The Cassidy Lecture
Techniques of Mentalism
The Bob Cassidy Lecture- Palo Alto, CA,
December 8, 1997
Copyright ©1997 and 2002 by Robert E Cassidy
The nice thing about a lecture is that I have an
opportunity to delve into areas which simply wouldn't
be appropriate (to my mind, at least) in my other
writings. In my books I try to concentrate primarily on
original material. That is, after all, what the readers are
paying for.
In a lecture, however, it seems quite proper to deal
with fundamental approaches to the art and to discuss
my variations and handlings of standard effects and
moves.
If you see me perform at a gathering of mentalists you
will see nothing but my original material. When I
perform for lay audiences, however, (which is most of
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the time) I use effects that I consider to be the strongest
and most effective. Very often that is standard material.
I like to think, though, that even in the presentation of
standard stuff, that my approach is at least original.
In this lecture I'll be covering the material I carry with
me all of the time so that it may be presented whenever
the situation arises. This is the stuff that gets the
bookings. It's also material that will give you a
reputation for doing "the real thing."
I'll also cover the one stage routine which most
mentalists consider to be my best creation- my version
of the three envelope test. Unlike my previously
published versions, which covered a variety of
different methods and approaches to the effect, what
we'll discuss tonight is the way I actually do it.
The Name/Place routine will also be covered since I
use it both in my close up and stage performances. It is,
I think, one of the most practical things you can do in
an impromptu setting.
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MY MENTALIST KIT
I make it a habit to always carry certain materials with
me. When I?m wearing a suit, everything fits into the
pockets. In a jeans and T-shirt situation everything fits
nicely into a belt pouch or fanny pack. (I would,
however, suggest that you don't wear the pack on your
fanny unless you don't mind sitting on your act.)
The materials are as follows:
A black lipstick.
A 35mm film canister
A regular die
A gimmicked "psychokinetic pen"
A packet of billets (blank 3x5 cards which have been
cut in half)
Cornelius's "Perfect Pen"
Two "rainbow pads" (3x5 pads comprised of colored
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newsprint stock)
At lease two more pens- one that matches the
gimmicked psycho pen and one that looks similar to
the Cornelius Pen.
DyCypher2- The die divination effect currently
manufactured by Chazpro.
A couple of keys suitable to use as "benders" in case I
can't find a suitable one in a small audience.
Whatever else happens to amuse me at the time-
currently a Rocco's Dlite which I use to make a crystal
glow in a variation of and aold effect called "Laser
Beam." (The crystal, too, obviously)
Here's what all of these things are for. Obviously I
never do all of this material for one group. In fact, in an
impromptu setting, I find it much more effective to do
no more than two effects. More than that actually does
more harm than good. Rather than creating a
reputation for yourself by performing something that
the audience will remember always, if you do too much
they'll tend to describe you as someone "who did all
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sorts of things." You don't want that. You want them to
tell their friends exactly what they think you did.
The other stuff is for repeat performances.
THE BLACK LIPSTICK
This has two great uses. The first is for my no-gimmick
version of Fiedler's Memory Die. This has previously
appeared in my "Principia Mentalia" series but I gave
myself permission to include it here.
This is the effect: The performer exhibits a 35mm film
canister and an unprepared die. He hands the die to a
spectator and asks him to concentrate on one of the
numbers. Next the mentalist hands the volunteer the
film can and tells him to drop the die into it so that his
selected number is facing upward. The can is passed
around so that other spectators can look in and help in
the concentration process. The last spectator holding
the canister is told to remove the die and toss it back to
the performer.
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Casually putting the die into his pocket, the performer
retrieves the canister. Going into his psychic mode, the
mentalist successfully reveals the thought of number.
Since we're discussing the use of black lipstick I think
the method should be apparent.
In the original routine, as described in "Principia
Mentalia," I simply said to use a lipstick. The
advantages of using a black lipstick (available in any
costume shop) hadn't yet dawned on me.
Prior to performance you need only insert the lipstick
into the canister and leave a small dot on the little nub
which is on the center of the inside bottom. SMALL!
Too much and you'll make such a mess that you'll have
no idea what number's being thought of.
Don't store the die in the canister. The lid is not used in
the effect. It is removed from the canister just prior to
beginning the effect.
