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At last!

The NEVER-REVEALED complete secrets of a proven exclusive routine for the vast charity, club and church field!


NO confederates! --- NO electronics! --- NO carbon copies! --- Totally fail-safe! --- NO assistants! --- NO palming or pocketing of stolen billets!

This is the EASIEST and possibly the BEST version ever released of the famous

Reading portion of Dunninger's stage and TV act.

years of performances at private, public and church affairs.


It is trouble-free and highly polished after

This is the two-part FULL EVENING'S ENTERTAINMENT that directly led to numerous

private and TV appearances.

NOTHING is being held back!

Also included is the REAL SECRET of the lucrative after-show “mini readings” and “back-of-

house” sales.

This single idea doubled the number of private readings and tripled the book


The script is in full detail. Everything you need to know. Secrets that have been guarded for years.

In the process of much giving YOU receive much more!


$ 45.00 Post Paid or via E-mail in PDF

You are granted all performing rights

Post Paid or via E-mail in PDF You are granted all performing rights © Jack Kent

© Jack Kent Tillar January 2006 All rights reserved



It still surprises me how this fund-raising act produced long lines after each show of people

And half of those five-

minute readings (actually “Solar ticking charts” ¹ ) led to the sale of one or more booklets on

astrology, palmistry, numerology or fortune telling!

waiting for an individual astrology-numerology “personality” reading.

The booklets, of course, said “written by the performer,” but in truth, were printed and pur- chased in quantity from Nelson Enterprises of Columbus, Ohio.

Before getting into the after-show readings and sales or discussing fees and “splitting the take,” we will explain in detail The Thought-Reading Act, which we call:



After brief introductory remarks regarding the latent ESP ability in everyone, the performer tests the “receptiveness” of his audience. These quick psychological experiments are followed by two more mini tests, the first with three women and then the surprising interception of an unwritten thought from a gentleman in the audience.

The main body of the Act consists of the performer “receiving” the sealed written thoughts held by eight or ten of the guests.

(These are very detailed and personal thoughts that no one else could possibly know!)

The finale is the duplication of a picture drawn by a lady freely selected from the audience. mirrors, stooges or previously drawn pictures---plus a surprise ending!


Box of 100 security letter envelopes Package of 100 3 x 5 inch lined index (file) cards


large drawing pads


marker pens

Roll of Scotch Tape Package of bridge/golf pencils Deck of children's Alphabet Picture/Letter cards


¹ Solar Ticking sheets are owned by Carlyle Enterprises and are available from them and can be personalized See list at end of manuscript.


Eight to twelve “Audience Cards” are prepared from the package of index cards. Each one is printed with different instructions:

Card #1:


Favorite childhood pet:

Pet's description:

Pet's name:

Your name:

Card #2:


Favorite teacher:



Your name:

Card #3:


First love (or kiss):

Favorite fantasy:

Your name:

Card #4


Dream vacation:

Partial Social Security Number:

Your name:

Card #5:


Favorite celebrity:

What did you eat this morning?

Your birthday:

Your name:

Card #6:


Favorite movie or TV show:

Favorite snack:

Your name:

Card #7:


Favorite auto:


Last ticket:

Your name:

Card #8:


Favorite relative:


Your birthday:

Your name:

Card #9:


Dream job:


Worst job:

Your name:

Card #10:


Favorite song:


Your name:

Card #11:


Favorite National Park:

Favorite state:

Your name:

Card #12:


Favorite sport:

All time hero:

Your name:

Of course you can make up any “instructions” you like. We have supplied these twelve “instruction cards” instructions for their proven entertainment value ( some of you may prefer to use more than the eight or ten cards we have recommended, by all means do so. But remem- ber the more you use the longer your act time. You may use other subjects to replace these. We know these work )

Now carefully cut the gummed flaps off of twelve security letter envelopes. One of the pre- pared instruction cards is placed face down into each flap-less envelope. They are all left seam side upward.

Next, insert an UN-prepared index card into twelve more UN-prepared matching letter enve-


opening of the flap-less envelope (and the prepared index card inside.)

Put one of them under each flap-less envelope allowing its flap to cover and hide the

You may want to put a rubber band

You now have twelve pairs and all are seam side up.

around the stack of envelopes and/or put them back into their original box to make things look

more legitimate.


Arrange to have a card table (or a slightly smaller table) put against a side wall in some out-of- the-way spot at the performance venue. If you're at a private home, ask if you can use the study or library. If it's at a club, studio or theatre, use the “green room” or its equivalent.

You'll also need a couple of chairs on either side of the table (or desk) but not facing each other. (The arrangement must give the participant a feeling of privacy when he's asked to fill out one of the “audience” cards.)

As the guests first begin to arrive, the host or organizer should greet them and then introduce

you as the “special entertainment for the event.” The trick here is to get ten or eleven early ar- rivers in a one-on-one situation---out of the view of other guests. This requires grace, diplo-

macy and patience! Don't ever rush these meetings or dare show any signs of nervousness. actually “part of the show”---you just start earlier than most of the audience ever imagines!


It's important to use only one person from each group that arrives. This helps distribute the par- ticipants throughout the audience. It also limits “conjecture” among friends, i.e.: “Did he al- ready have instructions on a card telling you what to write?”

When you've button-holed the first woman, ask her if she'd like to possibly participate in a fas- cinating little experiment. “It's not a big deal and I promise you, it won't be embarrassing in any way. I'm just going to have you think of a picture. OK? The only problem is that almost every- one thinks of the same two or three things!”

Bring out the deck of children's alphabet cards and spread them to show the simple pictures that help kids learn their ABCs. Explain how she has to select one, but you don't want to influence her in any way. Also, she might be psychologically drawn to one picture over another. To avoid these things, she'll “randomly select one.”

In reality, you already have chosen an easy-to-draw picture (like an Apple, Cat or Dog) and placed this “force card” on top of the deck. Give the deck a good “non- magician-like” shuffle, keeping your chosen card on top. Add a fair-looking false cut. (See Addendum.) Then slip off the top card as you begin a casual over-hand shuffle. This leaves the force card on the bot- tom of your face-down Alphabet deck.

Spread the cards casually between your hands and ask her to point to the back of anyone. Begin separating the deck at that point, with her pointed-to card on the bottom of the upper (right- hand) portion. Simultaneously, use your left fingers to push its bottom card over to the right. When it meets your right fingers, use them to draw this force card onto the bottom of the right hand packet. Continue separating the deck and move your right hand upward so she can see the card “she freely pointed to.” Ask her to study the picture and to get the image firmly planted in her mind.

“Tonight, I may ask you to think of a picture and I want to be sure you have this one thought, and only this one thought, uppermost in your mind. OK? Please--- don't share this image with anyone else! It always leads to conflicting thoughts.”

Next retrieve a stack of blank Filing cards about 5. You will ask her to mix the cards before choosing one. “To make certain this entire procedure is random, would you take one of these remaining 'number' cards? Just keep it in your purse. I have a feeling you'll be one of those chosen.” Tell the lady that others have been given a choice of cards and you want her to have a choice also, as you feel she will be lucky and has a very good chance of being chosen,

This is a great “swindle.” You've handed her five face-down cards which are all marked “7” and given her the impression that other cards have already been taken. To cap it off, you've also made her feel she'll be lucky if she's selected! People always like to win, even if it's to do some- thing they otherwise wouldn't want to do! (Tom Sawyer got kids to paint fences this way. Re- member?) We'll explain a disarming technique to get her up on stage in the following PER- FORMANCE section.

The next eight or ten pre-show guests are handled the same way---in a one-on-one situation, away from everyone else's view. And they each will take only a couple of minutes apiece. Give every person the same spiel about possibly participating in the evening's entertainment. Tell them how, “Eight or ten guests are going to be thinking of something very personal--- something that no one else could ever know.

“Everyone is filling out a secret audience card. It only takes a minute and they get to keep them. Each card asks for a different funny or curious fact that might be entertaining to an audience. I never know what they are.” These comments are carefully worded to put guests off guard and happy to join others in becoming part of the show.

When the first person agrees to participate, pick up the stack of prepared envelopes and remove the face-down question card from the top flap-less envelope. Hand it to him, offer one of the bridge pencils and turn away to give him his privacy. After the guest has completed the card, ask him to be sure it's face-down and then turn around. Take the card and ask him, “Will you tear off a couple of inches of Scotch Tape.” While he's distracted, slide the card back into its flap-less envelope and then pull the NEXT dummy envelope (by its flap) up and out of the stack and lick it. Hand it to him. “Please seal it and put the Scotch Tape across its flap for good measure.”

The entire procedure is absolutely fool-proof and slam-dunk easy. (The Scotch Tape will pre- vent any tampering temptation.) Then tell him to, “Hide your envelope away until we call for it- --along with the others---during the show. And thanks for holding a good thought!” Excuse him.

When alone, take out his card and add several things to it---his age, hair color, height, dress, character, etc., plus any random comments you may have picked up during your brief encoun- ter. Put this first card in your coat pocket and dispose of its flap-less envelope, then move on to the next guest.

This has to be the most direct way to be certain you'll have interesting, provocative and varied


The days of “taking chances“ on random written questions are long past.


you Lord!

(I told you this was the easiest and possibly the best version of Dunninger's Thought- Reading Act yet released.)

When you've completed all the basic pre-show work, retire and study the eight, ten or twelve cards. Arrange them in an entertaining order, saving the best for last, with a real attention- grabber to kick off this main body of the program. Don't forget to print a complete crib sheet that you can refer to under the existing lighting conditions. And keep it short with plenty of ab- breviations! (We'll cover ways to hide and handle the crib sheet in the PERFORMANCE sec- tion that follows.)

There is only one remaining thing to do: get some information that you can turn into a block- buster reading of an “unwritten inner-most thought from some gentleman in the audience.“

There are many ways to do this. I'll start off by telling a tale about my wilder teenage years. Dunninger was the rage on TV and I wanted to be Dunninger, Jr.!

One Wednesday evening at a service club meeting on Vermont Ave. in South Central Los An- geles (before it got a bad reputation,) I was waiting outside to perform my little act (that was paid even littler! It was a good act, if I do say so myself.)

