seconds, the mentalist adds the last rule: any
other until one of them decides to keep it; this choice is
one of them can decide, at any moment, to keep the hand
predicted. First it was an envelope on its own, then a box
and the envelope, therefore winning the amount of
(to
money that is inside.
intriguing, like a mysterious gift), then it became the
After another few seconds, finally the husband decides to
current version: a wooden model of a hand, holding an
keep the wooden hand for himself. The envelope is
envelope. It allows me to preserve the simplicity of the
opened: it contains a single bank note that goes to the
original method, all the while creating a strong visual. A
husband. When he unfolds the bank note, he realizes that
couple sitting across from each other and passing around
it is actually a fake bill with an amount of zero euro!
a wooden hand holding an envelope, that is a striking
make
the
object
more
three-dimensional
and
situation and one that lends itself easily to a memorable But not everything is lost. At the back of the bank note,
photo.
the husband can read the following message: «The bank note will be won by the husband.»
The hand is perfectly normal and you can find it in arts and crafts shops, as well as on the Internet9. The envelope is gaffed to allow two different outs. There is a multitude of systems for this and you can use whichever you prefer. Personally, I use a method by Luke Jermay, -described in his DVD Jermay's Mind. Its big advantage is to be extremely quick to prepare and it requires no glue, cutting or complicated mechanism.
9 Available here: gg.gg/woodhand 134
135
You will also need a souvenir bank note of zero euro.
and say that the envelope contains a certain amount of
These bank notes can often be purchased in touristic
money. It is true, zero euro is a certain amount of money.
areas. I have also put the bill that I use online so you can
Explain the game (they must keep passing on the object
download the file here: gg.gg/eurozero. You can then
to each other, without stopping). After a few seconds of
print it at home because this bill does not need to be
this, add that one of them can keep the hand and the
printed on the same paper as real money.
money. If you have chosen the right couple, the dynamic
I prefer to only print one side of the bill and to leave the
can now become very interesting and it is often an
other side blank, so I can use it to write the prediction. At
opportunity to play with them.
the back of one bill, write down «The bank note will be won
When one of them decides to keep the hand, take the
by the wife.» At the back of a second bill, write down «The
envelope with your fingertips, open it at the right
bank note will be won by the husbandry Each bill goes into a
compartment, to take the right prediction. The spectator
different compartment in your double out envelope.
unfolds the bank note and they discover that it is a zero-
Couples are not always married, so the prediction could
euro bill, which is often a funny moment in the routine.
also be «He/She will win the bank note.» If you want to be
Finally, have them turn around the bank note so they can
prepared for all types of configuration (married couples,
show the prediction to everyone.
unmarried couples, gay and lesbian couples, or even friends if there is no couple present), a more general prediction would be «The person sitting will win the bill») in this case, you ask one spectator to stand at the table and the other one to sit at the table. Place the envelope in the wooden hand and you are ready to go.
To perform the effect, invite a couple to join you at the table and talk a little bit with them, like you would do with new people that you meet at a party. After this small chat, take the wooden hand, put it in front of one of them
136
137
You will also need a souvenir bank note of zero euro.
and say that the envelope contains a certain amount of
These bank notes can often be purchased in touristic
money. It is true, zero euro is a certain amount of money.
areas. I have also put the bill that I use online so you can
Explain the game (they must keep passing on the object
download the file here: gg.gg/eurozero. You can then
to each other, without stopping). After a few seconds of
print it at home because this bill does not need to be
this, add that one of them can keep the hand and the
printed on the same paper as real money.
money. If you have chosen the right couple, the dynamic
I prefer to only print one side of the bill and to leave the
can now become very interesting and it is often an
other side blank, so I can use it to write the prediction. At
opportunity to play with them.
the back of one bill, write down «The bank note will be won
When one of them decides to keep the hand, take the
by the wife.» At the back of a second bill, write down «The
envelope with your fingertips, open it at the right
bank note will be won by the husbandry Each bill goes into a
compartment, to take the right prediction. The spectator
different compartment in your double out envelope.
unfolds the bank note and they discover that it is a zero-
Couples are not always married, so the prediction could
euro bill, which is often a funny moment in the routine.
also be «He/She will win the bank note.» If you want to be
Finally, have them turn around the bank note so they can
prepared for all types of configuration (married couples,
show the prediction to everyone.
unmarried couples, gay and lesbian couples, or even friends if there is no couple present), a more general prediction would be «The person sitting will win the bill») in this case, you ask one spectator to stand at the table and the other one to sit at the table. Place the envelope in the wooden hand and you are ready to go.