The handling is just as described above. When the die
is tossed back to you a casual glance at it, as you put it
in your pocket, will reveal a slight smudge on one side
of the die. The number opposite this one is the chosen
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number. Remember- opposite sides of a die total seven.
(Of course if you didn t already know this you are
hardly ready to be a mentalist- or a parlor magician
either, for that matter.)
One problem with the previous effect is that it is
basically a one out of six shot. It's more effective if you
use it in place of a force in a triple prediction effect such
as Jak's classic "This Way Out." The only effective die
divination routine that I know of is my own and is
based on the "DyCypher2" prop manufactured by
Chazpro. We'll get to that shortly.
The reason that black lipstick is best is that it won't be
noticed on a white die with black spots. If seen by a
spectator he'll just assume that it is a cheap die with a
shoddy spotting job. Red lipstick, however, while it
usually won't be noticed if you keep the handling brisk,
will raise a red flag to an astute observer. My other use
for the black lipstick is simply a refinement of ideas
created by Ned Rutledge, Punx, Ross Johnson and
myself.
The original effect was first described by Robert Parrish
and probably goes back to the days of the fraudulent
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mediums. This is how it looks:
The performer writes the numbers from one to five on
a scratch pad in a vertical column on the left side of the
sheet. The spectator is told to think of the first name of
someone who was important in his or her life. Handing
the spectator the pen, the mentalist asks him to print
the name next to any of the numbers. The mentalist, of
course, does not watch while this is done. When the
spectator says he is finished the mentalist tells him to
print random names next to the other four numbers,
thus disguising the position of the thought of name.
The mentalist retrieves the pad and explains that he has
developed the ability to tell whether or not someone is
lying simply by observing his body language. The
spectator is told to say "No" to each and every question
about to be asked, even if by saying "No" he will be
telling a lie. He is further instructed not to tell the truth
until the performer tells him to.
"Do you understand?" asks the mentalist.
"Yes," replies the spectator.
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"You don't get it, do you? Let me ask you again- do you
understand?"
"No."
"Good."
Assume the selected name was Mary and is in the third
position. The mentalist questions the spectator like this:
"Was the name Ralph?"
"No."
"Was the name Jane?"
"No."
"Was the name Mary?"
"No." (If he says "yes" to this question you have
selected an idiot as a volunteer. You'll get a big laugh,
but the effect is dead unless you've set yourself up to
do it again. This will require another pen and pad- a
good thing to have in case of emergency.)
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"Was the name Fred?"
"No."
"Was the name Ethel?"
"No."
The performer continues to question the spectator in
this manner, but continually narrows down the names
until he is asking the same question over and over
again, ie. "Was the name Mary." After the spectator
says "No" at least three times the mentalist says, "Now
tell the truth." The spectator sheepishly responds,
"Yes."
The method is simple and, I think, more practical than
some of it's predecessors.
There is simply a dot of black lipstick on the tip of the
pen. You only pretend to write the numbers on the pad.
Actually you?ve written them there before the
performance.
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If you run your left thumb down over the first letters of
the names, one of them will leave a slight smear. If the
smear runs through several names, don t worry. Just
look for where the smear began and that is the selected
name.
Again, as in the previous routine, it is essential that you
only use the tiniest dot of lipstick. Too much and
everything will smear up. A little experimentation will
show you the exact amount to use.
Originally the effect was performed with chalk on a
slate. Later it was done with a soft pencil sharpened to
a razor point, making the initial letter of the thought of
name noticeably thinner than the other names.
Rutledge came up with the idea of using a dot of blue
carbon paper on the tip of a pen containing red ink.
Punx used lipstick to go red on red.
Red is a lousy color to use. Black on black is best. After
the performance you needn't worry about leaving the
paper around. The smear is hardly noticeable.
The presentational aspect is mine and Ross Johnson?s.
Try it.
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The Psychokinetic Pen and Keybending
There have been several marketed versions of this
effect and if you don't want to bother making one for
yourself (which can occasionally be a mess), I suggest
you go to the magic store and buy one. Essentially the
effect is that the mentalist causes a pen placed on the
edge of a table to fall to the floor. Standing alone, the
effect is meaningless unless you have established
yourself as being "the real thing." It follows the key
bending effect quite nicely as an exhibition of the same
"force" used to bend the metal.