Directly in front of the street entrance (which led to the upstairs meeting hall) were the diagonal parked cars of members. One of the cars had its passenger window rolled down. And the temptation was too great! (I'd read all the Robert Nelson and Doctor “Q” and William Larson works on stage mentalism. They all had stressed “advance information” and “city directories” and assistants “hiding in wash rooms” to get “hot info.” This advice had not fallen on deaf ears.

I knew the meeting was well underway, so I looked in both directions, brazenly sat down in the

passenger seat and rummaged through the glove compartment. I struck pay dirt! There was a bag from a jewelry store with a new Benrus ladies watch and its sales slip inside. Needless to say, during the show I milked that information for all it was worth. They ended up giving me a five dollar bonus!

Someone can visit the home of a VIP under

the pretense of “helping his noble cause” or “getting a quote for some newspaper” but really to

case the joint for an inside scoop!

There are many ways to get inside information.

You can eves-drop while attending their dinner event or hang around during the pre-show fes- tivities to pick up a tidbit. You can hide (and get bored) in the men's room---until you get the morsel you need. Or---you can sink to the lowest level of all and ask the host or organizer for inside information on one of the “good guys” in their group.

Who cares! It doesn't matter how you get the info or from what stool pigeon. All that matters is the entertainment value. Secrets are secondary. (Also, it's smart to get a few names of popular members to use as the occasions arise.) You may wish to leave a stack of cards and en- velopes on a table for other guests to use and keep. (It's helpful to have a volunteer or a little sign explaining the process.)


Then you make yourself scarce.

The entire pre-show work should never take more than 30 or 40 minutes.

After all, you're a special celebrity!


Less is more.

“Good evening.

If I could

predict things like stocks or lottery numbers, I wouldn't be here. I'd be on my yacht! And if I

could do these mind-bending things all the time, I'd be a threat to you, to Las Vegas AND to myself! “The Men in Black would be after me in a heart beat! One more thing. Don't worry.

I can't read minds UNLESS, you want me to. It's always a two-way street. “I have a good feel-

ing about this evening. You look like a very receptive crowd. Let's find out. This is a little warm up---a gauge to see if we're on the same wave length. I'll 'project' a couple of things to

you and you tell me how well I transmitted them. OK?

garding just what I am.

No doubt you've heard a little about me, but there may be some confusion re-

First, let me tell you what I am not; I'm not a fortune teller.

“First, you have to relax. They used to call this 'slipping into a beta state.' Please make your minds a complete blank. That should be very easy for some of you.

“Now close your eyes and imagine you're looking outside---through a window. It's a beautiful day. When I slap this movie clap stick*, think of the first object you see. (Slap the stick.) Good. Now let's try it again. Minds blank. Ready? (Slap.)

* Clap Sticks can sometimes be found in “Movie” shops like The Disney and MGM stores in shopping malls.

“I was trying to project a tree---and then a car.

got both?

How many of you got one right?

Sensational!” (I used this back in the '50s and it's still great!)

How many

* (As an alternative, you may ring a bell, strike a small gong, clap your hands or tap a wine glass with a table knife.)

“There's always some conjecture as to whether women or men have better ESP instincts. Let's

try an experiment.” (Select a young lady near the front.) “Miss? Will you please stand up for a minute? Thank you. Now look around and point to a woman you don't know, but who you

feel may have psychic ability.”

(She does.)

“Very good.” (To the second woman:) “And will you also please stand for a minute and point to another lady you sense may have ESP talent? For some of you who may not know, ESP stands for extra sensory perception. Your little psychology lesson for the evening.” (She points to someone.)



the first color that pops into your mind.

Here's what we're going to

I want you three ladies to close your eyes, make your minds a blank and think---not say---

And will you kindly stand and join this coven of sensitives?



“Very good.

completely free choice of any color in the spectrum? on me.

Before we compare notes, was anything pre-arranged?


Will you swear you had a

Now don't change your minds

“One of you thought of blue,

down and give yourselves a big hand!”

Another: green.

And a third saw red.

If I was correct, please sit

One out of ten times, you'll miss and a lady will remain standing. Here's what to do. It's rather mean.

“Miss, please don't feel bad.

“Ah hah.

plause for being a 'near miss'---or is it Mrs.?

What color did you see in your mind's eye?”

Your were very close.

(She names one.)

Take you seat and some ap-

That's a complimentary color.

“Ladies and gentlemen, every demonstration produces different results. Sometimes the men have better hunches, sometimes women's intuition wins out. But almost every demonstration produces some strong 'random' thought waves. This time I seem to be getting something from a gentleman in the audience. Who is thinking of a clock or wrist watch? It possibly could be a gift.” (The man timidly acknowledges.)

“Would you please stand, sir?

about a clock or watch? Was I correct, is this a gift? I'm getting a psychic impression this is

for a lady. Right? She is a relative? I don't sense it's for a sister or a daughter. Am I cor- rect? Is this gift for your wife? Thank you!” (Applause.)

Did you write anything down---

Have we ever met before?

“One more thing, before you sit down.

trate.” (Have trouble. Strain.) watch?”

Let me try to get the maker of this fine gift. Concen-

Benrus? ² A Benrus ladies

“Try a little harder.

Is it B--,


The im-

pact on me was profound.

hard-hitting bit of inside information. And please notice where it is positioned in the program-- -quickly after a rather simple 'three ladies' effect that may be too easily figured out by a clever

audience. See? Routining is important!

I've never done a show since then that didn't include an unwritten,

The audience went nuts. This is almost the exact words I used that night so long ago.

“Many of you earlier have secretly written down bits of personal information that only you could know. Then you sealed the data in security envelopes that you safeguarded in your pockets or purses.

“Will those folks please pass their envelopes to the aisle so they can be collected and brought to

the stage?

thing down at this time.

If you didn't write anything yet, you might take out a scrap of paper and jot some-

I'm often able to receive some un-collected impressions.

“Is there anyone who has second thoughts and decided not to pass their envelopes forward?

Don't be timid.

in the supernatural.

testing---but I'm certainly not from Planet X.”

I'm just like you---maybe with more experience in psychology or psychic

This demonstration is only for entertainment purposes and not to foster a belief

This disclaimer is important for two reasons. First, you further distance yourself from fortune tellers and tabloid psychics. Second, you've reminded the ten or twelve pre- show guests to part with their envelopes! (But I've never had anyone come up to me after the show and chal-

lenge me with a blank card claiming I had pulled a “switch.”) With smaller audiences, it's easier

to keep track of the pre-show participants.


In this case, I take part in the actual collection proc-

And while handing out more cards and envelopes, I give the disclaimer spiel.

All the collected envelopes are poured onto a table in plain view. You may touch them if it seems right for your style of performance, but never, never return any of the audience cards. (George Armstrong wrote this advice fifty years ago and it's still valid. “It proves nothing and slows down your act!”)

“There's never enough time to include everyone, but I'll connect with as many of you as I can. By the way, we won't touch on any legal or medical issues---and I know some of you were seeking some personal advice. I'll do my best to be discreet.”

² Use whatever brand the watch is, of course.

This sets up a couple of sensational “dummy” questions that are inserted after pre- show cards #3 and #7. Don't even think of not including a few sexy or poignant “embarrassing” fake

Go into another tamer

branch of show biz.


They are GREAT theatre!

If you feel otherwise, PLEASE!

“The first thought that strikes me is about a childhood pet. there an R.J. or a J.R. thinking about a pet of some kind? ryone can see and hear you?

I'm getting the initials R. and J.

Thank you.


Will you stand so eve-

“Please folks, if I happen to catch your initials or part of your thought, stand up and answer 'loud and clear' so everyone can be in on the magic.

“Was this a childhood pet?

first initial?

memory is very vivid.

dog named Spot?

Possibly a dog---yes!

It was a dog.


Incidentally, is the R. your

You were quite young but the Who could not connect with a

Does it stand for Ray---no, Raymond.

Am I right?

Raymond, you're making this too easy.

Thank you.”

And you plow right into the next one. The pace must be brisk and light-hearted. Avoid the heavy, frowning , overly-dramatic manner of the vaudeville crystal gazer! 'The times---they are a changing.' Try to keep these short and sweet---one-and-a- half minutes max---so you'll have time to milk the fake questions a little more.

“Who's next?”

and thought.

“Please concentrate on your name

Good, I'm getting the letter T.---and something about school, a favorite teacher? ”

(Try to alternate between male and female.)

And so you “do” guests #2 and #3---always getting their conformations and audience “oohs” and “ahs.” Don't forget to sneak in a bit of cold reading---like lines from the astrology section of your daily newspaper. And don't step on any applause that may come your way.

If you can find an audio tape of a Dunninger broadcast, study how he paced things. We can't all be Dunninger Juniors, nor should we want to be. Besides, his announcer had a big AP- PLAUSE sign that he held up now and again! OK, OK. So the great man “cheated.” We'd all better learn to be better cheaters, if we want to prosper!

Which leads us to the first fake reading.

be delicate.

say anything politically incorrect.

“I hesitate to respond to the next thought.

I'll try to

I'll try not to glance in your direction or

Please don't stand or acknowledge this.

This person is asking me to give some personal advice.

“I can only say it has already gone much too far.

And you know who I'm talking to.

You've become addicted.

Break it off now before someone finds out.

What if BOTH your husbands find out?

Consider this.


Twice a week is enough! --- to play Mah-Jongg!”

(We'll ex-

plain a very useful memory system a little later on.) In the good old days (?) the vaudeville crystal gazers used a nickel-silver sphere. It had a window in one side and an inner roller mechanism that allowed him to scroll through copious crib notes. Switching boxes, baskets or change bags were used to collect and switch the audience questions for “dummy” slips. The dummies were emptied into a large fishbowl displayed down stage. While the performer lec- tured, his back stage assistants were busily sorting through the piles of questions and jotting down notes on a paper roll.

Let's pause here to discuss the crib sheet that you may or may not have to refer to.

Many other prompting devices were used: roller boxes, windows cut in the velvet cloth under a crystal ball, large hand-lettered cue cards, head sets hidden in turbans or blindfolds to receive audio transmissions through wires or induction coils, etc.

Dunninger secretly opened up stolen slips behind his large notepad (which had flaps for pri- vacy.) He would sit center stage in an easy chair, wave his heavy glasses and “emote” as only he could. Today you still have many choices because of “pre-show” work. Now you don't have to sift through a hundred badly written questions to get several “meaty” ones. Here are some of our favorite prompting devices and options:

1. Many current mentalists use a medium-size notebook to “jot down impressions as they come to me.” Each card's notes have been penciled in at the top of a page.