To perform the effect, invite a couple to join you at the table and talk a little bit with them, like you would do with new people that you meet at a party. After this small chat, take the wooden hand, put it in front of one of them
136
137
~ ~ Г
A BBTTS^ ST04Y I
When I started magie, I was quickly told about an interesting psychological technique. It consisted in recapping what had just happened, and in modifying reality slightly so that the effect would seem even more impossible. Let's imagine that you are using a deck of cards that is arranged for an effect. You perform a false shuffle then you give the deck to a spectator so that he cuts it. At the end of the effect, you could then say: «We shuffled and cut the deck.» This announcement is true in the sense that «We» includes yourself and the spectator. You shuffled (falsely) and he cut; therefore you (together) shuffled and cut. To push things even further, you could say: «You shuffled and cut the dech» If your false shuffle was convincing, the spectator will not worry about rectifying the identity of the person who shuffled. This idea applies to various effects (if not all), whether it is card magic, coin routines, mentalism, etc. This will allow you to make a spectator believe that you did not touch a prop (although you did), that he did such and such action (although he did not do it completely or at all), or that his choice was free (although you imposed limits on it). To summarize: something happens, then you recap what happened by lying partially or totally, then the audience goes home remembering the «false» version that you planted in their mind.
139
~ ~ Г
A BBTTS^ ST04Y I
When I started magie, I was quickly told about an interesting psychological technique. It consisted in recapping what had just happened, and in modifying reality slightly so that the effect would seem even more impossible. Let's imagine that you are using a deck of cards that is arranged for an effect. You perform a false shuffle then you give the deck to a spectator so that he cuts it. At the end of the effect, you could then say: «We shuffled and cut the deck.» This announcement is true in the sense that «We» includes yourself and the spectator. You shuffled (falsely) and he cut; therefore you (together) shuffled and cut. To push things even further, you could say: «You shuffled and cut the dech» If your false shuffle was convincing, the spectator will not worry about rectifying the identity of the person who shuffled. This idea applies to various effects (if not all), whether it is card magic, coin routines, mentalism, etc. This will allow you to make a spectator believe that you did not touch a prop (although you did), that he did such and such action (although he did not do it completely or at all), or that his choice was free (although you imposed limits on it). To summarize: something happens, then you recap what happened by lying partially or totally, then the audience goes home remembering the «false» version that you planted in their mind.
139
procedure of the effect disappear when it is time to tell The problem is that I do not agree with this theory. I think
the anecdote.
it works but only to some extent, and it has two major
I don't think this is due to my immense power of
flaws.
influence on people. I think this is due to a very specific,
First, it is based on the principle that you know how to plant an idea in the mind of the spectator. In reality, this is far from being the easiest thing in the world. Unfortunately, most of us (me included) overestimate their ability to influence the audience.
social, psychological behavior from the person who tells the story. When you talk about a dream you had or a movie you saw or a book you read, you have an audience: people are listening to you. Telling a story in from of people is like a small social show. The story is not the only thing that matters here. As the narrator, you
Second, instead of betting on your power of influence,
want to captivate your audience and to avoid boring
this theory could exploit another psychological trait that
them. Every time you tell a story, a part of your social
is common in all of the spectators. This is what we will
status is at stake. Nobody wants to tell a joke and get no
discuss here.
laugh, or tell a story and engage nobody. To increase our chances of being interesting to our
Let’s take the example of the effect «A discreet woman,»
audience, we tend to make things better, to ignore certain
previously described in this book. The reality of this
boring details and to amplify what is the main core of the
effect is that I use ћп equivoque in three steps (picture or
story. This is a normal process, even though it reveals
number, male or female, suit of the queen) to guide the
something
spectator toward one card, then I reveal this card. Now,
psychology: we sometimes prefer to distort reality in
imagine that you are a spectator in the room and that you
order to be more interesting, instead of telling the exact
witness the effect. Later, people may ask you how the
truth and risk boring people or decreasing our social
show was. In this situation, the spectator will tend to talk
status. It is thanks to this phenomenon that we jumped
about the effect in the following way: «A spectotor
med
for a ten*»meter high cliff (it was actually just two-meter
any card and it was written on a paper that she was holdings
high), that we pulled an all-nighter to finish a project
The equivoque procedure disappears from the anecdote.
(actually we still managed to sleep three hours), and that
This
we met at random in a park (actually we had first met
is just
one
example
and
I
而
witnessed
this
phenomenon on several occasions: key elements from the
140
that
is
not
very
flattering
about
our
online). The best story always wins.
141
procedure of the effect disappear when it is time to tell The problem is that I do not agree with this theory. I think
the anecdote.
it works but only to some extent, and it has two major
I don't think this is due to my immense power of
flaws.
influence on people. I think this is due to a very specific,
First, it is based on the principle that you know how to plant an idea in the mind of the spectator. In reality, this is far from being the easiest thing in the world. Unfortunately, most of us (me included) overestimate their ability to influence the audience.
social, psychological behavior from the person who tells the story. When you talk about a dream you had or a movie you saw or a book you read, you have an audience: people are listening to you. Telling a story in from of people is like a small social show. The story is not the only thing that matters here. As the narrator, you
Second, instead of betting on your power of influence,
want to captivate your audience and to avoid boring
this theory could exploit another psychological trait that
them. Every time you tell a story, a part of your social
is common in all of the spectators. This is what we will
status is at stake. Nobody wants to tell a joke and get no
discuss here.