An excellent impromptu routine (which literally scares
the hell out of people) is a combination of the following
routines: Banachek's "Psychokinetic Taps," Bruce
Bernstein's "Ring of Protection" (based on Maskeline's
"Ring of Power"), key bending, and the "Psychokinetic
Pen." Except for the key bending, these are all
commercially available and thus it would be unethical
for me to discuss the methods involved. But, if you
want a routine you can do anywhere, anytime, that is
as strong as possible, you can't go wrong with this
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combination.
There are commercial versions of the key bend but
none is more effective than the no-gimmick version.
The method has been incorrectly explained so many
times that it is probably a good idea for me to give you
my handling as it originally appeared in one of my
earlier writings.
"...The main thing is to find a key with a large slot in it,
like a KwikSet. Don't use a car key, it is very likely to
break, which will not go over too well with the owner.
Remember, this is not the key you are going to bend, it
is the one that will act as a bender. If possible all of the
keys used should be borrowed. By borrowing several
you will almost always find a suitable "bender." As a
precaution, though, I always carry a KwikSet key in my
pocket which is easily added to the borrowed keys if
necessary.
"In previous descriptions of the method, notably
Randi's, the slot end of the "bender" projects from the
performer's hand. The tip of the key to be bent is
casually inserted into the slot and the two are squeezed
to create the bend. This is done during the collection
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process, long before the spectators believe that
anything has happened. This hand position, however,
makes the bending obvious to anyone who is watching
you too closely.
That is why I always hold the bender with the slot on
the second joint of my first finger and the shaft laying
across the middle and ring fingers. This way you can
insert the other key into the slot and apparently only be
holding it between the forefinger and thumb. While
you are moving around you only need to close your
hand into a fist in order to bend the key in a completely
imperceptible manner."
I realize that the above description may not be totally
clear which is why this is something best seen at a
lecture. If you purchased these notes from me you've
seen the move in action and should have no trouble
with it.
Billets- The Name/Place Routine, Center
Tearing, Switching
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Billet work is a cornerstone of mentalis technique.
Unfortunately, very few mentalists or magicians are
skilled in the proper technique. Here's a paraphrased
and updated version of what I had to say, in The Art of
Mentalism:
"...The problem is that billet work is undeniably
difficult. To be effective, the switches and secret
readings must be performed completely casually.
Here I offer the reader a simplified means of
performing the technique known as the "pocket read."
In its original form, using standard three fold billets, it
was utilized frequently by Annemann, and is described
in Practical Mental Effects. It's far easier if you take
some unlined 3X5 index cards and cut them in half,
creating billets
1 ½ X 2 ½ inches.
If one of these billets is folded into quarters, it will only
be slightly larger than the standard billet, but it is far
easier to open and manipulate. Fold about a dozen
billets and reopen them. Place them, in a stack, in your
right outside jacket pocket or in the right trouser
pocket. Fold another blank billet and put it in another
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pocket or anywhere where you can conveniently finger
palm it when needed.
In performance you simply remove the stack from your
pocket and hand a billet to an audience member.
Return the stack to your right pocket. Give the
volunteer a pencil and have him print his thought on
the billet. Instruct him to fold it into quarters. Since it
has been prefolded by you it will end up looking like
the dummy which you have now conveniently palmed.
I then went on to describe some fundamental switches
which ended up with the spectator's billet unfolded
against the face of the stack in your pocket. Later, when
removing the stack, it is an easy matter to secretly read
the stolen billet while pretending to jot down your
thoughts. My main point was that it is much easier to
do the umbrella move with index card stock on quarter
fold billets than it is with a paper tri-fold billet.
This technique is an all purpose approach to billet
work. Not only does it allow secret access to a
spectator s thoughts, but also creates a clean approach
to prediction work when used in conjunction with
pocket writing.
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From this evolved the name/place routine which I first
described in The Art of Mentalism 2. Here is a
somewhat shorter description than appeared in that
book:
Speaking about coincidence, the performer selects a
married couple as subjects. He explains how very often
people who are close to one another will have similar
thoughts.
The man is asked to think of a famous person and the
woman is asked to think of a famous place. Each is
handed a billet and told to print their respective
thoughts. Neither is to look at what the other one is
writing. When finished they are instructed to fold their
billets. The woman takes both of them, puts them
behind her back and mixes them up so that she does
not know which is which.