2. Some performers brazenly lay their printed crib sheets right on top of their table. They can hide them under the large drawing pads when necessary.

3. Those with eagle-like eyesight can jot tiny notes on their shirt cuffs or even write on their palm!

4. Others simply use small cards---usually 3 x 5 inch file cards cut in half.

5. There can be prop books lying on the table with Post-its stuck to the top or sides. They are later used in an appropriate favorite book test.

6. Even hand mikes have had crib notes taped to them!

7. The best prompter of all is a trusted memory. After all, you only have to remember - eight or ten new “mini” stories.

Here are the bare bones of my Base Ten Memory System, first published in a 1975 “Bonus In- sert” of Magick.

1 = Wand

2 = Tube

3 = Tray (in poker a 3 is known as a “tray”)

4 = Fork

5 = Fiver (a five dollar bill)

6 = 6 Pack



9 = 9 Lives (cat food)



7 Up

8 Ball

10 = Tent

(Notice the unique phonetics.)

To memorize a pre-show audience card, simply use “association” and “sounds like--”

Here's an example using card #1: One (Wand) --- Dog --- Spot --- Raymond Johnson. Visual- ize a DOG jumping over a large magic WAND and landing on a big black SPOT. (Say it over in your mind until you know these three specific key words.) When you have that first part locked in your memory, you can add to the scene.

Now imagine RAY Charles (or ?) on his hands and knees wiping up the black SPOT with JOHNSON'S Wax! I dare you to say this three times and then try to forget it! You'll remem- ber the darn scene tonight when you go to bed and again in the morning when you wake up! That's how strong association is and how well it works!

Also, you always will remember an object or a situation better when it relates to something you're already familiar with. It's especially easy when you visualize an absurd situation with exaggerated or weird items.

As a test, go back to our pre-show card #2 and arbitrarily fill out the instructions. Make an out- landish connection between the TEACHER and a huge chrome TUBE. Work out your own car-

You'll see how easy it is and how fast it

toon associations with the subject, grade and names.

comes to you.

Kids make up this stuff all day long! When you come to a difficult name, use a

“sounds like--.”

Can a day for Kennedy will put you on the right track.

So will hill town for


You get the basic idea.

To practice, you can photo copy our pages of the twelve pre-show audience cards and have a friend fill them out. Push yourself so you get the feeling that it's an actual show. After you've done this a few times, you'll realize what a valuable tool it is to free yourself from the crib notes.

You certainly can use our “Wand, Tube, Tray” system (or any memory system you're already familiar with) in combination with crib notes. We're just offering you another “tool of the men- talist's trade.”

Cards #4, 5, 6 and 7 are handled in the same direct and entertaining manner as we've explained earlier. Just keep up your enthusiasm. You've got to be excited if you are receiving a tele- pathic thought from someone in the audience!

One of the truly significant lessons to be learned from Dunninger is that the majority of the au-

This kept people on the edges of their seats.

It's why you should have as many as possible write something down and then ask them to con-

centrate hard!

dience was hoping he would connect with them.

(Remember the two-way street analogy in your opening remarks?)

Following card #7, you insert another fake question. There are many manuscripts and books on “Answering Questions,” “Sensational Answers,” etc., etc. However, we do not advocate that you base this act on Questions. They harken back to a different time and a different mind set. Dunninger anticipated this and was ready when the Federal Communications Commission outlawed fortune telling over the public air waves.

They wade

Another source for great material

is the “Dear so-in-so” and the “Advice to the Lovelorn” columns on the Astrology page of your daily newspaper.

right into an intriguing family matter and offer sage advice.

What YOU should do is learn from today's radio and television pop psychologists.

Every performer is different and so is every audience. You have to know yourself and do some group research before each show to know your audience. “One size” does not “fit all.” You also should read up on current psychology so you won't make an accidental fool of yourself be- fore, during or after the show.

Give your audience credit. Never talk down to people or try to appear God-like. You're suppose

to be an authority with a special trained gift---not Superman. you to show business hell if you go too far!

An audience can and will doom

This is the fake question we've often used in the spot following audience card #7:

“Oh oh.

concerns book keeping.

You didn't just fudge---you've really crossed the line.

them is illegal---even though you feel everybody else does it. This could be a federal offense if

you don't file an amended return---soon! I don't want to be a rude prude, but don't try to write off your brother-in-law as a dependant. You can't claim his losses! Besides, I sense you've

Let's move on to something

been very lucky you haven't been audited the last four years! more pleasant.”

Here's another thought I can't have acknowledged.


Hmm, this is a sticky one.


Do you know how deeply you are involved in this?

Avoiding taxes is allowed.


After you've given your last (and hopefully your best) pre-show card presentation, explain, “Ladies and gentlemen, I 'd like to present one more demonstration of ESP that I know you'll be intrigued by. Eleven of you were asked to imagine a picture--- any picture that came into your heads---one that you could visualize in your mind's eye. To make this totally random, I have a dozen number cards from one to twelve. Each of the volunteers has a different matching num- ber in their pocket or purse.”

Point to a VIP. “Would you please stand for a moment and select the winning number? Let me first remove card #12.” (You do so and he makes his selection.) “Which one did you draw for this million-dollar honor?”

Great goodness gracious!


as if you hadn't guessed.

on the bottom and part of a 7 in the middle of the tight little fan you flash to the audience.

How could this have possibly hap- All eleven cards were numbered 7

People always assume they see what they don't. They only see the 12


(Look for my book, The Assumption Swindle com-

Please pardon my pride,

He hands you number 7!

Unless you cheated---which, of course, you did.

openly remove card 12 and mix up the rest.

ing out in 2006.

but I feel it is quite special.)

You've just had a tiny taste of its devilish delights.

“Who has card #7? There she is. Congratulations---I hope! Would you come up and join us

for a minute? Thank you. Will you tell us your name (---and phone number?---if you're lean- ing toward a more comic presentation.) Nancy, do you have the picture you chose to concen-

You didn't write it

trate on locked in your mind? And you haven't told anyone about it? down or ever draw it anywhere? Very good.

“Now for the hard questions.”

hold up a drawing pad.)

“And you are --- an artist!

(Hold up a marker pen.)

“This is a --- ?”

“And this is a --- ?”

(She laughs and answers.)

(Hand it to her and

“While I turn around, please draw a large simple picture of the image you're holding in your mind. Don't let anyone see what you draw---so they can't signal me. OK?”

Take your pad and, before you turn, say something like, “I'll try to get a telepathic impulse each

time you move your pen. brave artiste!”

Be a

I know, I know---it's IMPOSSIBLE, but let's try it anyway.

Position yourselves a few yards apart with the lady facing the audience and you facing the op- posite wings---also partially facing the audience. You should try to avoid letting anyone see what you're drawing so the climax won't be spoiled.

“Ready? Set? (Beat) Draw!” (Pause and give the audience your best Jack Benny dead pan look.) “This is impossible!” (Start drawing.) “They say 'Don't try this at home, kids.' Well you sure could try this one!

“Nancy, have you completed your art work?

work of art. Very nice indeed. Now, would it be a miracle if our pictures had a 'Close En-

That's a

Would you show it to us?


counter of the Fourth Dimensional Kind?” (Audience will agree.)

“Will you please give a round of applause if we're partially close? MIRACLE!”

Then---witness a

(You both should be holding your drawings at chest height while standing side by side, center stage.)

“Nancy, thank you for being on the same wave length with me. And thanks to our audi- ence.” (Take her drawing pad and pen and put everything on the table.) ”Before you take your seat, there's one more cherry to put on top of your sundae.

Turn to the organizer.

ceived earlier today?” (As he comes to the stage, you continue explaining.)

, will you please bring up the sealed letter you re-

Sir, have you had the letter in

your possession and guarded it for the entire time? Do you swear no one has tampered with it--

-including you?

hear.” (He reads it to guaranteed big applause. Take the letter, hold it high and put it on the table.)

Thank you. Please break the seal and read my prediction so everyone can

“It contains a prediction I made last night before going to bed

“Will you kindly escort Miss

how close I'll come when I have these prophetic visions.

And you've been an exceptional group.

back to her seat?

Ladies and gentlemen, I never know This one happened to be exceptional.

Until next time, thank you and good night.”

This second ending is a perfect capper for your picture duplication's first ending. You've topped yourself, so to speak, and ended up center stage, alone for your finale round of applause.

The mechanics of Second Ending are simple enough but they play big! Immediately after your pre-show work with the lady, you fill in the blanks of a pre-written letter (or just write it out!), seal it and take it to the organizer for safe-keeping until called for during the show. The following is the exact text I've used since I was twenty.



(Yesterday's date!)


I can't get to sleep until I write out this “vision” that keeps

running through my mind.

Tomorrow, at your event, I see a

young blond lady trying to visualize a picture. an animal --- perhaps a CAT.

It seems to be

I also have a part of a name. Marie or even Maria.

It is something like Mary or

Thank you for holding this “thought” of mine until show time. And thanks again for your cooperation and kindness.


(Your signature)

The underlined words are blanks that you fill in As indicated, this letter (plus any changes) is given to the host or organizer as early as possible. He's asked to keep it continually on his per- son and not to let anyone have access to, or tamper with, the envelope or its contents until you call for it near the end of your performance.


Probably the finest is a

long line at your card table that's set up off to one side at the charity event! This table and two chairs setting allows you to do your “ticking sheet” readings while the folks standing in line can peruse the attractive display of pitch books, etc. on your second nearby table. This is exactly like a super-market which keeps magazines, tabloids and snacks alongside the waiting lines at each check-out station. (Smart marketing!) Under the table are the stacked boxes of excess pitch booklets, etc.

There's nothing like the compliments given after a great performance.

There are always three parts to these after-show readings. lowed by the actual Reading and then the Pitch Book Sales.

nouncement, the setting, you signs and the merchandise display. something like this:

The first part is your Approach, fol- A good Approach includes an an-

The announcement should go

“You've just witnessed a true miracle man. agreed to help our charity raise additional funds by giving private

Aura readings beside the pool cabana.

a glimpse into your true inner-personality from a man of great vision.


This is a rare chance to get

insight and experience.

Don't miss this fun opportunity.”