laugh, or tell a story and engage nobody. To increase our chances of being interesting to our
Let’s take the example of the effect «A discreet woman,»
audience, we tend to make things better, to ignore certain
previously described in this book. The reality of this
boring details and to amplify what is the main core of the
effect is that I use ћп equivoque in three steps (picture or
story. This is a normal process, even though it reveals
number, male or female, suit of the queen) to guide the
something
spectator toward one card, then I reveal this card. Now,
psychology: we sometimes prefer to distort reality in
imagine that you are a spectator in the room and that you
order to be more interesting, instead of telling the exact
witness the effect. Later, people may ask you how the
truth and risk boring people or decreasing our social
show was. In this situation, the spectator will tend to talk
status. It is thanks to this phenomenon that we jumped
about the effect in the following way: «A spectotor
med
for a ten*»meter high cliff (it was actually just two-meter
any card and it was written on a paper that she was holdings
high), that we pulled an all-nighter to finish a project
The equivoque procedure disappears from the anecdote.
(actually we still managed to sleep three hours), and that
This
we met at random in a park (actually we had first met
is just
one
example
and
I
而
witnessed
this
phenomenon on several occasions: key elements from the
140
that
is
not
very
flattering
about
our
online). The best story always wins.
141
Most people project an image of themselves that they refine and adjust along the way. Distorting reality to
Another aspect of people's memories is more emotional
obtain a better story is one part of this process.
but as important as the previous one. When people talk about a magician that they saw, I usually notice two
OK, but how does it apply to magic? We can exploit this behavior for our effects. Magic and mentalism are far from being perfect, because we do not have real powers. However, what we do can have the appearance of a perfect miracle. When you build an effect, try to imagine what would be th e 《 better story» that people will want to tell later on.
o f any card and it was written on the paper that she was In
magician, and they have forgotten the effects or its details. However, they always remember the emotion that they felt during this experience. I prefer a spectator who remembers laughing, crying, being stunned, over a spectator who can describe in detail the equivoque procedure that I have used. Unfortunately, most effects donrt talk about interesting issues for the audience or
For «A discreet woman,» it would be: «S//e /VeeZy holding!»
things: the spectators have forgotten the name of the
this
case,
the
equivoque
procedure
disappears.
don't have a lot of emotional impact. Again, study your own style, repertoire and presentation. What interesting theme could lend itself to such and such effect? What can you do to create a real connection with
For «Photographic memory,» it could be: «The spectator
the audience? What can you do better so that they leave
freely selected a photo out o f a hundred o f the mentalist's
with a memory charged with the emotions that they felt
memories and his choice was predicted!» Here, the selection
while watching you?
process for the photo is eliminated; it is too long to explain and the result is the only thing that counts. For «Fateful encounter,» it could be: «A couple chose two chairs among five on which to sit, and the result was predicted, down to their first names!» Again, no spectator wants to describe the selection procedure using the envelopes. Look at your repertoire and find a way to structure and perform your effects so that a «better story» can easily emerge later.
142
143
Most people project an image of themselves that they refine and adjust along the way. Distorting reality to
Another aspect of people's memories is more emotional
obtain a better story is one part of this process.
but as important as the previous one. When people talk about a magician that they saw, I usually notice two
OK, but how does it apply to magic? We can exploit this behavior for our effects. Magic and mentalism are far from being perfect, because we do not have real powers. However, what we do can have the appearance of a perfect miracle. When you build an effect, try to imagine what would be th e 《 better story» that people will want to tell later on.
o f any card and it was written on the paper that she was In
magician, and they have forgotten the effects or its details. However, they always remember the emotion that they felt during this experience. I prefer a spectator who remembers laughing, crying, being stunned, over a spectator who can describe in detail the equivoque procedure that I have used. Unfortunately, most effects donrt talk about interesting issues for the audience or
For «A discreet woman,» it would be: «S//e /VeeZy holding!»
things: the spectators have forgotten the name of the
this
case,
the
equivoque
procedure
disappears.
don't have a lot of emotional impact. Again, study your own style, repertoire and presentation. What interesting theme could lend itself to such and such effect? What can you do to create a real connection with
For «Photographic memory,» it could be: «The spectator
the audience? What can you do better so that they leave
freely selected a photo out o f a hundred o f the mentalist's
with a memory charged with the emotions that they felt
memories and his choice was predicted!» Here, the selection
while watching you?
process for the photo is eliminated; it is too long to explain and the result is the only thing that counts. For «Fateful encounter,» it could be: «A couple chose two chairs among five on which to sit, and the result was predicted, down to their first names!» Again, no spectator wants to describe the selection procedure using the envelopes. Look at your repertoire and find a way to structure and perform your effects so that a «better story» can easily emerge later.
142
143
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