The performer asks to woman to hand him one of the
billets, pointing out that the moment he touches it, it
will be disqualified. The target billet will be the one she
keeps, the content of which is unknown to everyone.
The performer immediately burns the billet given to
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him.
Removing the stack of blank billets from his pocket, he
writes his thoughts on the uppermost card. This he
folds and hands to a third volunteer. He takes the
target billet from the woman and reads its contents
aloud. The third volunteer is asked to read what the
performer wrote. It is exactly correct. As a kicker, the
mentalist now reveals the contents of the burned billet.
The method I use is the cigarette lighter switch. This
will be described in detail during the lecture.
Alternatively, a finger switch or center tear can be
used. The latter methods are best in venues where
ashtrays are not available. Of course you could always
add an ashtray to your kit but that would take away
from the impromptu feeling of the effect.
The billet first handed to the performer is switched for
a dummy. The dummy is opened out on the stack in
the pocket. When the stack is removed for the
performer to write his initial impressions, he obtains
the contents of that billet. He pretends to write on the
billet and then acts as if he made a mistake. Crossing
out what is written there, he puts the billet on the
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bottom of the stack and writes the spectator's thought
on a fresh billet. This is the billet handed to the third
volunteer.
When the performer opens and reads the target billet
he simply misreads it as the contents of the billet he
had originally peaked. This gives him the necessary
information for the kicker ending.
Perfect VooDoo
This is the only version of the pen penetration that
makes any sense to me. It originally appeared in my
newsletter "Quintessence." It uses John Cornelius s
'Perfect Pen. " There are, of course, rip offs of this on
the market, but the original is far superior. Besides, I
make it not a point to patronize any dealer who has
ripped of something that rightfully belongs to someone
else.
The performer writes a prediction and hands it to an
audience member. He borrows a bill of the largest
denomination available and on it draws an outline of a
person. As he draws the outline, he points out that
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there are six major parts to the human body- the head,
the right arm, the right leg, the left arm, the left leg, and
the torso. He asks the lender of the bill to call out one of
those body parts. He says, say, the head.
The performer shows the picture he has drawn. It is
seen that he has numbered each of the named body
parts from one to six. The head, it is noted, is number
six. After a brief discussion of VooDoo, the performer
asks to lender to write a set of initials under the figure.
"Don't pick real initials- I don't want anyone getting
hurt!"
The performer retrieves the pen and suddenly plunges
it through the bill- right through the head. Since this
part is done with the Cornelius pen, it is easy to see
how the performer can now cause the injured figure to
"heal."
The kicker follows the bill restoration and completely
takes the heat off the pen. A spectator opens the
prediction and reads it aloud. It says "I will heal area
#6."
The only thing left to explain is the prediction- While
he is drawing the figure, the performer requests that a
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body part be named. He doesn't number the sections
until after the part has been selected. All he has to do is
put the number six on the named part!
I usually put the bill against a card case while I?m
drawing. This way they'll see me start to draw the
picture. I then raise the case so they can no longer see
what I'm drawing. That's when I number the parts.
The Rainbow Pad
The advantage of Rainbow Pads are that the paper is
opaque, unfolds quietly, and tears very easily. That
makes them perfect for the one hand center tear, a
move that can be found in Corinda's 13 Steps to
Mentalism, one of the fundamental texts owned by
virtually every working mentalist.
The easiest way to read a center if you are standing up
is to open it out behind your subjects back, while he is
watching his slip burn. Turn your head during the
burning so you "can't see anything in case the burning
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slip opens." Read the stolen center. You can use this
technique in front of a large audience if you bring the
assistant to the stage. The angle problems are minimal.
The volunteer's own body acts as your shield as you
stand with your arm behind his back.
DiCypher2
As I said earlier, the following routine is the only die
divination that makes it more than a one in six shot. It
uses the commercially available prop which is designed
to let you know almost instantly which number is on
top of the brass die encased in a brass container.