There is one more angle to the Approach --- the magic word “FREE!”

If the master thought reader does not correctly tell you what number you chose, your “inner-

(Just like the carnival barker who tries to guess your correct


personality” reading is free.

To the average Joe, the word “free” is a very powerful magnet!

For years I've used the wonderful Anverdi Electronic Die Box to learn which side of a plastic die the guest secretly chooses to leave uppermost. The lid remains closed and I never touch this finely made wooden box! It is magic!

I'm always in complete control and can decide which pretty girl or nice old lady will get a free reading. In the Addendum, we'll cover three or four alternate methods you can use to save yourself hundreds of dollars. (Today, the boxes are a collector's item.)

The second part of the Approach is the setting, which should never be ornate or hint of a

gypsy's fortune telling booth. Trust me, less is more.

more as a psychologist than a reader.

the mysterious Alexander!

That's it!---plus whatever prop you need to perform the secret “free choice” opening gambit.

This is not a séance.

You should appear

That's why the act is styled after Dunninger rather than

A card table, two comfortable chairs, your charts and the sign.

The third element of the Approach is a sign on the table which states “YOUR READING FREE --- IF I'M WRONG! My sign is twelve inches wide by nine inches tall in a silver self- standing picture frame.

The last Approach element is the merchandise display of pitch books, talismans, lucky charms,


This will be discussed in some detail a bit later.

Part Two is the actual Reading. You must use a prepared “ticking chart” like the old Nelson Enterprises single sheet “Solar” or “Graphology” charts. E. Raymond Carlyle (my friend Ed Fowler) and Miriam Rothchild both have fine variations of this theme. Loren Tindall has a vari- ety of neat charts including Aura, Palmistry, etc. Richard Webster (of New Zealand) has a va- riety of stock forms as does my compatriot Gene Nielsen. Their products are always excellent.

So, you see, there is no dearth of great material out there. The trick is to do your homework and pick the one that is just right for you. Here are some tips:

1. Decide what you have the strongest belief in.

2. Piggy-back anything on top of graphology.

3. Astrological birth dates always combine well with numerology.

4. Aura readings are a current favorite.

5. “Psy-Graphico” by Dr. Charles Scott is always safe and sure.

6. Regression is too complex.

7. Only use check-off charts that take two minutes or less.

8. Avoid complex mathematical mumbo-jumbo.

9. Talk to a variety of your typical clients to get their views.

10. Basic psychic readings are too close to fortune telling.

11. Always remain serious but friendly.

12. Most importantly, don't use a chart that produces duplicate results for people born

It's best to have a “hook.”

under the same sign.

Nelson Solar Charts for large gatherings.) ³

(This embarrassed me more than once when using the old

When the participant first sits down, be courteous but a bit brusque.

too much fun and games.

You have maybe three hours at the most.


each reading)---divided by whatever your “split” agreement are WORTH!

You don't have time for

People are waiting in line, and, to be blunt, time really IS money!

At the best, you can read for only ten people an

That would be a total of thirty---times “X” (the price the charity agreed to charge for


THAT is exactly what YOU

Don't get me wrong.

ther case, you always should look at the total take and figure out how to maximize it.

You may want to donate your entire earnings to the charity.

But, in ei-

³ Carlyle Enterprises is the owner of the Nelson Solar Charts and offers other charts on Handwriting and Palmistry. Also Pitch Books. All may be personlized.

One way is to not do too many “freebies.” Another is to work with the host or the organizer to set a fair but hefty fee for each reading. After all, this is for a good cause. And, since there are only twenty or thirty openings, they should be valuable! The rarer something is, the more valuable it becomes.

---Which leads us to one of our favorite “ploys”---APPOINTMENTS! Get the host to make an announcement about this rare opportunity and you'll see the lines forming at the appointment desk, not at your table. This allows the guests to roam around and do other things (for the charity?) until their scheduled time. It also minimizes mild arguments over pushing, crowding in, saving places, etc.---all of which are disruptions to your readings.

Another neat ploy is a Donation Jar clearly labeled MINIMUM DONATION $5.00 or $10.00

or $100.00.

(Why not?)

Our last idea is to auction off each appointment.

you clown around a bit---like pulling up your pant leg, blowing a thank you kiss, miming deaf- ness at a low bid, shaking your hands like a champ, etc. This also can be dove-tailed in be- tween other auctioned items to raise even more funds.

It takes a little extra time, but is great fun if

Auctions and appointments have to be handled carefully.

lunch or dinner and after your performance.


audience participation.

They should be scheduled after the

Never do an auction or a show while people are

And a mental act is all about

Rodney Dangerfield was right---you'll get no respect!

The worst of it is, people always like to TALK while they're eating.

We may have side-tracked you a bit from the topic of Readings, but these last paragraphs strike

When you realize fund-raisers can charge

AND GET, $25,000 a plate, you know you must never sell yourself short---unless you happen to be not too good. If that's true---GET BETTER, QUICK!

to the very heart of fund-raising---the bottom line.

The actual Reading is a matter of following the Aura or Astro or Numerical-Solar chart's direc-


ferent readings to everyone, to be positive (say nothing morbid) and, as the old former Prime

Minister of Great Britain once said about handling Queen Victoria --- “You have to lay it on with a trowel!”

Our only additional advice is to give dif-

Then it's all up to you and your personality.

Oh, and one more thing.

does something. or your agent.

Always give them a trinket like a lucky charm or a talisman¹ card that

It's good advertising IF it says who you are and how to get in touch with you

¹ A stone from a gem shop or a Fortune Telling Fish. A crystle is nice and can be found a ‘swap meets’. The fish can be obtaied from John Riggs at

Part Three is the Pitch Book Sales.

This “back of the house” selling is so important you should always have a volunteer helper to keep track of things. She should handle the cash box and keep an eye on the goods. She also must know the merchandise.

Face it!

whetting your whistle.)

about quantity discounts and how much to charge if they buy one of everything.

You're busy as hell doing a show every six minutes.

(Allow for bathroom breaks and

You can barely squeeze in a quick answer now and then when she asks

Be sure to have a stack of small fliers that tell folks how they can order items directly from your


Fliers are cheap, easy to print up and effective.

Don't have too many items piled on the display table. Tell your volunteer exactly how many of each booklet and item you want on the table at any one time. Never look cluttered. A bare card table without a table cloth is not a sin. And never let a volunteer or organizer talk you into some gaudy covering!

Lastly, always bring more than you expect to sell. As we mentioned, keep the main stock in their boxes under the table. It must never look like sales are slow or weak. Ask the volunteer to encourage friends to come over and “talk up” the products. Every old pro would have his shills helping him sell snake oil!

The last topic is fees and splitting profits.

1. How good are you?

Fees are based on four things:

2. How “hungry” are they?

3. How much have they paid in the past?

4. How much do your competitors get?

The “law of supply and demand” especially holds true in the psychic entertainment field. (At least it's stronger than the magic field!) You must always set your sights high. However, that requires an honest evaluation of your ability and salesmanship.

In my own case (as a teenager), I had to do a score of free shows before I made a dime. Ap- pearances on television helped me immensely! It gave me something to crow about in my simple fliers or little sales letters. How neat to be able to say that:

“I appeared with Henry Fonda at the Children's Hospital.”

and husband Dave Barbour were the star entertainers, but Jackie Tillar stole the show with his uncanny ability to see with his finger tips!

Or honestly quote that: “Peggy Lee

Having an agent or a booking agency is the real way to go---but that's a different league. You have to be a true professional, not a part-time “once-a-monther.” If being a pro is your goal, then GO FOR IT! The fund-raisers will help you on your long journey.


the old stripper advised Gypsy Rose Lee (in the musical about her life and family), “You've got

to have a gimmick.

I can give you one important tip.

Be different.

Stand apart from the rest of the crowd.

I bump it with a trumpet!”

Always keep searching for your “gimmick.”

Only you know how much your expenses are (including your cost-of-sales.)

have had to “invest in ourselves.”


So this brings us to something we all must have---a minimum.

expenses paid and your costs covered.

Frankly, we all

You are a business as well as a com-

It's an on-going thing.

(Maybe you're also an oddity, which could be very good!)

You should at least have your

For years, I was a guest lecturer on the topic of Post-Production and/or Music for Television and Films. These were often favors for producers, directors or composers. They'd teach a course at Stanford, USC or UCLA for magnanimous purposes, but would use the opportunity to proselyte the best and the brightest students to become free interns or low-paid assistants! I often was paid an honorarium but always would donate it back to the university.

It was a logical circle. It's what “net-working” is all about. And fund-raising is based on net- working and “contact lists.” The best charity organizers have the best address books of celebri- ties and the rich. You must absorb this idea and try to figure out how to squeeze into their great circle. Remember: “You scratch my back, and I'll scratch your's.“

Favors beget favors.

then, but it won't be from the people at the top.

ways try to fly with the eagles.

Don't let anyone tell you differently.

Sure, you may get stiffed now and


That's one of the reasons they are on top.

It takes time, but it absolutely is worth it!

Splitting profits requires a contract. NEVER do a benefit show, charity event or a local church bazaar without a contract. It must have the signature of the authorized organizer. Most cities require permits to solicit contributions. Ask about this and be sure you're not dealing with

You could be arrested as an accessory and fined

frauds or contributing to a confidence scam. or worse!

The “back of the house” split (of 50/50, 60/40, etc.) must be in writing and requires a strict ac- counting. Under no circumstances, disclose your actual costs. This is nobody else's business. As your career progresses, you can drive a harder bargain, but never let organizers or producers step on you. Cutting expenses is what they do for a living!

Your best source for pitch booklets, ticking charts, charms, talismans, printing rights or refer- ence information and mentalism effects is from the following current (but incomplete) list:

E. Raymond Carlyle

(757) 427-3235 Site

Richard Webster


Lee Jacobs (or heir)/ Miriam Rothchild

(740) 992-5208

Hocus Pocus

(559) 266-5150

Joe Stevens

(316) 683-9582

Penguin Magic

(702) 734-3333

Gene Nielsen

(805) 962-3829

Loren Tindall

(802) 862-7609


There are many two and three-way false cuts.


the same motions, grab the top half and put it onto the tabled half.

Here's an easy one if you don't have a reference Undercut about half and put it on the table. Using

Hold the deck in dealing position.


may already be using an effect that gives you knowledge of a person's secret choice. Go through all your material and try to find one that is repeatable.

