The Cassidy Lecture

The Cassidy Lecture

Techniques of Mentalism

The Bob Cassidy Lecture- Palo Alto, CA,

December 8, 1997

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

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The Cassidy Lecture

Robert E Cassidy

Lecture Notes

Robert E Cassidy

Lecture Notes

Robert E Cassidy

Lecture Notes

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