I present this as a test of remote viewing. On the top of
the container I have pasted a label prepared on my
computer. The label reads "Remote Viewing Lab,
Delphi Associates. Brass- solid B125311-97." I also have
phony business cards from this fictitious organization
which show that I am a psychic researcher. The point of
the label is important- without it the prop looks like
something you got in a magic store (which it is.) With
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it, the box becomes a legitimate looking testing device-
designed to completely prevent surreptitious peeking
by the subject.
To make this an impressive test, it is done three times.
The spectator puts the die in the container while it is
behind his back. He puts it in so he has no idea which
number is on top. He closes the box and hands it to the
performer. The performer holds the container to his
forehead and then places it on a table. He picks up a
pad and writes the letter "A." Next to the "A" he
writes the number he knows to be on top of the die.
The spectator is not shown what the performer wrote,
and the performers pad is placed face down on the
table. The performer hands another pad to the
spectator and asks him to open the box and to record
the number. This, of course, out of the performer's
view.
This exact procedure is followed two more times. No
one knows if the performer is correctly "remote
viewing" the contents of the box until the test is
finished and the pads compared. He will, of course, be
correct as often as he wants to be. In a serious situation
you can go more than three times of course, perhaps
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missing on a guess or two to make it look more
convincing.
If you have ethical problems with making a spectator
believe you've got the real thing, stay away from this
one. It is a convincer and works well with the sort of
effects I described with the "Psychokinetic Pen."
You're probably wondering why I currently carry a
D'lite and a quartz crystal in my kit. It's because you
can make the examined crystal glow when ever you
want. It works just as well with a crystal ball. I use it as
a variation on the old Laser Beam effect, the American
version of Ken Brookes "Beam Shot."
The Three Envelope Test- The inside dope
I've described this effect so many times and with so
many variations that I'm not going to lay the whole
thing out again here. You'll see the whole routine
during the lecture. If you want a detailed account you
can refer to The Art of Mentalism, Parts One and Two.
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If you don't have those books I really think you'll need
to look at them to understand what follows. They are
available through H&R Magic Books.
What I'm giving you here is the actual method I use in
virtually every performance. It is briefly mentioned as a
postscript to the original effect in AOM1. It is what I
call "the pocket dump."
The bare bones:
The envelopes are stacked like this: The Shaxon flap on
top, flap side up.This contains a folded dummy billet-
index card type. Underneath is another regular
envelope, flap side up. Below that is a regular
envelope, flap down. And below that is a pair of
envelopes set for a flapless envelope switch. The
regular of these two contains a folded blank billet. The
flapless envelope is on the face of the stack. Pencil dot
the Shaxon set so you know which side is up.
The key to making the dump work is to belly both of
the flapless envelopes out before you prepare the stack.
Handling:
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Two spectators write thoughts on billets. Their billets
are sealed in envelopes. The first spectator's billet is
switched via the Shaxon envelope, which she seals and
holds onto.. The second spectator is given the now
second envelope down- a crude second deal. She seals
up her billet herself, you don't touch it.
The performer returns to the front and asks for a third
volunteer. At the same time he puts the stack of
envelopes into his right jacket pocket, mouths down.
He buckles it open and the first spectator's billet dumps
out. He comes right back out with the stack and puts it
into his left jacket pocket. This is all done very casually
and just looks like you don't know what to do with
them.
The performer reaches into his right pocket and
removes the stolen billet. He opens it while explaining
to the third volunteer that she is to draw a picture and
then to refold her slip. It looks like the performer is
simply showing the volunteer what to do. He is
actually reading spectator #1's billet. He retrieves the
stack of envelopes and sticks it into the regular flapless
envelope on the face of the stack. He pulls on the flap
and switches for the envelope containing the remaining
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blank billet.
The envelopes are later collected and misnumbered 3,
1, 2, thus setting up the one-ahead.
Again, this will be described in great detail in the
lecture and these notes should reinforce the important
points of the routine, but I do strongly recommend that
you read the previous versions in order to understand
the virtues of the present approach and to grasp the
context of the various moves.
It was great to be in Palo Alto and I hope to see you all
again one day. Until then, good luck and good
thoughts to all of you.
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The Cassidy Lecture
Robert E Cassidy
Robert E Cassidy
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The Cassidy Lecture
Robert E Cassidy
Lecture Notes
Robert E Cassidy
Lecture Notes
Lecture Notes
Lecture Notes
Robert E Cassidy
Lecture Notes
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