Anverdi Die Box Alternatives:

Don't use anything that people can buy in a magic shop!

Tony Blake's new Mentalist ESP Chips would be an excellent choice. These are very well made and can be “read” via cleverly-disguised marks on the back of each chip.

Marked cards may tend to be too obvious. ber cards that are stacked and false shuffled.

It would be much better to use six blank back num- A simple series of cuts is OK.

Burt Sperber' s poker chip force is great. You show six different colors and shake them in a double bag or envelope, then have the guest take one from the forcing side ²

A magician's choice works well. Write your prediction and have guest touch two of five ob- jects. If he touched the force item, remove the rest and have him give you one. Now one of you holds the predicted object. If he didn't point to it, remove those he pointed to and have him pick up two of the remaining three. If the forced item is left you're set, but if he holds it, have him give you one as above. Either way, you win!

Another version is the PATEO force. You Point At Two items, the guest Eliminates One. You

alternate each time, reversing roles. The last item left is the predicted one. never choose the force object! Great good luck with your charities!

The secret is you

Jack Kent Tillar

² An excellent clear, self-sealing, Forcing Bag can be obtained from Carlyle. See list above. Since it’s clear use folded color slips with numbers printed on the inside of the fold.

Bonus Insert

I ask my good friend Carlyle ( Ed Fowler) if he had any additional thoughts he might add. He agreed and here are some that fit my effect.

“Thanks Jack for the opportunity to add just a few thoughts. I have in my collection an effect that is accomplished by the use of a special dictionary. I call it The Working Mentalist Diction- ary. I won’t tell your readers how it works, but here is what you can add to the show. Near the opening where you have the three women do the colors, have a person stand that has a word in their mind. You ask if they freely chose the word, didn’t tell anyone or write it down. The agree they chose the word and didn’t tell or write. You ask them to mix up the letters, in their mind and pick one and project it to you. They do and you get the letter then more letters and finally the whole word.

Next a working on the Hoy Tossed out deck, if you have nothing against cards. Also other decks can be used by making them up in the same way as three-way forcing decks. The usual handling to get three spectators to select a card. (For those that don’t know it. A rubber band is around the deck and it is handed to the first person to just lift up and peek at one card without riffling the deck. The next two do the same and the deck returned to the stage. The regular method is to have the spectators think hard on their card and send the thought to you. Now you call out the three cards and tell the spectators if they heard their card to sit down. I don’t like that approach and learned this method. It’s not mine and I don’t really know where it came from. Go to # 1 and name the three force cards . Ask him if he heard his card he is to sit down. The other two will hear their card so they know you got their thought, but you have only ask #1 so he sits down. Now to #2 and do the same and she sits down. You need now only turn to #3 and ask if he also heard his card. Yes and he sits down. It plays better than if they all sit down at the same time.

The special questions should be of a very similar nature to the real ones. That is look between a couple of people somewhere about halfway back as if someone back thee had said yes to the initials. And give the same kind of info you are giving to the other 8 or so real cards. Then state that you are receiving a question from this person. Just give initials and not the full name. Say that you are not a fortune teller, but—and then give the type Jack has given in the text. This as- sumes that you are doing the same as all the rest and this just came from a person that wants

more which you really don’t want to do, but since it’s of such a serious nature, well

offer to answer it after the show. This will open the flood gates and you don’t want to go there

unless you have decided to go into readings. That’s your choice.


This manuscript is full of solid, workable information. Only a few of Dunninger’s recorded ra- dio shows are still available. We may be able to offer one with this effect.




This is something I have not shared with anyone. But because Jack is such a good friend, well

It first happened over 30 years ago. I was ask by a very good friend to do a fund raiser for

the City of Hope. Now I didn’t do find raisers, at least not then. So I agreed. But what was

I going to charge? My fee was high then and living on the fact that I had created a famous show at the Magic Castle in Hollywood, Calif., The Houdini Séance. After much thought I decided to do what follows and it has been my way since.

I made arrangements with the lady in charge to set up the whole thing. Here is what the audience saw and heard:

I had just finished my act which followed along the lines of Jack’s routine you have just

bought. I said my good byes and the host came up with me on stage and thanked me and told the audience that I would be doing charts for readings in the lobby. She then handed me my check for $3,000. I turned to the audience and said that the City of Hope was one of my favorite charities and that right here in front of all I was signing over this check to the City of Hope. “Now ladies and gentlemen I want you to dig down deep into your pock- ets and match me.” Before the evening was over they had raised more money than on any other fund-raiser. Yes I did a band up job at the tic sheet table. All of which I kept.

Now the arrangements with the host was that I would give back the check so they would not be out my fee. I was to keep the table profits and receive a letter from the City of Hope that I had contributed $3,000 to them. I used it on my tax return as a deduction. And it was legal. My friend was also my tax man.

It can work for you as it is a “win, win” situation.



The Intimate Mentalist

By Jack Kent Tillar

Six classics of mentalism make up this beautiful act.

Each effect has

been carefully restructured with fresh twists and turns. These are subtle


Each effect is independent and

two may even be used one-on-one!

This is a NO CARDS and NO PRE-SHOW WORK act you can carry in your pocket!!

PRICE: $45.00

Carlyle Enterprises 2753 Livingston Loop Virginia Beach, VA 23456 Phone: 757.427.3235 E-Mail: Web Site:

© Copyright by Jack Kent Tillar 2004

Jack Kent Tillar 1002 11th Street #2 Manhattan Beach, CA 90266 Phone: 562.715.5541

The Intimate Mentalist

1. JACK'S “THIS WAY OUT”: The cunning of Dr. Stanley Jaks “no-force” effect without his dependence on the old “one-ahead!” You'll love this new handling!

2. UNDER THE TEA CUPS: This is the REAL method used to perform Dollar Bill 3 Cup Monte written up in Magick, including an original bill switch and reading!

3. BIG-LITTLE POCKET DICTIONARY: This is brand new and devilish! 3 people

secretly write down page numbers.

that page.

A volunteer freely selects one and turns to

Without hesitation you know his word! You'll never guess the M.O.!

4. JIG-SAW BUSINESS CARDS: Several versions have been tried to divine the four quarters of a torn business card mixed among many other torn pieces in an unprepared

bag or bowl.

TORN AND STIRRED by the spectators!

A fine effect, right? But THIS method allows pieces to be

And it uses no duplicates!

5. THE “A-TEAM” WORK: This is a great change-of-pace. The Guest of Honor

or VIP is asked for a large denomination bill. It's put into an envelope, sealed and mixed among three similar envelopes. He picks a “psychic team” to “protect his investment.” Each burns an envelope! You tensely open up the last one and

find (to great relief) HIS MONEY!

The routine is loaded with comic moments.


Here is a fitting climax for a classic act. Five

guests are given an index card.

between the halves to create their own Rorschach Inkblot. Each secretly prints what the design means to him. Using psychic abilities, you study the first four cards, correctly analyze the personalities and return each card to its proper owner! You then divine the last face-down card! PLUS a very surprising dream ending!!

They're folded in half and each presses drops of ink

The above represents a honest description of The INTIMATE MENTALIST Act, but it does not mean to infer that this material automatically will make you a performer of Dr. Stanley Jaks capabilities or stature. His noble demeanor, his use of English and his elegant props matched his sense of drama. He was a showman and a gentleman! Great traits to emulate.


This is my handling of Dr. Jaks “Triple Prediction.” The effect usually requires a force and one-ahead . But be warned! The public has become aware of this old method through the cheap plastic knock-offs of Hen Fetsch's clever Mental Epic.

I loved Jaks idea of avoiding the force by letting the SPECTATOR try to read YOUR mind for the third prediction. That's a great bit of theatre, but not-so-great when used with the one-ahead principle. It also was a let-down, as Bob Cassidy has pointed out, to end the routine featuring the spectator and not you!

My final addition (though certainly not original) is to play this as a telepathic effect instead of a prophecy. For decades, I've been against predictions because they invite comparisons with tab- loid fortune tellers. We're better than that. (Aren't we???)

Required are a packet of about thirty 3 X 5 plain index cards and six 3 1/2 x 6 security enve- lopes. Two of these are prepared by cutting a window 2 1/2 by 4 1/2 from the face---but below the lip, so the cutout can't be seen when the envelope is open (seam side up.) The stack of six are face down with the windows 2nd and 3rd from the top.

Begin the performance with a FEW words about parapsychology and psychic testing. It's im- portant to mention that everything in the universe is inter-related and that we all have inborn ancient wisdom and latent psychic talents. Give them rational reasons to suspend their prob- able skepticism (This also is your best opportunity to sell you!)

“As a test to illustrate this power of the mind, take a card (any card---I'm kidding.) On it, you'll try to write down a thought I'm going to send you. I'll be thinking of something from the old game called Twenty Questions. They had three categories: Animal, Vegetable and Mineral: I'm concentrating on an Animal---the Jungle kind.

“I'll write out my thought and 'bag the evidence so it can't be contaminated.' (Slide it into the top envelope.) Now, sir, try to sense what I'm thinking and write it so no one can see.” Of course, you also did not let anyone see you write TIGER, scratch it out and write LION before slipping it into the top envelope. Write Animal below flap.

Another subtle bit: point with the Animal envelope, freely showing both sides (thus planting the seed that ALL envelopes are ordinary and not transparent.) Lay it in the middle of the table, unsealed, with the mouth facing you (and the word facing him.) As he finishes his writing, have him turn his card face down (in front of him.)

“Now we switch. I'll try the next two categories.” Turn to someone else at the table. “Would you please think of a common or UNcommon Vegetable and secretly print it out for our later confirmation?” Ask another innocent bystander, “And would you be kind enough to think of an ordinary or exotic Mineral---and also secretly print it out?”

Take his Vegetable card, slide it face-down into the top window envelope, label it Vegetable and lay it beside your Animal envelope. Do the same with the Mineral card: into a face-down window and label it Mineral. (Flaps are upright but unsealed.)

“We've bagged all the evidence in one, two, three envelopes.” Lay the Mineral on top of the Vegetable, and both of them on top of the Animal. Pick them up and fan them, as you would a poker hand, but keeping the flap sides toward the audience. Then hold them “close to your vest” as in a card game.

Turn to Person One, “You've had a chance to write down which Animal you thought I chose. Now you get another chance to touch my envelope and see if you get any second thoughts.” Pick out the Animal envelope and put it down in front of him. SURPRISE! The other two cards are LOOKING AT YOU through their two little windows! (Don't be obvious, however, in reading their written info.) Casually lay the two envelopes face-down onto the table as you ask, “Is that your final choice?”

Whatever he says or scratches out and rewrites, touch the Veggie envelope, get the vibes and write them down on a blank card and put it face-down in front of Person Two. Do the same with Person Three's Mineral choice. “These both seemed to give off great vibrations, but first, let's see how you (#1) did.” Slide your Animal card out of its envelope and turn it over in front of him. “I almost chose a tiger but decided on a lion. What Animal did you think I selected?” If he gets it--- great! If he doesn't, remind him, “It becomes easier and easier with a lot of prac- tice.”

Slide out the Vegetable card and turn it over. “You chose eggplant (?) and what did I think you chose?” Ask Person Two to turn your card over. “See what I mean? Lots and lots of prac- tice! Let's look at the Mineral you decided on” Slide out the third card and turn it over. “Darn! Gold. That's what I almost chose---” Have Person Three turn it over. “---and did! By the way, does the Golden Rule really mean whoever has the gold--- rules?!” Leave the cards out but pocket the envelopes!


This was written up by Bascom Jones in the second or third year of Magick but I selfishly held back the REAL way I normally did it. It's a Bob Hummer idea, refined by Al Koran, that al- ways had flawed logic. It still does, but not nearly as much.

This is a table trick---that require lapping, so don't do it if you have people behind or on either side of you. (I do it surrounded but the switch is not as clean---or clever.) All you need are three cups, a tightly crumpled-up dollar bill with the serial number memorized and good eye- sight (or you're likely to tip the M.O.)

“I'd like to borrow a dollar bill for a couple of minutes. Thanks. Please crumple it up into a small ball and drop it into this cup.” Push one of the cups over toward him.

Using this distraction, mark two cups. (It could be done before the show.) It's your choice of “daub” but for over forty years I've always used tiny fingernail marks of pancake make-up (hence the need for good eyesight!) It's never been discovered, accidentally wiped off or failed me! The twist to all other methods is the marking of two upside-down cups, on the lip facing you, with one daub and two daub marks.

Pour out the borrowed bill in front of you and turn over all three cups. (The marks will AL- WAYS be facing you.) “Since early Egypt, there has been some form of the old 'Three Shell Game.' It got its modern name from the carnival game using walnut shells and a pea. It's like 'Three Card Monte' played on too many city street corners in America---where you learn 'the hand is quicker than the eye.' Like this.”

Demonstrate by covering the bill, mixing the cups (near the back edge of the table) and OBVI- OUSLY sliding the bill off into your lap---where the memorized bill has been stashed. “Now

it's impossible for the mark to find the bill.

There IS NO BILL!” Show all cups empty, then

display the memorized bill from your lap. I love to do this switch. It's brazen!! (See ADDENDUM for a bill switch you can do surrounded.)

Turn the cups upside down. Ask which cup to put the bill under and begin moving them around, monte fashion. IMPORTANT: always keep the handles pointing in the same direction. Your shifting pattern will be emulated by your volunteer. Trust me.

Ask someone close to slide the cups around while your back is turned. “I'll show you how psy- chics play the game.” (Keep cups close to you.) “All set? Can I play now?”

Of course it's like shooting fish in a barrel doing it this way. NO STRANGE “MOVE THE OTHER TWO CUPS.” NO COUNTING ON YOUR FINGERS. NO LOSING TRACK OF THE CUP. Just straight-forward, unhampered entertainment! The bill is always under the one, two or NO marked cup! Repeat it, but after the first two times, casually ask, “Would you like it to try it under another cup?” (Five times is plenty.)

“I wish I could really do this for money, but that's not the way the Universe lets us use the power. I can't even pick horses or stocks! But there's another thing it does let me do. Sir, will you take your bill back and open it so only you can see its face? By the way, we have nothing pre-arranged. Will you give everyone your word on that?

“Now try to spot the tiny series date on your dollar bill. It should be to one side and just below

I see a two and a zero and another

zero---I'm always good on those first three numbers. Concentrate--- there's a one!


only ONE with the serial number you now hold. Concentrate again.” Divine the memorized serial number in a not-over-done modern fashion; wipe off the marks in a discreet fashion; and acknowledge your applause in a noble and gentlemanly Dr. Jaks fashion. You're clean and “ready to rumble” onward.

Is it series

There are millions of bills dated 2001 but

George's picture. Don't tell me what it is but focus on it.

Good. Now let's go from series to serious.


(The name comes from a glut of thick, wallet-sized kids comic books of the thirties.)

I've always loved a principle used in book tests by Leslie Anderson, Al Mann, Phil and Max Maven, among others, where you get the secret data from what PART of the book someone is looking at. In other words, there has been a limited choice of pages forced on them (via Add-a- Number, Out-to-Lunch, etc.) but they get to make a final free choice of the page. It can be in the front, middle or back of the book and either the right or left page. These clues lead you to the correct word on your prompt sheet.

This works great on stage, but not great for close-up or living room. And how could you use the principle with a relatively thin pocket dictionary? Ah HA! I finally figured it out (but I'm sure someone in the Big-Little Book era discovered it before I did. Damn it's hard to invent new principles. You're lucky to find one in a lifetime.)

On the top half of a vertical index card write:







(The three-digit numbers are each in a different hand writing.) (The #1, #2 and #3 are in your your hand writing.)

(The three-digit numbers are each in a different hand writing.) (The #1, #2 and #3 are
(The three-digit numbers are each in a different hand writing.) (The #1, #2 and #3 are

Put this card face-up on a stack of index cards. Now cut a spare card exactly in half, keep one part and use it to cover the above numbers so they're neatly hidden---as in “Out-to-Lunch.” Wrap a wide rubber band around the middle of the stack, hiding the cut edge of the top half card and securely holding it in place on the stack. You're set.

“We have to pick something at random in a moment.“ As you're speaking, write #1, #2 and #3

on the top blank half card exactly like you've written them on the full card beneath it.

would you kindly write your initials on the bottom of this card. Thank you.” Move away from her. “Now you, sir, please jot down any three-digit number, like 267 or 913 alongside the #1 on


the card? And you, miss, another three- digit number opposite #2. And you, madam, a number in the hundreds beside #3?“

Go back to the first woman, carefully pull out the initialed card from under the half card and hand it to her---perhaps pointing to her initials. Put the card stack back in your pocket and re- move the small (unprepared) dictionary.

“Language is one of our most cherished legacies. Without it, we wouldn't have survived or de- served to be atop the animal kingdom.” Hand her the dictionary. “Here are some of our most used words---not too many technical or foreign---just words we all know and use daily. You're about to select ONE word in this American Dictionary absolutely at random, using the numbers freely chosen by our audience.“ Step away.

Do you

If the number was 375,

you'd use 37 and turn to that page.

which word on that page. So, if you were using 375, you'd count down to the fifth word. This is positively as fair and random as we can make it.

You'll use the last digit to decide

have one?

“Without telling anyone, please mentally choose one of those three-digit numbers.


Now use the first two digits to represent a page.

That's clear?


“We're using TEST CONDITIONS similar to those imposed at the Stanford Research Institute or the UCLA and Duke Parapsychology Labs. Please clear your mind and just concentrate on the word.” The simple secret is that if she doesn't count, it's the #1 word on the small crib notes you've penciled on the bottom of the index card stack. If she counts only a bit, it's #2 and if she counts a lot, it's #3. Elementary, my dear Watson.

You may wish to use a six word limited-choice force. If so, you'd also need to watch if she was looking at the right or left page. Personally, I think it would drag things out and your “test con- ditions” spiel logically covers three people writing down numbers.

One last thing: Try to memorize the three words. It's much, much neater. I've never used the

You always have to look for ways to keep your act mov-

crib notes (or even made them up.)

ing along.

Mentalism doesn't like stage-waits!---or excuses!!!


It's always important to analyze a problem from all angles---like they do in TV crime scene in- vestigations and like Darrell Fitzkee advocated over six decades ago in his ground-breaking The

playing card---are to be magi-

Trick Brain.

cally found amidst dozens and dozens of similar pieces, you could start your analysis from four

starting points:

If four quarters of a chosen business card---or a

(1.) They're actually separated or they remain together as a group. (2.) They're actually go into the receptacle or they're kept separate. (3.) The chosen quarters are discernable from the other pieces. (4.) There are four duplicate quarters.

Here are several ways to solve it, depending on the situation and the receptacle.

When I first tried this great effect I would crimp the pieces like Larry Becker, Karl Fulves and

others. Then I started using a plastic paper clip to keep them together. Next, I stole a duplicate

card (and quartered it.)

inside of the bowl (or butter tub, right Ed?) See Below*

Lately I got minimalistic and just held pieces finger-palmed against the

Before divulging the final and current method, let's step back a moment. If we view the effect

from a spectator's standpoint, he'll no doubt surmise: 1) you probably had a duplicate card, and

2) the pieces never got into the bowl or bag. line of logic. Here's how I currently play it.

Good thinking. So you have to block or divert his

* The Headline Prediction or “Butter Tub” is available from Carlyle at:

“Most business people carry business cards. Some give them out like confetti. The old school gentlemen were required to carry “calling” cards and to leave near the front door on an ornate tray designed just for that purpose. I believe that these cards always take on the “vibrations” of their owners. Let's test that thesis.

“May I borrow five or six different business cards, preferably white, without raised printing. Thank you very much. I also need to borrow a lady to mix them up and select one. Thank you

Swap names and spread out the cards on the table. She

for volunteering, Miss

points to one. Hand her a pen. “And since you're now a celebrity, could I have your auto- graph---on the back of the card you've selected. Very good.” Take back the signed card and the pen.

“Now we must all agree that there is only one card like this in the universe. Right? By the way, we've never met before, have we?” She responds. “You don't have to sound that happy about it, do you? And we don't have anything pre-arranged? No? Very good. Please pick a second card and do as I do. Tear it in half. Good. And tear the halves in to quarters. Hold them up to show everyone.” You do likewise.

“And now choose another card that catches your fancy while I get us ready for the big draw- ing.” This holds everyone's attention while you open the folded up small paper lunch bag from the table. It's absolutely ordinary. Almost. Except that it ALREADY HOLDS FOUR PIECES


FLAP (cut from

another sack) SCOTCH TAPED TO “HINGE” AT THE BOTTOM OF THE BAG. THAT'S ALL! Otherwise, it's absolutely ordinary.


Show the torn pieces again, hold the bag out in front of you and drop the pieces into the secret flap compartment! Close the bag and shake up the pieces. Then open it again holding the flap closed with your fingers inside. “Okay, please drop in your pieces and stir the eight of them together.”. Set the open bag back down on the table (watch your angles!--or you may want to keep the flap closed with a small piece of tape or magicians wax.) Take the card she just selected, ask her to pick another one and, “Please do as I do, again.” Tear it into quarters, pick up the bag (holding flap closed), drop in your pieces, have her do the same plus stirring every- thing up again.

“You're getting so good at this, why don't you just tear up the last two cards yourself? Very nice. Now into the bag they go and mix up all the 20 or 30 pieces. Perfect! Now (pause) will you just reach in and take out your signed card, one piece at a time, without looking?” The ex- pression on her face is always priceless!

“If you used your eyes, would that help?” She looks in and is still lost. “Nothing yet? Well perhaps it is a lot to ask. Would you mind if I tried? I'm nothing if not a gentleman.” Hold up your free empty hand, take a deep breath and dramatically take out the “four easy pieces.” Hand each to her while counting aloud. “Does the jig-saw match?” Pour out all the other pieces, show bag empty, crumple it up and thank her! Applause, applause. Fini! Next


As a teenager, I was a member of the L.A. “Modern Mountebanks,” together with 'Aubrey' (Jimmy Crabbe), Kenny Williams, Shotzie and with several visits from Milt Larsen.

Dr. Claude Leaf, former president of the PCAM, was our mentor and was dedicated to creating

a new and bright generation of magicians. Usually he would teach us showmanship and stage-

craft but sometimes he would spend the evening working on a classic of magic. My favorite

was the “Banknite” session.

I could hardly wait to try it on family and friends. Their response was NO response. They

wanted the magician to lose! How rude. I was a good kid and couldn't afford the dollar bill---

even for applause. LOSERS.

This life lesson has translated into the following effect which HAS NO

“Now it's time to involve your guest of honor. Are you up to it? Good. The ante is only a hundred dollar bill. You seem to have lost your enthusiasm. Would it help if I asked for a fifty? A twenty? A ten? A fiver? Great. You're also a celebrity--- can I have your auto- graph---on the bill? Thank you. You'll probably get it back.

“It depends. Would you look around and choose three people to be on your very own 'Psychic

A-Team?'---to protect your investment?

Fine. They look solid and honest.” Take out a stack

of six or seven small security envelopes. Fold his bill in half.

“We're going to put your bill safely away in a security envelope and seal it.” Suit actions for words and put the folded bill into the open envelope on the top of the stack. Lick the flap and hand it to the VIP to press down and seal. Take it back and lay it on the table in front of you. The envelope is marked with a dot on each side.

Show the next envelope front and back. “This second envelop is exactly like the first EXCEPT

it has a piece of newspaper folded up to resemble your bill. It's already sealed. So is the third

one and the fourth.” Show 2, 3 and 4 front and back and lay them on top of the Money enve-

lope. (Discard the other unprepared envelopes.)

, who would

you like to lead your Psychic 'A-Team'?” He points to one of the three. “Was there a particular reason you chose her, or was it impulsive?” Keep shuffling the envelopes as he answers, then lay two together on your left and two together on your right. “Now they're so well mixed that even I have no idea which is which. And this is the lady who gets to make the first choice. Will you please point to either the two envelopes on my left or the two on my right?”

“Now we get to separate the real psychics, from the wanna-bes.



You are doing something I've rarely seen or read before, the Magician's Choice with, not one, but three different people. Here's how it works: The Money envelope is on your right side un- der one of the dummies after a non-magic looking slip-shod shuffle.

If the leader points to the two dummies on your LEFT side:

Nod and slide them toward her, spreading them apart. “Good. Now who is going to be #2 on your psychic team?” She indicates one or the other and you address him or her, “Will you please pick one for your leader and one for yourself?”

Turn to #3, the last team member, “That leaves you to make the final decision. Will you please pick one of these envelopes?”

If she picks the Money Envelope, add, “And hand it to your guest of honor.” And you hand her the remaining dummy. If she picks the last dummy envelope, add, “And just hold on to it, like the others. The team has selected this one for our guest of honor.” Hand it to him.

If the leader points to the Money and a dummy on the RIGHT side:

Nod and slide them toward her and spread them apart. “Good. Now who is going to be #2 on you psychic team?” She indicates one or the other and you address him or her: “Will you please pick one of these envelopes?”

If #2 picks the Money envelope, ask #3 to hand it to the trusting guest of honor. Then ask #3 to keep the second one for herself and to hand the other two (dummies) to her psychic “A-Team” members.

If #2 picks the dummy, “All right, that will be yours.” Then ask #3 to point to two of the three remaining envelopes.

If #3 points to the two dummies, ask him/her to give one to the team leader and to keep the other for him or her self. Pick up the last envelope. “The team has selected this one for our guest of honor.” Hand it to him.

If #3 points to the Money and a dummy envelope, you ask the third team member to touch one, “As the final protector of the investment.”

If #3 touches the Money, ask him/her to hand it to your guest of honor.

If #3 touches the dummy, ask him/her to hold it like the others. “The team has selected this one for our guest of honor.” Hand it to him.

This may sound complicated, but it really isn't. Just keep protecting the Money! It's nothing but ever-reducing logic. Be smooth and convincing. (Practice and it's yours.)

“Well, sir, your psychic 'A-Team' has spoken. Now the fun starts.

books of matches and three little tin plates ”(or whatever you care to use.)

I happen to have three little

“Would each Protector of the Investment please fold your envelope and set it on your tin plate

You'll get groans

and comments!

like a greeting card?

Ladies and gentlemen, LIGHT


Can you guess what's cooking----or about to cook?”

“Now please open your matchbooks. (pause)

Turn to the guest of honor, “Are you a praying man, sir? Now may be a good time.” Entreat them to keep the envelopes burning (using additional matches) or until most of the evidence is substantially gone.

“Let's investigate these burnt offerings.”

Use a table knife to poke at the ashes in a quick, cur-

sory manner.

“Nothing here --- or here --- so far, so good! --- and, oh oh, this doesn't look too


Turn to the guest. “Before you begin to think the worst, will you open your envelope ----and either read a newspaper clipping---or thank your Psychic 'A-Team.'” He finds his signed bill! “A-Team, you're off the hook.” Collect the plates, etc., and tidy up.

“Congratulations everyone.

Get his reactions and then add, “Can I tell you a trade secret? I always get the correct vibes from a personal article. And you can bet on it, I'd never let money burn! Thank you for being such a brave, and good sport!”

did you ever have sinking moments of doubt?”





Everyone has heard of the famous inkblot personality tests. Few have seen samples of them and some may not realize what they actually test, which is good!

“Ladies and gentlemen, I'm not a fortune teller nor do I ever make tabloid predictions. Person- ally, I leave it up to each individual to decide whether we're all responsible for our own fate or whether there is a Book of Life or Kismet that has everyone's entire future already laid out.

“However, we all have inherited personality traits and have a lifetime of unique experiences that tremendously affect our futures. THAT, I do have a belief in. And like some of the great psychologists, I've found the famous Rorschach Inkblot Tests quite practical and useful. Here's an example of one of those inkblots. To me, it looks like one thing. To you, it may look and mean something entirely different! These differences define personality.

“I need several volunteers. I promise it'll be fun and illuminating---and a lot more perceptive than tea leaves or tarot cards!” (Use this last line at your own discretion and risk. There are more shut-eyes out there than you may imagine and their skins are very thin indeed!) “I'm sorry but we'll have to limit this to five participants. So let's involve some of you who haven't been tested yet tonight.

“Thank you. You two, and you, and you, and----you. Here's an file card for each of you. Would you please fold them in half.”

We have to “freeze-frame” here to explain a few things. These cards have been nail-nicked to identify each of them. There are many ways, but here's mine:

Person #1

Nick the long edge 2/5 way in from the corner






Nick one of the corners


Nick the short edge 1/4 way up from the corner





Be sure the nicks are large enough to be visual and “feelable.” side-down or in the dark!

This system works face-up, up-

Also, unknown to the audience, an hour or so before the show you've decided on one person who has an unusual “look” about them. Male or female, young or old, sharp or plain--- you decide. And you must not use him/her in any tests until the last one!

Two weeks earlier, you've hand-written your grand exclamation point for the evening:

I feel

compelled to write about a very strange premonition. During this show, I feel I'll meet a very special (grey-haired, young-at-heart lady in bright clothing) who will be involved in the last event on the program. She seems to be very kind and will write something out-of-the-ordinary on a card. Her name is almost like (Maria.)”

“It's after midnight, two weeks before my performance at the




The above parenthetical descriptions of some person and name are left blank. A bogus letter is folded and put into a letter envelope which is labeled, sealed and Scotch Taped. Jot a separate note asking that the unopened envelope be brought to the show. The note and letter envelope are sealed inside a legal envelope and mailed to the organizer. Oh, and be sure to call him and check that it arrived safely!

On the night of the show, when you're chatting with the organizer, KEEP YOUR EYES OPEN! Without being obvious, spot some gregarious target who's got unique features and/or clothing. Avoid drunks or show-offs. Discreetly learn his/her name or nick name and some personal things about the target. (If this is hard for you, perhaps go back to magic!) Credit for the let- ter concept goes to a neat Bruce Bernstein idea.

Visit your “office” (the men's room) and appropriately fill in the blanks on the original letter. Put it in a duplicate letter envelope, label and seal with Scotch Tape EXACTLY like the one mailed.

This, in turn, is put inside the second envelope of a stack of six or eight face-down


switch.” (The open second flap appears to belong to the top envelope.)

6 X 9

Cut the flap off the first envelope and you're all set for a “flapless envelope

Find the organizer again and tell him you'd like to make things a bit more entertaining during the show. “Let's put the envelope I mailed you into a bigger manila envelope that you can seal and sign. It'll be much more dramatic!”

Hand him a marker pen as you take the mailed letter envelope. The moment he starts to uncap the pen, drop the mailed envelope into the flapless manilla, lick the flap of the second manila (containing your completed premonition) and lift it out of the stack. Ask HIM to check it, seal it and then sign it any way he'd like. Put the stack of manillas back in your open brief case. The switch has been accomplished!

Fast-forward back to your performance. As the five people get settled near you, ask the organ- izer if he has the envelope you mailed him last week. Have him hold it up to show it's sealed and signed. Ask him to closely guard it for a few more minutes.

It should be clear that the person you finally decided on (and wrote about in the switched letter) is one of the five chosen and is holding an identifiable folded index card. Approach the first person with a small tray, plate, bottle of ink and some paper napkins . Set his card on the plate, put two or so drops of ink on it so he can press the halves together to make his own inkblot. (Extra napkins can pat dry the ink patterns.)

“Try not to let me see the inkblot. I don't want to get any preconceived or conflicting images in my mind.” Keep things moving, avoiding stage-waits while each makes the personal ink pat- tern. Hand them pens. “Please study your inkblot and then PRINT a couple of words that sum up what it looks like or means to you.”

This is the time you'll have to tap dance. It's really dead-times-vile! Sooooo, you show the audience two more Rorschach inkblot examples. (These can be found in any public library---in the psychology section. I cut mine from several used psych books and laminated them. By the way, the chapters on Rorschach gave me all the patter I'd need in a lifetime! P.S. I was a psych major at USC---with as much musical theatre, TV and cinema as I could squeeze into a heavy Navy Midshipmen program.)

Have somebody collect and mix up their inkblots so no one knows which is which. “Ladies and

gentlemen, I'm going to try to find out about the personalities of the five people here. Is that all

right folks?”

Mix the face-down cards a bit more, shifting the target-person card to the bottom.

Turn over the top card. It's nicked #3. Let's say the nick tells you it's one of two women.

(And the other is your targeted lady.)

“The first inkblot says, Clown in mountains.

feminine vibrations coming off the card. This is a well-groomed lady. Quite charming. And the Clown is a tip-off.”

The printing is neat, somewhat angled. I feel

Show her the card. “You're coy. This has you written all over it. You've travelled, haven't you.

You certainly give off great vibes!”

Any old astrology magazine or book of fortunes is filled with enough “substance” to turn a dull-

ard into a cosmopolitan conversationalist. You have to have fun if you want them to have fun! TILLAR'S FIRST LAW OF MENTALISM: DON'T TAKE YOURSELF TOO SERIOUSLY! This is show biz! Be enthusiastic!

It's important to flatter and chatter with some substance.

Put the card face-down under the stack of five. Turn over the next card, check the nick and give another cool reading. Show it to the proper person and be sure to get a conformation. Put it face-down under the stack. The routine is repeated once more.

For this fourth card, we use a Max Maven color series move (with a slight variation, okay Phil?) Double lift, turn the two over on top of the stack and #5 is staring at you! Slide it off the pile

and hold it up to your forehead, shielding your eyes.

Glance down at the words on card #4,

then use card #5 as a pointer while giving the fourth reading.

“You have a very fascinating Dr. Rorschach inkblot, etc.” This reading should be short and sweet. Now lay #5 face-up on top of #4. (Be sure the #5 data is memorized!) Double lift, turning them over again so all cards are face-down (#4 on top.)

Set the pile on the table and move away. Have the fourth man take the top card and verify it was his. Ask him to slide the next (last) card to the center of the table face- down. “I won't touch it. We're down to an obvious situation.” Turn to your target lady. “This last card does belong to you. Have we ever met before? I don't know you. I don't know what you wrote. Has anyone seen what is on your card? Good.” Start your mini cold reading using the infor- mation you learned earlier and refer to her printed words but don't be specific. Get some affir- mations, then pull the trigger!


had a premonition about this moment.

First, will you swear we have nothing pre-

arranged and you're not a confederate? Then please open and read what you received by regis- tered mail and has been in your custody 'til this moment.” Organizer reads the letter and leads the applause as you bow and exit. AND---you can leave cards, envelope, letter, EVERYTHING to be examined!

I think it's time to read a letter I wrote

you last week, something even I can't comprehend!

Fondle the card on table, close your eyes and recite exactly what's printed. “Is that accurate?




The alternate bill switch for “Teacups” requires two small squares of double-faced tape put on the base of each middle finger. Your crumpled memorized bill is palmed (stuck) in your left hand. The borrowed crumpled bill is taken by the right hand and stuck to its tape, then appar- ently “rolled” over to the left hand (the “shuttle pass.”) The right hand immediately picks up any cup, your memorized bill is dropped in and cup handed to a guest!

Have Fun


The Naked Mentalist

By Jack Kent Tillar

Anytime! Anywhere!

Everything Borrowed!

No Pre-show Work!

This remarkable act consists of seven powerful impromptu effects which “Play BIG!“ They are designed to work together using variety, pacing and contrast---building to a grand finale. Individually, the seven routines are strong enough to stand alone, so, mix or match, use one or more, add your own pet effects, but USE this great material!

PRICE: $45

Carlyle Enterprises 2753 Livingston Loop Virginia Beach, VA 23456 Phone: 757.427.3235 E-Mail: Web Site:

© Copyright by Jack Kent Tillar 2004

Jack Kent Tillar 1002 11th Street #2 Manhattan Beach, CA 90266 Phone: 562.715.5541

The Naked Mentalist


1. AUDIENCE VISION gets everyone involved. You “project” target items that

astonishing results

repeated! This is the perfect way to warm up an audience.


a large percentage of the people actually receive your thoughts! And it's

2. PHENOMINAL MEMORY EXERCISE: The audience calls out individual numbers

which are written down to extend into the trillions! As an exercise to “stretch and loosen up

your mind,” you hand the pad to a spectator and explain you've instantly memorized it. Then you rattling off the “monster” perfectly!

3. INVISIBLE JOURNEY: Now it's up close and personal. A woman imagines she's holding

a World Atlas and opens it to any page. You explain this is a map of the Pacific Ocean. Her mission (if she should choose to accept it) is to mentally decide on any port-of-call. She con- centrates. You focus and name it! She agrees!

4. HOY DOUBLE PLAY: Two gentlemen each select a book from the dozen borrowed. The

first man has free choice of any words or phrase from his book. The second selects words by

chance. You jot down your impressions. The men read their words aloud, and, whether by choice or chance, you're 100% correct!

5. IDENTITY THEFT is a timely routine using five people who each choose an alias. Not only

do you fit each alias to the right person, but you read the last lady's mind!


Their freely drawn pictures prove to be virtually identical!

This change of pace has two people read each other's minds!

7. TRILLION-TO-ONE against you getting a number secretly accumulated by members of the

audience. It's so strong that Dunninger used this test as his stage closer! But HE had to use a trick slate! Not You! Without clip boards, nail writers, switches or stooges, you divine their

correct number! How?

YOU are


The above “Hype” is a fair, but brief, description of the routine. You're holding a small treasure. Please enjoy!


“We've all heard the expression “Use your brain!” But what do we really mean? Use all your

For the fun of it---and we're here for fun tonight---how


many of you think we normally only use half our brain?

Use half?

Use three-quarters?


“How many would guess two-thirds? How many think only a third? Well, scientists tell us we only use 10% of our brain during a lifetime. Wow. Tonight you're going to see how the other 90% lives.

Some of the things anyone can do,

with twenty or thirty years practice. Yet other things will just be your mind playing tricks on you. Mind you, pardon the pun, I'm not above playing mind games. It's my business!”

“Some of the things we'll do are truly mind-expanding.

(NOTE: “ÁUDIENCE VISION” is my practical handling of a century-old stage mind reading act. Once you use it this way, you'll know why it will last another 100 years.)

“Let's begin. This is a little experiment to see how many of you can receive a simple thought projected out into the audience. It will be a number between 1 and 50. To make it easier, I'll choose an odd number of two digits---and both will be different. In other words, not 11 or defi- nitely not 55.” Without letting them see, write a large 35 on your drawing pad. Then draw a line through it and write 37 beside it.

“Have you all got an odd number between 1 and 50?

the pad over to show them. “How many of you received my 37?

the number I started to send, 35?

Both different?


Very good. How many got

Okay, here it is.”

Great. I see a lot of us are already on the same wave length.

“Let's try it again with another number. This time between 50 and 100. Let's make it two even

Tear off the top sheet and write a big 68 on your pad. “I'm

digits and they'll both be different.”

projecting. Remember, an even number, two different digits between 50 and 100.

“Come in. Come in. Can you hear me now?

ber. “How many got 68? ence.

All right, did you get it?”

Show the new num-

You're doing quite well.” Applaud the audi-

Excellent. Any 86s?


“Onward. You may be surprised to learn I have to do warm-up exercises just like any athlete. It's not a ritual. It's a necessity. Let me show one of my favorites.” Pick up your pad and marker. Look around momentarily and pick a lady.

“Hello Miss, or Mrs.? Give me a single number. Nine? Good. And you, sir, another one. Eight? Okay. And you? Three? Fine.” After you have pointed to the first three, stop pointing to individuals.

“Anyone. Just call out a number at random.”

and record it.

easily read, but not too big---you want this to be a very long number.) acknowledging the next digit, but really write a zero as the fifth number.

Whoever yells first, repeat his digit, aloud, nod

(You're writing all these across your pad and making them large enough to be

Then, nod like you're


NUMBERS! After the first four and your zero, you write some friend's telephone number, followed by any other 15 or 20 numbers that you've memorized! Your drivers license, social security number, an old phone number---all are fine. You need at least 25 or 30 to make an im- pression.

“Keep them coming.”

And you keep nodding and recording numbers.

Two things: (1) You don't tell them this is a memory test, and , (2) Let them see you write only the first four digits; then move faster and faster as you turn the pad away from their view.

This is

it. My mind stretcher. Okay, let's see. 9 - 8 - 3 - 5 -0.” Then stop reading aloud and just quietly nod about twenty times. Hand the pad to someone close by. “You be the judge. Check me.”

“We're in the trillions. That should be enough. I told you I had a warm-up exercise.

Close your eyes. “There was a 9, then an 8, a 3, a 5 ---- ” repeating the numbers you just read off. Now here's the trick: while you were nodding and apparent